he DP fers had Sc yer 4 tie at use hs Sige My F ee pine ae Tee Pe GanEICUSS HI ase iid dsm SAMAR AiiAMAAAAdAGAAAAAAAALGAAGAMIAAANIAAAAIMAGAAGAAAIGAAAATAMLLAAAAAGALLAAAAA/AiL 1/02: mmmmmmeiiaeansullll We. 4 ALORS ~~ aC \N \Y THE PAGEANT 2 ; LA Oy NS ~ i. = weg pegs Washington Edition VOLUME XII THE PAGEANT OF AMERICA A PICTORIAL HISTORY OF THE UNITED STATES RALPH HENRY GABRIEL EDITOR HENRY JONES FORD HARRY MORGAN AYRES ASSOCIATE EDITORS OLIVER McKEE ASSISTANT EDITOR CHARLES M. ANDREWS ALLEN JOHNSON HERBERT E. BOLTON WILLIAM BENNETT MUNRO IRVING N. COUNTRYMAN VICTOR H. PALTSITS WILLIAM E. DODD ARTHUR M. SCHLESINGER DIXON RYAN FOX NATHANIEL WRIGHT STEPHENSON ADVISORY EDITORS DAVID M. MATTESON INDEXER From the painting by John La Farge (1835-1910) in the Metropolitan Museum of Art, New York THE M , OF PAINTING THE PAGEANT OF AMERICA THE AMERICAN Seawll IN ART BY FRANK JEWETT /MATHER, JR. CHARLES RUFUS MOREY WILLIAM JAMES HENDERSON NEW HAVEN -: YALE UNIVERSITY PRESS TORONTO - GLASGOW, BROOK & CO. LONDON - HUMPHREY MILFORD OXFORD UNIVERSITY PRESS 1927 oe ’ ) Pie) Bo : > Tipe Ee Hi ’ re : ¥ x 4 COPYRIGHT, 1927, BY YALE UNIVERSITY PRESS | PRINTED IN THE UNITED STATES OF AMERICA 7 : , , ¥ é La é Py ? + ‘ ) + » * ’ : a . PA er CHAPTER XVII. XVIII. XIX. XX. XXI. Bax LT = XXITI. TABLE OF CONTENTS Foreworp. The American Spirit in Art PAINTING (F. J. M., Jr.) . Colonial Portraiture . Early Republican Portraiture . Early Historical Painting . Genre Painting Before the Civil War . Landscape Before the Civil War . Our Heroic Landscape, 1850-1880 . Genre Painting from the Civil War to 1890 . Early Visionaries, 1860-1900 . Intermediate Portraiture, 1860-1876 . Whistler and La Farge . The Great Landscape School, 1865-1895 XI. XIT. XIV. XV. XVI. Portraitists of Parisian Tendency, 1876- Mural Painting Luminism and its Sequels in ae ica, 1890— . Portrait and Figure Painting, 1880-1895 Recent Visionaries — The Modernists SCULPTURE (C. R. M.) Early American Sculpture Sculpture Since the Centennial GRAPHIC ARTS (F. J. M., Jr.) Reproductive Engraving -Painter-Engraving Illustration : ; Social and Political Caricature MUSIC: (W-J.H)) Musical Art in America Index PAGE 65 319 345 THE AMERICAN SPIRIT IN ART RT,” Ralph Adams Cram once remarked, turning his attention for the moment from the creation of Gothic churches, “‘is not only a function of the soul, an inalienable heritage of man, an attribute of all godly and righteous society; it is also the language of all spiritual ventures and experiences, while, more potently than any other of the works of man, it proclaims the glory of God, revealing in symbolical form some measure of that absolute truth and that absolute beauty that are His being.” Many times students have scanned the paintings and sculptured pieces, the buildings, and the poetry in an attempt to discover the spiritual adventures and experiences of this folk of European stock whose habitations reach from the Atlantic to the Pacific. Many harsh judgments have been passed upon a people whose spirit never seemed to rise above its farms and mines, its machines, and its shops. The vigorous life within the borders of the United States, the sprawling cities, the rattling factories, the ceaseless nervous activity of its citizens, have given the impression that America is materialistic and that the worship of Mammon is the true national religion of this western republic. Sadly enough since the World War, when America has become rich surpassing all nations, “Americanism” has come to symbolize for millions of people the world over, that lust for gold which consumes all finer emotions. And this has come to pass in a day when thousands of Americans look up reverently each year to Saint-Gaudens’ Lincoln, and find that graven image a satisfying representation of their national idealism. True it is that America has been slow to develop art. The reasons are not difficult to discover. The folk from the British isles who crossed to North America in the seven- teenth and eighteenth centuries were not, as a race, endowed with the artistic sensibility of the French or the Italians. British genius, while capable at times of fine artistic work, has more commonly expressed itself in other forms of intellectual and emotional activity than that of the canvas and chisel. Eighteenth-century Americans showed a truly British genius in the political structures they created following the American Revolution; but they produced no sculpture, and but little painting and poetry worth the name. And this despite the fact that the English colonies had witnessed, particularly in the Hudson valley and in the South, the emergence of a well-defined aristocracy. Before the French Revolution, Kenyon Cox has noted, art “had been distinctively an aristocratic art, created for kings and princes, for the free citizens of slave-holding republics, for the spiritual and intellectual aristocracy of the church and for a luxurious and frivolous nobility.” In the Spanish colony of Mexico a white aristocracy, influenced somewhat by contact with the artistic Indian, called into being not only churches and cathedrals more magnificent than anything in the English colonies but some painters and other artistic craftsmen of real ability (see Vol. I). To the life of the British colonies the Indian made no ‘artistic contribution, the northern Indians were quite uncivilized and were pushed 1 2 THE PAGEANT OF AMERICA out of the way as rapidly as possible by the conquering white. Of much greater conse- quence was the fact that the planter aristocracy was scarcely a century old as contrasted with the accumulated experience of more than two centuries on the Mexican plateau. Moreover, there was among the English settlers no religious hierarchy like that which played such an important part in the art life not only of Mexico but of Europe, and no urban center for the intellectual life of the provinces. What Paris has been to France or Pekin to China, Mexico City was to the Valley of Anahuac in the days of the Spanish colonial empire. But this ancient capital of the Aztecs had no counterpart on the Atlantic seaboard from Maine to Georgia. The Anglican church in the southern colonies was a rural church for a thinly settled plantation country. No bishops or archbishops traveled in magnificence from parish to parish. Farther north the dissenting Quakers of Pennsylvania and the Puritans of New England were definitely opposed to the use of art in connection with the ministrations of religion. To such folk beauty, whether of ritual or altar, smacked of popery and they would have none of it. In a day when aristocracies were almost the sole patrons of art the temporal aristocracy in the British North American colonies had yet to acquire the traditions which come from a long heritage, and a spiritual aristocracy was, in the medizval sense, non-existent. Then came, at the end of the eighteenth century, the American Revolution and the French Revolution. The first severely shook the aristocracy of the New World and the latter that of the Old. It has been the fortune of the American people, therefore, to be compelled to lay the founda- tions of their art life in a century which found the artists of western Europe struggling to adjust themselves to the new freedom, the new thoughts and ways of life that followed the passing of the ancien régime. The trickle of adventurous American students who in the first half of the nineteenth century crossed the Atlantic to study under the supervision of the masters found their tutors divided into different schools of thought in accordance with the freedom of the new day. Their technique learned, these young Americans returned to participate in the vigorous life of a virile pioneering people. The first half of the nineteenth century was a time of swift material development when the frontier was sweeping westward across the continent. It was also a time of tense emotion as the antagonisms engendered by the divergent civilizations of the North and the South finally flamed in civil war. The returning artists found a people too engrossed with the task of forging a nation to give much heed to canvases or marble. The frontier and the expanding commercial and industrial life of the East absorbed the fluid capital of America so that the money available for the accumulation of art treasures west of the Atlantic or for the endowment of schools of the fine arts was not large in amount. Americans, for the most part staying at home engrossed in a multiplicity of activities, were almost completely isolated from the world of beauty as expressed in painting and sculpture. Much as the returned student might admire his fellow countrymen he could get from them but small appreciation of his careful brush strokes — and he could sell them but few pictures. Yet much the same spirit that took some Americans across the continent to found their homes amid the fir trees of Oregon held others to the task of bringing to the people of the western republic the artistic heritage of Europe. As the nineteenth century merged into the twentieth the labors of our artist pioneers began to bear fruit. THE AMERICAN SPIRIT IN ART 3 Several factors contributed to this result. By the end of the nineteenth century the fires of the Civil War period had largely burned themselves out. Young men from the North and the South had fought shoulder to shoulder under the old flag against the battal- ions of Spain. The United States had acquired an empire reaching half way round the world. A new national consciousness took the place of the old sectional bitterness. The American people achieved economic unity, and in the World War a spiritual unity sur- passing anything in their history. If national feeling ranks with religious feeling as an inspiration for art, twentieth-century America has at last established a solid foundation for artistic development. Countless buildings, public and private, in the North and the South, the East and the West, are being decorated with murals filled with the spirit of America. Religion, too, again moves the artist as in times gone by. The harsh creeds of many of the early sects have been softened, and beauty has come once more into the churches. Cathedrals, like those of the Middle Ages, are arising in twentieth-century America (see Vol. XIII). Within their walls the quest of God continues. But outside the dim interiors where the altar candles flicker the quest of God goes on also in the full light of day. Americans have begun to turn to nature, so long as enemy to be overcome, with an almost pagan wistfulness. John Burroughs, the prophet of the out-of-doors, and Winslow Homer, the matchless painter of the sea, were contemporaries. The ideals they cherished still live and grow in influence to move men in all walks of life. Idealism has not died with America’s mounting wealth nor has materialism crushed the finer sensibilities of this people of the United States. The wealth of America has brought to the New World much of the best of the art work of the Old and has made it possible for the poorest American to enrich his life by contact with the spirits of the greatest artists of ancient and modern times. It has founded schools for the education and discipline of the artistic impulse of such students as care to come and can qualify for admittance. It has sent other students to foreign lands to broaden their artistic training. It has made it possible for the American man of affairs to decorate his habitation and refresh his spirit with bits of true beauty and this, in turn, has enabled the artist to live. America has ceased to be on the periphery of the European culture area. It has become part of its generative center. The art life of this trans-Atlantic people, so long retarded by more pressing national tasks, has just begun. Ravey H. GAaBrie CHAPTER I COLONIAL PORTRAITURE OR the first century and a half of American painting, the chief concern is with 2 portraiture. We may note a period of rude beginnings, which ends, about 1740, with the advent of such reasonably trained face painters as Smibert, Feke, and Pelham. The late colonial face painters, with Copley as their leader, occupy the field from about 1740 to 1790. From that time, largely under Benjamin West’s influence, our portrait painting follows the English manner, with a great gain in general competence. The sturdy settlers of the Eastern coast of the present United States brought little knowledge of art with them, and probably even less love. ‘The great collectors of Eng- land were persons whom the Puritan exiles had every reason to suspect — the Catholic Earls of Arundel, the autocratic Charles I, the libertine Duke of Buckingham. Besides, the hard conditions of pioneer life, the smallness of the houses, the statutory bareness of the churches, the absence of any long-lived organizations for culture or public adminis- tration made pictures a superfluity. However, as the British colonies, ever zealous for book learning, gained in wealth, and the towns of Boston, New York, Philadelphia, Newport and Charleston, grew into substantial little cities, the self-esteem of the citizens properly grew with their towns. Lest their efforts to found families and to found states be forgotten, they enlisted the portraitist, or as they would have called him more accu- rately the “‘limner” or “face painter.” We have to do in almost all cases of face painters before 1750 either with home- bred amateurs or with foreign adventurers whose scanty talents would hardly have commanded a living in Europe. Their styles were naturally as heterogeneous as their origins. It could not afford a basis for an American manner. In mentioning them at all, an art critic is performing the alien duties of a historian. By the middle of the eighteenth century, our colonial face painting begins to assume a more standardized and professional look. John Smibert had come to New England in 1729, bringing with him some faint flavor of Italian studies and, what was more useful, his own copies after Van Dyck. Peter Pelham, meanwhile, made excellent engravings at Boston, and doubtless possessed many sterling English prints after that very competent portraitist, Sir Godfrey Kneller. In 1727 Pelham painted the characterful portrait of the Reverend Cotton Mather and that of his nephew, Mather Byles, which are in the American Antiquarian Society at Worcester, Massachusetts. In 1748, John Copley’s widowed mother became Pelham’s wife. We must suppose then that Copley came up with a certain knowledge of good pictures, if only in engraved form, and that when in 1771 he rejoiced in the copies of Titians and Correggios which he studied at Philadelphia and in the original Van Dycks which he saw, or thought he saw, at New Brunswick, New Jersey, he was merely con- 4 COLONIAL PORTRAITURE 5 firming youthful tastes. Yet Copley, doubtless profiting by his stepfather’s precepts and by Smibert’s copies, was essentially self-taught. Few artists have had a more dogged -and patient eye. To make the figure exist as mass, to seek the glint of stuffs, to search the minuter forms and the character were second nature to him. Finer shades of com- plexion and texture were ignored in his heavy and cautious renderings. Gilbert Stuart later decried the leatheriness of the effect. Yet it is doubtful if the early Copleys would be better if they were more dexterous and gracious. His is an extraordinary gallery of the New England makers of the nation. We have, well discriminated, the massive iras- cibility of John Adams and the somewhat dandified egotism of John Hancock and the massive eagerness of the engraver and silversmith, Nathaniel Hurd. The colonial women also live amazingly on his canvases. One ordinarily feels a somewhat conscious and stilted dignity, coupled with a little natural worriment at being the spouses of such form- idable husbands. But there are also certain female portraits of marvelous geniality — Epes Sargent’s wife in her riding habit, that portentous Mrs. Fort, of Hartford, who has manifestly outlived all hesitations. And there are a few pastels of young women of the most flowerlike delicacy, assuring us that the breed has not really changed between John Copley and Alden Weir. These pictures will always have a rustic look among fine portraits of the standard traditions, but they will also hold their own in any com- pany for sheer force of character. Certainly a more fluent method would not improve them, and when, in his later English years, Copley attained urbanity, what his art gained in professionalism it more than lost in interest. He had been forced to sacrifice an un- disputed primacy in America to a quite hopeless competition with such masters of por- traiture as Sir Joshua Reynolds, Romney, Gainsborough, and Raeburn. It is one of the ironies of history that Copley, upon whom we depend for the looks of . the Yankee founders of the Republic, was a Loyalist, driven in the fullness of his powers to England, where, an esteemed second-rater, he flourished as a painter of por- traits and contemporary history. One likes to imagine that with other politics and fates, he might have founded an American school of portraiture and historical painting far superior to that which soon came into being under the auspices of that ever patriotic expatriate, Benjamin West. But Copley was taken from us when he was only thirty- eight, and, sadly enough, our irreparable loss was not greatly England’s gain. Copley is the only great painter America produced before the Revolution, and while the anti- quarian fervor that is rediscovering scores of his painter contemporaries brings interesting genealogical and historical results, nothing has been or is likely to be discovered that will shake John Copley’s solitary eminence at the beginnings of our art. Copley’s contemporaries, such as Feke, Matthew Pratt, and Charles Willson Peale, require little more attention than is furnished by the cuts. Peale was fortunate in painting early and intimate portraits of Washington, which are invaluable to the historian and biographer. Among the portraitists active before the War of Independence only Abraham Delanoy, Jr., and Henry Benbridge are likely to get a second look from the art lover, though the antiquarian and genealogist finds excellent account in them. 6 THE PAGEANT OF AMERICA WILLIAM READ Wiuu1am READ, who was apparently the first portrait painter to practice in the British Colonies of America, was born about 1607 at Balcombe, England, and died at or near Norwich, Connecticut, in 1679. This portrait of the scarlet-gowned Governor of Massachusetts Bay Colony is dated 1641 and signed W. R. By a series of convinc- ing inferences, Thomas B. Clarke has identified the painter with William Read who in 1665 was paid for an “exact mapp” of the Colony. Read’s artistic education was apparently limited to observation of the average English portraiture of King James’ reign. One feels, however, that he has told a truthful story about his melancholy and fanatical sitter. Bellingham had been a notable persecutor of the heretic and the godless colonists, and completely looks the part. iy 1 From the portrait of Governor Richard Bellingham in the possession of Thomas B. Clarke, New York JACOBUS GERRITSEN STRYCKER New AmsterDAM had a far richer artistic back- ground than Boston. The work of the first painter, Jacobus Gerritsen Strycker, is of a more than competent sort. He was born at Ruinen in Holland and died in New Amsterdam in 1687. Strycker came to New Netherlands in 1651, bringing a wife of the Huybrechts family who was possibly re- lated to the Huybrechts girl who married Rem- brandt’s son Titus. Strycker had profitably studied the masterpieces of Rembrandt’s early and middle manner, and is skillful both as a painter and observer of character. Since the sitter died in 1665, we may date the panel a little earlier. 2 From the portrait of Adrian Van Der Donk in the possession of Thomas B. Clarke, New York HENRI COUTURIER STRYCKER came from the native Dutch school. His successor, Henri Couturier, seems to derive from a Holland obsessed by France and artistically decadent. Of Couturier we have very little information. This portrait attests a really powerful gift for characterization. The artist was in New Amsterdam as early as 1663 and died there in 1684. One may imagine that he had admired in Holland the Gallicized artists of the type of Nicholas Maes. The sitter died in 1684, aged 74 years. ‘To judge by his appearance, this fine portrait may 3 From the portrait of Oloff Stevense Van Cortlandt ° ° in the possession of Thomas B. Clarke, New York have been painted some ten years earlier. COLONIAL PORTRAITURE ~ UNKNOWN ARTIST (about 1675) ALONGSIDE painters with a modi- cum of European training we occasionally find naive native talents based on unguided ob- servation and patience. Such was the painter, probably a Dutchman, who about 1675 painted the delightful portrait of Madam Elizabeth Freake and Baby Mary. This genuinely primitive work, full of dogged character and charmingly tena- cious research of detail, can hardly be the work of a foreign face painter — they never took such pains—but is rather a precious homemade product of colonial America. The com- panion piece, Mr. Freake, is only less attractive. Such works are visible reminders to twentieth- century folk of the elegance that civilization in seventeenth- century America soon attained. A modern matron might envy Madam Freake her supply of fine lace. 4 From the portrait of Madam Elizabeth Freake and Baby Mary, loaned by Andrew Wolcott Sigourney and Mrs. W. B. Scofield to the Worcester Art Museum, Worcester, Mass. GERRET DUYCKINCK At New York there flourished a family of Duyckincks who for three generations were successful face painters. It is the most continuous artistic succession that America has seen, being rivaled only by the three generations of Hills, engravers, and the Peales in the last century. However, the Duyckincks show no progress from father to son and re- main at a low level of accomplishment. One Duyckinck will be enough, and we select Gerret, who, apart from the rigid sort of portraiture represented by our cut, is on record as making stained glass for a church at Esopus, New York, in 1679, being perhaps the first practitioner of what was much later to be a peculiarly American art. His rude work in portraiture shows that he was self-trained, though he may have looked at prints after Lely and Maes. He was born in New Amsterdam, in 1660, worked mostly at Albany and died in 1710. The active years of his life fell entirely within the period when the fair region of the Hudson valley was an English province. Both New York and Albany were trading centers where wealth was accumulated sufficient to warrant galleries of family portraits. Duyckinck lived in the years 5 From the trait of Mrs. Augustus Jay in the : 2 Mew Work Historical Boolety when the aristocracy of New York was taking form. 8 THE PAGEANT OF AMERICA 6 From the portrait of Judge Samuel Sewall in the Massachusetts Historical Society, Boston lot among them. 8 From a self-portrait in the Historical Society of Pennsylvania, Philadelphia courtly style of Sir Peter Lely. It is indeed to Lely or Kneller that family portraits by Bridges are generally attributed. We know nothing of Bridges’ English origins and can only vaguely guess that he was active in Virginia between 1730 and 1750. A courtly quality in his style was rare in the colonies and somewhat makes up for his feebleness. One can see why he found favor among the planter gentry of the Old Dominion. They possibly would not have accepted the ruthless fidelity of a Copley. Indeed, they were prone to have their portraits painted abroad. Some had doubtless seen examples of Lely’s work when taking their customary trips to England. America has never produced an aris- tocracy more urbane or more brilliant than that of Virginia in the middle of the eighteenth century. Fortunate indeed the portrait painter who cast his NATHANIEL EMMONS RetuRNING to Boston, we find a slightly better state of things. Nathaniel Emmons, who was born in Boston in 1703 and died there in 1740, is a limner of fair skill. Among his sitters was the famous magistrate and diarist Samuel Sewall. The portrait seems a true if not a very speaking likeness of the Boston judge who publicly re- pented his severity in the witchcraft trials and kept a diary in which posterity has delighted for its shrewd and humorous characterization of the writer himself and of his aristocratic Boston neighbors. CHARLES BRIDGES Cuar_es Brivces was born in England, and was active in Virginia about 1730-50. In the delightful journals of Colonel William Byrd of Westover, Bridges is mentioned under the year 1735 as painting the Byrd children. It is clear from this charming portrait of Maria Byrd, the Colonel’s second wife, that the visiting me painter had studied the Ce ee ee eee 7 ‘tron the porta ee Maria Taylor Byrd in the Mettopolithe seum of Art, New York GUSTAVUS HESSELIUS Tue colonies of the Middle Atlantic range seem to have been quite devoid of native talent in painting, depending on foreign face painters who came and went. The most distinguished of those who stayed was Gustavus Hesselius, who was born in Sweden in 1682, came to America in 1711, painted mostly in Maryland and Pennsylvania and died in 1755. His Last Supper, ordered in 1721 for St. Barnabas Church, Queen Anne’s Parish, Maryland, was probably the first devotional picture made for any church in the British Colonies. As a portraitist he was better trained than the run of the contemporary face painters, but his was a very slender native talent. He left a son who was a PCa of slightly better ability. COLONIAL PORTRAITURE 9 en 9 From the painting Bishop Berkeley and His Family in the Yale School of the Fine Arts, New Haven, Conn. JOHN SMIBERT JouN SMIseERT is the first connecting link between the feeble painting of the American colonies and the main current of European art. Hence he is important beyond his personal accomplishment. Born at Edinburgh in 1684, and trained at Sir James Thornhill’s Academy, London, Smibert studied for three years in Italy, accompanied Dean Berkeley to America in 1729, settled in Boston and died there in 1751. Though an uneven painter, Smibert was the first well-trained artist to make America his home. His competent practice, as shown in the picture repro- duced, and his copies of old masters, inspired young Copley and generally helped to improve the rude methods of our colonial face painters. Indeed the portrait of the Berkeley family, representing a Britishfamily of the highest character , and culture, has a unique value as a record, even if it has not a very high place as art. ROBERT FEKE Tue gradual improvement of face painting is illustrated by Robert Feke, who had a resolute grasp of character and a less rigid style than his predecessors. He seems to have moved between the two chief cities of the Colonies, Boston and Philadelphia. Oyster Bay, Long Island, was his birthplace, the year, 1705. There is a record of him at Newport in 1729, and he married there in 1742. His latest dated portrait is of 1746, the latest trace of him is in Philadelphia, 1750. He is said to have died soon thereafter in Barbadoes. A self- trained man, Feke achieved a vigorous and characterful por- traiture which perhaps influenced the youthful Copley, and in any case has won Feke the posthumous compliment of having his work often mistaken for Copley’s. 10 From the portrait of Brigadier-general Samuel Waldo in the Walker Art Gallery, Bowdoin College, Brunswick, Maine 10 THE PAGEANT OF AMERICA 11 From the portrait of Miss Elizabeth Rothmaler, in the Brooklyn Museum, Brooklyn, New York JEREMIAH THEUS CHARLESTON, SOUTH CAROLINA, was the only considerable city in the South in Colonial times and developed a very interesting local culture. In publishing, in the theater, and in painting, it kept close relations with Europe. Accordingly, it was easy for the well- trained Swiss portrait painter, Jeremiah Theiis, to find a welcome there. He landed in 1740 and painted with success until his death in 1774. This admirably vivacious and characterful portrait of a Huguenot belle shows Theiis at his best and explains why many of his pictures have passed for Copley’s. It is signed, and dated 1757. JOHN SINGLETON COPLEY, F.S.A., R.A. Tue first American painter of the eighteenth century who gained even a modest standing in the general history of art is John Single- ton Copley. His preéminence among his American contemporaries depends on no innovation or change of outlook, but rather upon an enhancement of the methods of the ordinary face painters, resting fundamentally upon his far more acute and tenacious observation. There is something in his work that we have already seen in the unknown painter of Mrs. Freake. Copley was born in Boston in 1737. He began to paint very young, receiving slight instruction from his stepfather, the engraver Peter Pelham, and from Smibert. Copley painted with exemplary firmness and character many notables of colonial New England. Being a Loyalist, on the brink of the Revolution he moved to London. There he flourished as a portrait and historical painter (F.S.A., 1777, R.A., 1783), mollifying his style under the influence of the English school, but hardly improving his art. He died in London in 1815, full of honors. (See also No. 47.) From a Self-portrait in the New York Historical Society COPLEY’S PORTRAIT OF EPES SARGENT, Snr. THE massive sincerity of Copley is well exemplified by this powerful effigy of a prominent officer and magistrate of the old Commonwealth. It was probably painted before 1760, and for a man in the early twenties is an extraordinary performance. Copley’s more facile successor, Gilbert Stuart, once remarked generously that Copley knew “more than all of us put together.” Indeed it seems that a greater urbanity of style would have made such a portrait both less characterful and less dis- tinguished. Copley is one of three preéminent American intellectuals born in New England. The other two were Benjamin Franklin, author, publicist and the greatest Ameri- can scientist of the eighteenth century, and Jonathan Edwards, the most important American theologian and philosopher of 13 From the portrait of Epes Sargent, Sr., in the possession : of Mrs. G. W. Clements, New York. © Curtis & Cameron his day. COLONIAL PORTRAITURE 11 A NEW ENGLAND PORTRAIT, MID-EIGHTEENTH CENTURY NatTurRALy the severity of Copley’s style lent itself best to the portraiture of old age. It would be hard to imagine anything more physically and morally imposing than his Mrs. Seymour Fort. A portrait like this is both an enduring monument to the gentility of New England in the middle of the eighteenth century, as well as to the character, at once formidable and kindly, of the sitter. With its searching study of textiles and details, it has no smallness of execution, and as sheer character it would live comfortably amid the best portraits of the greatest masters. One sees that Copley ap- proached the painting of textures with more curiosity than love, and yet the very tenacious- ness of the method gives the costume a character entirely appropriate to its wearer. Much of the value of Copley’s art lies in the fact that he resolutely declined to prettify or flatter the stern and powerful visages of his colonial sitters. There never was a more truth-telling painter. 14 From the portrait of Mrs. Seymour Fortin the Wadsworth Atheneum, Hartford, Conn. THE BOY WITH THE SQUIRREL Despite the austerity of his manner, Copley left a number of engaging portraits of young men and women which have a charm of their own, if inferior to the contemporary master- pieces of English painting in this branch. Indeed it was a portrait of a boy with a squirrel that brought Copley his early recognition in England. This attractive por- trait of the artist’s half-brother, Henry Pel- ham, was sent to Benjamin West at London, probably in 1760, and through his influence was exhibited anonymously in the London Society of Arts. Of this portrait West re- marked that it had a “delicious colour worthy of Titian himself.’ Copley contin- ued to exhibit at the London Society with increasing fame and in 1766 was admitted F.S.A., a great honor for a colonial painter not yet thirty years old. Indeed such gen- erous recognition made very natural his flight to London when the imminence of the War of Independence both troubled his loyalty and threatened his prosperity. So to our great loss, Copley’s colonial chapter closed. 15 From the portrait of Henry Pelham (The Boy with the Squirrel), owned by Frederic Amory, Boston, in Letters and Papers of John Singleton Copley and Henry Pelham, in Massachusetts Historical Society Collections, No. 71, 1914 XII—2 12 THE PAGEANT OF AMERICA COPLEY’S PASTEL PORTRAITS A Few pastel portraits offer again a pleasing exception to the general austerity of Copley as a portrait painter. He used this softer medium appropriately for the sweet faces of certain colonial young women who sat for him. Of these pastels none is more ingratiating than this likeness of the young colonial matron who as Mary Storer was twenty-eight years old when this delicious chalk drawing was signed in 1765. The charm and lightness of the work suggest that Copley-in his usual manner was not so much anxious to paint rigidly as to give a true account of persons in whose character and appearance rigidity ruled. In London Copley’s style soon took on urbanity. But he seems lessin- terested in his English sitters, who, as compared with his American patrons, lacked idiosyncracy. Copley’s gallery of colonial worthies is invaluable to the historian and most interesting to the art lover. One must regret those honorable scruples of conscience that made him an exile, depriving us of his portraiture in their youth of those Revolutionary heroes whom Stuart was happily to depict in their maturity. et 16 From the pastel portrait of Mary Storer oe in the Metropolitan Museum of Art, New York BENJAMIN WEST, R.A., P.R.A. Ir Copley’s preéminence in the eighteenth century is certain, Benjamin West was highly important both as a teacher and as the first American painter to gain Euro- pean prestige. Like many a later American artist, he made his entire career abroad. He was born of Quaker parents near Springfield, Pennsylvania, in 1738, and died in London in 1820. Beginning as a face painter in Philadelphia and New York, he studied in Italy from 1760 to 1763, producing there remarkable historical canvases, which won him international fame. He settled in London where he painted, with success, mythology, history and portraits. From 1792 to his death, West served as president of the Royal Academy. Although West belongs to the English school, he retained his American sympathies, and as mentor of young American painters studying in London was a strong influence on our school. Among many less notable painters, he helped to instruct Charles Willson Peale, John Trumbull and Gilbert Stuart. He was a sterling portraitist, as this likeness of his pupil and fellow-painter shows. (See AQ 17. +=‘¥From the portrait, ca. 1768, of Charles Willson Peale in the also Nos. 48-9.) New York Historical Society COLONIAL PORTRAITURE 13 fied: ee & painting The American School in the Metr MATTHEW PRATT THE nineteen years between Copley’s escape in 1775 and Gilbert Stuart’s return in 1794 are on the whole lean years for American portraiture. We must be grateful, however, to that obscure pupil of Benjamin West, Matthew Pratt, who has left us a picture of the kindly master with his disciples about him. Matthew Pratt was born in Philadelphia in 1734, where he died in 1805. He studied in England from 1764 to 1768 and again in 1770. He acquired a somewhat better technique than was usual among our early face painters and left a number of creditable portraits and miniatures. In- cidentally, he painted signboards which were “well colored and well composed.” In this picture West is correcting a drawing held by Pratt. MSE 18 From the ses sca Bas) es A opolitan Museum of Art, New York ABRAHAM DELANOY, JR. A more gifted pupil of West was Abraham Delanoy, Jr. He brought back something of the urbanity of the great English portraitists. Delanoy was in West’s studio in 1766 and died in New York about 1786. We have little other information about him. Though this vivid portrait shows that he had no common talent, neglect was his portion. He was forced to eke out painting by selling groceries and died in poverty. It is clear that the tradition of rigidly literal face painting died hard. It needed the genius of a Gilbert Stuart to displace it. This portrait of West in his late twenties and already famous must have been painted in London in 1766. 19 From the portrait oy Ete resp eh in the New York 14 21 THE PAGEANT OF AMERICA 20 From the painting Peale Family Group in the New York Historical Society CHARLES WILLSON PEALE Stitt another pupil of West, Charles Willson Peale, did much to fill the gap between Copley and Stuart. Peale saw the light in St. Paul’s Parish, Queen Anne’s County, Maryland, in 1741 and studied with Copley at Boston and West at London and became an excellent portrait painter. His sitters comprise the most prominent Americans of the Revolutionary and early Republican period. As a captain of volunteers in Washington’s army he had seen some of these great figures near at hand and in action. We owe to him, as in the frontispiece to Volume VI, our knowledge of the appearance of Washington in his prime. (See also Vol. VIII.) Immediately after the war, Peale founded a Museum of Natural History in Philadelphia in 1784, the first of its sort in America. He was also one of the founders of the Pennsylvania Academy of the Fine Arts, in 1805. He died in Philadelphia in 1827, leaving sons and grandsons bearing such sug- ote ” From the portrait of Master William Carpenter in the Worcester Art Museum, Worcester, Mass. gestive names as Rembrandt, Raphael and Titian to con- tinue his art. His portrait by West appears as No. 17 of this volume. RALPH EARL Tue last pupil of West who now concerns us is Ralph Earl, painter and patriot. He was born in Leicester, Massa- chusetts, in 1751 and probably came under the influence of Copley. He fought in the battle of Lexington and promptly made four rude topographical paintings of its episodes which in Amos Doolittle’s engravings passed about the colonies and heightened the Revolutionary feeling. But Earl was primarily a portraitist, and exceptional in seeking something of the broader decorative effects of the English school. His powers were, however, below his ambition. The straight- forward naiveté of this presentment of a well-bred colonial lad, painted in 1779, is an uncommonly pleasing phase of a generally feeble painter who, after studying with West in London, 1783-86, adopted the mannerisms of the current English school without really attaining its elegance. How- ever, the whiff of Romney in certain portraits of Earl’s is by no means unwelcome at a moment when anything like elegance in our painting was rare. Earl died at Bolton, Connecticut, in 1801. COLONIAL PORTRAITURE 15 22 From the painting The Gordon Family in the possession of Mrs. John B. Brooke, Reading, Pa. HENRY BENBRIDGE OF course, Gilbert Stuart dominates our early Republican painting and marks the advance of our practice toward a professionalism fairly comparable to that of contemporary England. But before considering Stuart, we should glance at the work of two painters who foreshadow the impending improvement. Henry Benbridge in the family group which we reproduce fairly competes with the great English painters and with a measure of success. Benbridge was born at Philadelphia in 1744. As a pupil of those highly considered masters Battoni and Mengs at Rome and of West at Lon- don, he was the best-trained American painter of his time. He returned to Philadelphia in 1770 and thereafter worked chiefly at Charleston, South Carolina, and Norfolk, Vir- ginia, dying in his native city in 1812. As an uncommonly good technician for his time and place, Benbridge deserves more consideration than has been his lot. JAMES SHARPLES Even the itinerant face painters began to show a greater skill toward the end of the century. Such is the case with James Sharples, who was born in Lancashire, England, about 1751, and, after slight studies with George Romney, came to America about 1793. He traveled widely in the East in search of patronage, often in a horse-drawn van of his own invention. He knocked off his small pastel portraits in about two hours, charging fifteen dollars for the profile and twenty for the full face. This portrait suggests very well the finesse of the great financier without conveying his strength, which is better expressed in the standard portrait by Trumbull. Sharples died in New York in 1811. 6 2 x we 23 From the pastel portrait_of Alexander Hamilton in the New York Historical Society CHAPTER II ‘EARLY REPUBLICAN PORTRAITURE leading of Benjamin West at London, assimilated the English practice, which was itself, at some remove, the florid manner of Rubens. This chapter of our art attains brilliancy only at the beginning and end, respectively in Gilbert Stuart and Thomas Sully, but it is throughout creditable. Almost without exception, these painters understood well their double task of securing a likeness, while making a canvas that would look handsome on the wall. They were painting for a better-trained public. After the two wars with England, it was customary for prosperous Americans to travel in Europe. They brought back many copies of the old masters, and even a few collections of old pictures were formed in Charleston, South Carolina, Philadelphia, Baltimore, New York, Boston and Newport. Voluntary associations for the promotion of litera- ture and art begin to provide modest galleries and limited facilities for current exhibi- tion. The Redwood Library at Newport, founded in 1747, may be the pioneer. The Charleston Museum dates from 1773; the Boston Athenzeum, as an exhibiting body, from 1826; the Pennsylvania Academy, from 1805; the Maryland Institute, from 1824. Meanwhile, the primacy in art was passing from the older centers of American culture — Boston, Charleston and Philadelphia — to the new commercial metropolis, New York. There a short-lived Academy of the Fine Arts was incorporated in 1808 under John Trumbull’s auspices. It was superseded in 1826 by the National Academy of Design, the first American art society under professional control. The Art Union, founded in 1838 as the Apollo Association, was both an exhibiting and purchasing society, and in its Bulletin published the first American periodical solely devoted to art. Soon the dealer begins to appear. -In the early “forties Goupil of Paris started a branch at New York, and hard upon his heels the Diisseldorf Gallery afforded, with constant exhibitions of the popular new sentimentalisms from the Rhine, an appropriate meeting place for young spooners of zsthetic bent. It was a generation that cared for art, and naturally it got better art than its predecessor. With Gilbert Stuart our early Republican portraiture begins gloriously. He had passed more than twenty years of his prime in London where little that was excellent in portrait painting could have escaped his shrewd eye. But his style was his own. His flesh tints were composed of little strokes of slightly varied color. This produced great liveliness of surface, and a sense of glow from within; and the little touches were not merely factors in richness and luminosity, but also traits in character. He never settled into a formula, but duly discriminated differences of complexion, age, station and even health. A genial person, if im a crusty way, he had the knack of putting the sitter at his ease and of eliciting the best aspect. Generally a realist, he composed that majestic portrait of Washington that has become standard. Within his self-elected limitations as a face painter, he rarely did anything besides heads and busts; he was easily one of the greatest figures in a great age of portraiture, combining audacity of attack with pene- trating insight and most patient research. Stuart befriended and taught many of the younger men, but he was too capricious for a master, and his delicate methods were incommunicable. John Trumbull was his 16 \ the Revolutionary War, American portraiture, generally under the EARLY REPUBLICAN PORTRAITURE 17 best contemporary, when at his own best. He too had studied long at London and must have consulted intelligently such direct and candid painters as Beechey and Raeburn. But Trumbull was a vain and techy person, often below his best, and his art declined sadly as old age and complacency overtook him. The average practice is better repre- sented by such men as Jarvis, Harding, Inman and Waldo. Many painters of this generation traveled widely in search of patronage, painting the more prosperous heads of entire villages for twenty-five dollars each. Such work precluded study and reflec- tion and required expeditious formulas. So, for all sitters there was one palette and one procedure. But both were of a sound traditional sort, and although our ancestors and ancestresses between 1800 and the Civil War glow with a suspiciously uniform ruddiness, their painted effigies have at least the merit of looking much better on the wall than much more conscientiously studied portraits of later date. Of all this portraiture the _ late Samuel Isham truly remarked that “it has more likeness than character.” It was perhaps a pity, though inevitable, that our standard portraiture drew so much upon the rather slippery English practice and less upon the more austere and profes- sional methods of France. At all events when one finds a masterly portrait of this period, not a Stuart, one is generally reminded of David and his Parisian contemporaries. Early in the century John Vanderlyn painted a few portraits at Paris of such excellence as to make his swift decline fairly tragic. At the same moment Rembrandt Peale painted his solid and masterly heads of David and Lafayette, work to make the brown sauce and slovenly drawing of his later portraits simply pitiful. And Morse, some twenty years later, did those amazing half-lengths of Mr. and Mrs. David de Forest, now the jewels of the Yale School of the Fine Arts (Nos. 40, 41), in which the robust structure of David is combined with brilliancy of color and execution that recalls or perhaps anticipates Isabey. On the whole, such triumphs were exceptional and were never followed up. The period ends, as it began, gloriously with the urbane and accomplished portrai- ture of Thomas Sully. He had fully assimilated the decorative and florid English style, and at his best is no whit inferior to its greatest contemporary practitioner, Sir Thomas Lawrence. He was one of the few Early Republican painters whose pictures had no provin- cial look. Being in London, it was natural that he should be permitted to do young Queen Victoria in her coronation robes. No living Englishman could have done it as well. Sully had only a mediocre gift for character, and too often succumbed to the taste of the Book- of-Beauty era, but he had a sure sense for composition and for his own sort of delicately florid color. Such full length portraits of young women in landscape as his Mrs. John Ridgely and Mrs. Reverdy Johnson would hang comfortably beside the Reynoldses and Gainsboroughs at Hertford House, and serve to reassure us that American aristoc- racy did not perish with the dictatorship of Andrew Jackson. These are unique achievements, in our early portraiture, and if the art is not the most serious, its graciousness is entirely disarming. Sully lived on, somewhat neglected, in Philadelphia, till 1872, sadly witnessing the new confusion of practice. He had the satisfaction of closing a great tradition, worthily, for his pictorial line went back through the English and Rubens to Titian himself. Of our early Republican portraiture as a whole, it must be admitted that as art it is sprightly and respectable rather than thrilling. On the other hand, it was no slight con- tribution to the national tradition to fix credibly on the canvas the men and women of Jefferson’s generation, of Webster’s and of Calhoun’s. We at least know how our states- men, men of letters, warriors and explorers looked, from Stuart’s beginnings to Sully’s old age; in later times we are in much worse case. Our portrait record of Lincoln’s gen- eration, and Grant’s, and Cleveland’s and Roosevelt’s, is far less convincing than that which was left by those old face painters who, without the slightest pretensions to genius, exercised with probity a fine and necessary trade. 18 THE PAGEANT OF AMERICA 24 From the portrait of General Knox in the Museum of Fine Arts, Boston THE ATHENZUM PORTRAIT OF WASHINGTON Tue fame of Stuart’s portraits of Washington has unduly, if naturally, obscured his merits as a portraitist at large. This unfinished portrait of Washington, painted in 1796, has be- come one of the most celebrated pic- tures in the world. Stuart kept it in his studio as the basis of scores of replicas. It seems rather a deliberate attempt to depict the statesman than to suggest the private man. For some reason, posterity has accepted it as the most satisfactory likeness of the Father of his Country, and perhaps it is the tragic nobility of this portrait that has given it this favor over others which are certainly more resemblant. We have here a Washington who has en- dured political vilification, but is still strong in his own rectitude. This por- trait appears in the form of an engray- ing upon our most commonly used postage stamp. It has tended to con- ceal a very passionate personality and has almost removed its subject from the category of human beings. It is owned by the Boston Atheneum, al- though for many years it has been loaned to the Museum of Fine Arts. 25 From the portrait of George Washington in the Museum of Fine Arts, Boston GILBERT STUART, N. A. (hon.) GILBERT STUART was not only the ablest American portrait painter of his day, but has hardly been sur- passed in America since. He was born in North Kings- town township, Rhode Island, in 1755, began painting very young and at twenty, after transient lessons from Cosmo Alexander, was living in something like vagabondage in London. During three years of struggle he attained a certain recognition, and when, in 1777, he tardily found his way to Benjamin. West’s studio, he profited rather by the master’s great social influence than by his instruction. After nearly twenty years of a success always qualified by his careless and spendthrift habits, Stuart returned to America, in 1794, to begin his extraordinary gallery of fair women and strong men. Among these there is no more spirited portrait than this of General Knox, formerly Washington’s chief of artillery, and, at the time of the painting, his Secretary of War. The brilliancy and vigor of Stuart are here at their best. Posterity owes to Stuart much of its impressions of the men who founded the United States of America. EARLY REPUBLICAN PORTRAITURE From the portrait of George Washington in the possession of Thomas B. Clarke, New York THE “VAUGHAN” PORTRAIT OF WASHINGTON BY STUART In this portrait, painted in 1795, Stuart has caught the massive benignity of the country gentleman rather than the official majesty of the general and statesman. This is the Washington who was an indefatigable organizer of hunts and balls, and very gallant to much younger ladies. Of the many portraits made of Wash- ‘ington in old age this is the most attractive and probably the most like the man. It is called the “ Vaughan type,” from its first owner, and exists in some dozen versions. 20 THE PAGEANT OF AMERICA STUART’S MRS. PEREZ MORTON SruaRT was an admirable painter of women with a candid love of their physical bloom that allies him to Raeburn. In this phase he did nothing better than the unfinished head of Mrs. Perez Morton. It reminds us that Stuart’s subtlety in finishing his portraits disguises the brilliant audacity of his attack. Fortunately, we have a few of his underpaintings of which this sketch of Mrs. Morton is incomparably the finest. Among his contemporaries none but Goya could have approached it, and it is doubtful if even he ever equaled its supremely free and telling quality. Stuart painted much at New York and Philadelphia, but finally settled at Boston. There he was a genial and testy figure, much visited by the younger painters upon whom he bestowed much good advice and more entertaining anec- dotage. Fortunately one of them, William Dun- lap, preserved much of the latter in his book, which becomes better as it ages. Stuart died in 1828. How he looked in his benign and active old age we know from the faithful portrait by his pupil, John Neagle (No. 46). TEI Perez Morton in the Worcester Art Museum, Worcester, Mass. 27 + From the portrait of Mrs. JOHN VANDERLYN Tuoueu the American school of painting grew out of English precedent, it was ultimately to pass under French influence. This course is forecast by two early Republican painters, John Vanderlyn and S. F. B. Morse, who early in the nine- teenth century renounced their English training in favor of the Empire style of France. A little later the cabinet maker, Duncan Phyfe, made the same transition. Indeed the dom- ination of the Empire style was occasional over our paint- ing, but absolute over our arts and crafts. Born at Kingston, New York, in 1776, John Vanderlyn worked transiently with Stuart, but was permanently influenced by his seven years’ stay in Paris in the early 1800’s. He received many honors at the French Salons, chiefly for a historical painting that now seems frigid enough (see his Marius, No. 391). At his rare best Vanderlyn was one of the most accomplished American portrait painters of his day, but his ambitious at- tempts at the historic style were unsuccessful, and in his later years he devoted himself to the making of panoramas. This fine portrait was made in Paris under the influence of . 3 4 4 ae a 28 Frim the portrait of Sampson V. 8. Wilder in th Jacques Louis David and shows an intelligent assimilation land Museum of Art, Cleveland, Ohio, courtesy of Mrs eae : d Wilder Hai of what was soon to be called the Empire style. Vander- bis’ sas? lyn died in New York, a disappointed man, having been refused the decoration of the Capitol, in 1852. Van- derlyn’s active life fell in one of the most eventful periods in the development of the American people, a time crowded with vigorous and interesting personalities; Jefferson the statesman, Andrew Jackson the soldier and determined President, Washington Irving and James Fenimore Cooper, both of Vanderlyn’s own state, Edwin Forrest the actor, Webster, Calhoun and Clay. He lived in stirring times but failed to record them as a Stuart or a Trumbull might have done. (See also No. 52.) EARLY REPUBLICAN PORTRAITURE 21 WILLIAM DUNLAP, N.A. Our knowledge of co- lonial and early Repub- lican painting is mostly due to William Dunlap, “the American Vasari,” who, like his Italian pred- ecessor, was as delightful a writer as he was an in- different painter. Dunlap was born at Perth Amboy, New Jersey, in 1766. He began painting portraits at seventeen, studied with West at London, and in- termittently practiced the historical style. Failing of success as a painter, he maintained himself as a man of letters, in history, biography and playwrit- ing. He is best remem- bered by his invaluable book, A H istory of the Rise 29 ae the painting The Artist Showing his First Picture to his Parents in the New York and Progress of the Arts cri cher pisces of Design in the United States, 1834. Secretary of the short-lived American Academy of Fine Arts, and one of the original members, in 1826, of the National Academy of Design, he held an honored place in New York when he died there in 1839. JOHN TRUMBULL Brest known as a historical and military painter, John Trumbull was also a sterling portraitist in the florid English tradition. Trumbull represents late eighteenth-century Connecticut at its best. He was born in 1756 in the village of Lebanon, perched, liked so many of its neighbors, on, a rounded hill- top. The people of the region were mostly a sub- stantial yeomanry who sent men like Israel Putnam and Nathan Hale to the War of Independence. As a young man he was an officer in the Continental Army, but resigned his commission on a grievance — he was a great man for grievances — and studied with West in London: Quickly winning repute as a historical and portrait painter, he was president from 1808 of the American Academy of Fine Arts. Trum- bull was a contentious and disappointed person, but a fine painter when at his best, as in this portrait of 1804, which is a capital example of his resolute and manly vein. He died in New York in 1843, an un- happy figure for the unpopularity which his vanity and inordinate ambitions had aroused. A collection of miniature portraits in the Yale School of the Fine Arts represents him at his best, constituting an ex- traordinary gallery of celebrities (No. 36), including < From the portrait of Robert Benson in the New York 4 : Vg 4 Historical Society Indian chiefs. 22 THE PAGEANT OF AMERICA WASHINGTON ALLSTON, N.A. (hon.) In contrast with Trumbull, Washington Allston was almost too much the gentle citizen of the world to become the great painter that he ardently aspired to be. Born at Waccamaw, South Carolina, in 1779, he made good studies with West in London, continuing his training independently at Paris and Rome. As a figure painter and portraitist he developed rapidly. An elevated spirit striving for those ideals of a grand historie style which were advocated by Sir Joshua Reynolds and practiced by West, Allston’s powers were unequal to his ambitious endeavor, but he set an example of high seriousness to his generation. Poet and essayist as well as painter, he represented in a signal fashion the ideal of artistic culture, and was much missed when he died at Cambridgeport, Massachusetts, in 1843. He was the first American painter who drew widely upon the old masters, a pre- cursor of such more fulfilled talents as John La Farge’s. 31 From the self-portrait in the Museum of Fine Arts, Boston CHESTER HARDING, N.A. (hon.) TuE roving face painters gradually disappear at this time. One of the best was Chester Harding, who was born at Conway, Massachusetts, in 1792. Harding graduated from sign painting to itinerant face painting. Wandering widely through the then frontier states, he commended himself to his clients not only by a competent gift for portraiture but also by a ready wit and convivial habit. This portrait of the eccentric and waspish Virginia politician is full of char- acter, and well represents Harding’s direct and lucid vein. He gradually won a degree of celebrity and prosperity, and death overtook him, finally settled at Boston, in 1866. 32 From the portrait of John Randolph of Roanoke in the Corcoran Gallery of Art, Washington, D. C. JOHN WESLEY JARVIS Or similar type was John Wesley Jarvis who was born at South Shields on Tyne, England, in 1780 and died in New York, in 1834. Some early impressions of the graciousness of English portraiture remained with him, and, except Stuart and Morse, none of his rivals painted women so charmingly. Jarvis came to America in 1805. Largely self-taught but befriended by the able miniaturist Malbone, he made miniatures on glass and paper, and, after unusual anatomical studies, became an ex- cellent portrait painter. He must have had positive charm, for he eloped with a fair sitter of better social standing. A wit =) and boon companion, he traveled widely in America, finally 33 From the clea WE raed ES the New York dying in p overty. EARLY REPUBLICAN PORTRAITURE 23 EDWARD GREENE MALBONE Cop.ey did a few excellent small portraits in oil and so did Trumbull, but the art of miniature painting in water colors on ivory did not flourish until the early years of the nineteenth century. It immediately gained distinction through the work of Edward Greene Malbone. He was born at Newport, Rhode Island, in 1777 and studied with Allston at Charleston, South Carolina, and at London after 1801. Because of his health Malbone sought his patronage chiefly at Charleston, but made occasional visits to all the seaboard cities. He gave promise of excelling on the larger scale in portraiture and figure paint- ing (see his own portrait at the Corcoran Gallery, and The Hours at the Providence Athenzeum) when his career was ter- minated by an early death, at Savannah, Georgia, in 1807. Malbone is the only American whose miniatures bear com- parison with the best of England and France. 34 From a self-portrait (miniature on ivory) in the Metropolitan Museum of Art, New York, courtesy of R. T. H. Halsey CHARLES FRASER A wor Tuy rival and successor of Malbone at Charles- ton was Charles Fraser. He was born at Charleston, South Carolina, in 1782 and spent all his life there, dying in 1860. Fraser was trained as a lawyer but soon turned his attention to painting, with Malbone and Allston as his masters. One of the most prolific miniaturists of early Republican times — more than three hundred portraits by him are recorded — he was also one of the best, seeking always character and avoiding conventional prettiness. i 35 From the miniature onivory of William Petigru in the possession of Herbert L. Pratt, New York JOHN TRUMBULL To aid his work as historical painter of the Revolution Trumbull made an extraordinary gallery of small portraits in oil, some three score, which are now preserved at Yale University. They include every sort of celebrity, not omitting Indian chiefs, are frankly painted, and afford an invaluable resource for the student of our beginnings as a nation. The intrepid and testy patriot that was John Adams is here admirably represented. Trumbull, as Dunlap remarked, had a way of spoiling his pictures by repainting, and is at his best in such sketches as this. 35 yrom the miniature oll portrait of President John Adams in the Yale School of the Fine Arts, New Haven, (See also Nos. 30, 51.) Conn. 24 THE PAGEANT OF AMERICA JAMES PEALE ENncouraGED by his brother, Charles Willson Peale, James Peale became an able and successful portraitist in miniature, active chiefly in Philadelphia. He was born at Annapolis, Maryland, in 1749 and died in Philadelphia in 1831. Like most miniature painters, James Peale tended to sacrifice char- acter to prettiness, a failing that the ladies of a century ago found tolerable. In the case of Mrs. James Wilson he was free from that temptation, and he did justice to her master- ful and finely bred character. She was born Mary Stewart, the daughter of Colonel Charles Stewart, who was one of Wash- ington’s military family. One may imagine with what dignity she pre- sided over her home at Lansdowne,New /@ Jersey. y 37 From the miniature on ivory of Mrs. James Wilson in the Metropolitan Museum of Art, New York, cour- tesy of R. T. H. Halsey ANNA CLAYPOOLE PEALE JameEs Peale’s daughter, Anna, carried down his type of art to the last quarter of the nineteenth century. She was born at Philadelphia, in 1791, and died there in 1878. She was a com- petent miniaturist, tending, however, to follow the taste of her time in the direction of mere prettiness. There is a fragile grace about her miniatures of women and she also painted women well on a larger scale. Mrs. Andrew Jackson, at fifty-two, did not fully engage Anna Peale’s peculiar talent, but before dismisssing — Mrs. Jackson as uninteresting, it is well to remember that her a4 ce pecan ea Lontones Beritnes ene fiery husband once fought a duel in defense of her name. ! REMBRANDT PEALE, N.A. OF the Peale dynasty Rembrandt was the most able and famous. Like Vanderlyn (No. 28) and S. F. B. Morse (Nos. 40, 41), he drew his style rather from France than England. He was born in Bucks County, Pennsylvania, in 1778 and made his first studies in painting with his father, Charles Willson Peale, going later to West in London. But his real development came after student days through contact with the stern French portraitist J. L. David. Portrait and historical painter and lithographer (No. 405), Peale was competent in all these branches. A sturdy but rarely a fine portraitist, recipient of honors in Paris and Rome, he naturally aspired to the glories of the grand style, and none too successfully. Peale wrote a book of travel, compiled a selection of artists’ opinions, and wrote poems. He was one of the original fifteen N.A.’s, carrying the title for a matter of thirty-five years until his death in Philadel- phia in 1860. This portrait of Lafayette is an excellent example YO” From “ihe ‘Uorieelh! Sie cae eae Reena of the characterful severity of Rembrandt Peale’s French Metropol ta i UaeGE ie ore manner, as is that of his friend, the painter J. L. David, in the Pennsylvania Academy. These are both of Peale’s early time. Later he capitulated to the florid English manner, which, practicing without conviction, he practiced rather badly. (See Nos. 53, 405.) 25 EARLY REPUBLICAN PORTRAITURE COLE “FE “SON Osy® 99g) “UIT pao10y pey souRJsMIMOIID prvy YOM Jo yNo JooTeo systyIV yey} JO [NJJoIFeI 19A9 ynq ‘snouley-pjioM pue AYYEOM “BST Ul YIOX MON Ur patp essopy *poyryduxe Ayqou pey uoys|Py Uo urYse yor Joyured payeary[no oy} Jo [eept yey} JoppoA pur o8ieq ey jo skep Ajit oy} OFUI JOAO paldIB PABY P]NOd Os[v asIOP[ *S,OLST OY} JO Vou pouresy-youssy oy} pue AInquao oyy Jo Furuuisaq ayy Jo systyreqjsod pouresq-ysysugq oy} Waaajoq Jind oy} espiiq 07 pozY Os sv asjo aU0 ON ‘sioMod sty Jo PYSIOY oY} Ye asIOJ, JO [BMeAIPYIA oy} Ul posoyns Zuyured uvooUry yyy SSO| ay} yossns. Aoyy, ‘siseyduis ou poou syesjsod aseyy jo ssoupnjzoyoeseyo pue Aouerpaq oy, “ydesZaJo} oyy Jo UoNUeAUT sty ut UOTZdIosqe SuIMoI3 Jo asneo -oq Aqued ‘(jozyideD jeuoryeu oy} 10} suotyeIODap [eoII0}sIY 94} YA UOToUUOd UI pesoUs! Su1aq) uouT}UIOddestp jo ynsas v se APred ‘Surured yb oy ‘cFgT OGY “S98T OF LOST Wor pur ‘eFET OF OSB Wosy JUSpisoid sz sem oy ‘UsIsaq jo AWoepeoy [eUOTyeN 94} Jo Jopunoy W *Ayoedeo yuaTjaoxe pue suorjq “ure ysiy jo soyured [eowoysry pue yesqiod ev se poqieys oF ‘stuvg ye Apnys yuapuedaput yFnosryy podopeaop Ayyeor oy ‘Udes DAVY OA SB “Ing “4sa,A\ pu uoys|Ty jo pidnd @ puv ofeX jo ojyenpeis & sem pue ‘1 ELT Ul ‘syJesNYpEssep ‘UMOYsoTIeYD ye UIOG sem osIoP “AINZUIO YYUI07zq3I0 oY} Jo systyrexyI0d ouedy Weg oy} pezNsuoo avy YsnuM oy “plae(y d1o}sne ay} sapiseq Ng “asIOPT “_ ‘yf °S JO speszsod ayy ul sasuas dU yey} soUSNFUI YouSIy urese st LT ‘VN'd “WN “ASHUOW ASHAUA AWINIA THQWVS ‘UUOD ‘WAAR MON ‘Sry oupT : ‘UU0D ‘UsABVH MON ‘SLIV oUt 94} JO [OOS s[VA OY} UT YsolOT VP “DH PAV ‘SI JO ITBIJIOd 9y} WOIA IF 8q} JO [OOGIS s[eA OY} UT WalOy op “OH pjAeq Jo YWeWi0d oy} WOT OF 26 THE PAGEANT OF AMERICA ASHER BROWN DURAND, N.A., P.N.A. As our best line engraver and one of the founders of our native landscape school, Asher B. Durand is perhaps the most important early Republican painter after Stuart. Durand was born at Springfield, New Jersey, in 1796. His teacher in engraving was Peter Maverick, and he soon led our school. From about 1830 he abandoned engraving for portraiture and landscape. His chief importance is in landscape, but he painted a few portraits of extraordinary power. This of President Madison yields in vividness to no portrait of its time. Under its austerity one senses the wisdom of the man who played so active a part in the convention that framed the Constitution, and his suffering when, as President, unable to master circumstances, he saw the Union on the verge of disintegration in the tragic War of 1812. Durand was a founder of the National Academy, in 1826; and its president from 1845 to 1861. Death terminated his dignified old age at South Orange in 1886. He is 42 From the portrait of President James Madison in the Century Association, New York the high ty pe of the self-taught painter. SAMUEL LOVETT WALDO, A.N.A. SucH an even performance in portraiture as that of Samuel Waldo — really a commercial face maker — speaks strikingly for the general high level of the early Republican portraiture. We can show nothing comparable to-day, the gulf between good and average portraiture being very wide. Born at Windham, Gonnecti- cut, in 1783, Waldo died at New York in 1861. He was a competent but never inspired por- traitist who enjoyed popularity with the solid citizens of New York in the forty years before the Civil War. His success required the taking on of a partner, William Jewett, who often painted the costumes and accessories. This characterful portrait of an old Connecti- cut magistrate was done about 1816. The contrast with the far more subtle and search- ing Durand is instructive. Waldo worked in the days when the sea trade was bringing prosperity to many a family in southern New England and New York. Before the days of the photograph the family portrait was as inevitable among well-to-do folk as the family album of the latter part of the century. 43 From the portrait of Joseph Moss White in the possession of Mrs. Adrian Van Sinderen, courtesy of the Brooklyn Museum, Brooklyn EARLY REPUBLICAN PORTRAITURE Q7 44 From the portrait of Mrs. Reverdy Johnson in the possession of Mrs. Alfred Hodder, > Princeton, N. J. THOMAS SULLY, N.A. (hon.) Most early Republican portraiture is too much concerned with likeness to care also for decorative effect. The distinction of Thomas Sully is precisely that he strove for and often attained that decorative urbanity which we admire in the portraits of Sir Thomas Lawrence. Sully was born in England in 1783. Taken to Charleston, South Carolina, at nine years old, he became successively the pupil of the miniaturists, Fraser and Belzons, and of Henry Benbridge (No. 22). He studied in England in 1809, and painted there in 1837-38 a coronation portrait of Queen Victoria for St. George’s Society of Philadelphia. He was casually instructed by Stuart and worked for a time in New York with Jarvis as a partner. After bitter struggles, Sully settled in Philadelphia, where he achieved fame. At times a too fluent painter, he was an excellent colorist, with a grace and charm very rare at the time. Certainly no American painter had achieved up to this time a full-length portrait so decoratively accomplished, and so aristocratic in mood, as that of Mrs. Reverdy Johnson. Sully lived on till 1872, when he died at Philadelphia. He had seen his gracious work pass wholly out of fashion, as the old aristocracy yielded to the new plutocracy. xII—3 THE PAGEANT OF AMERICA 28 u0jsog ‘s}1ly ouly JO WInssny 9} Ul WeNIG JIIGHH JO WCIQI0d Ss a[svoN WoL, OF ‘OrsI[VINzEU pu IYT][SsouIsNgq st poy sIPT “BoLUTY Ul opeur syeajiod yeuorjusAuoOoUN sag 94} jo suo st ‘AWopeoy vrueA -[Asuusg 94} ut ‘abiog ay yo uohT wd Si ‘seypraeyo jo gsues Surzeajoued @ pue uoT} -ondjsu0d JO poyyour punos ® pepurumo0s sy ynq ‘asus [eoyrd yonur ynoyzA se g[seon YstyteIWI0d sy ‘apqenyea -UI 918 SUIT} SI JO UsuUIsezR}s 24} JO pue siopR YIOX MON Surpesy ey} Jo syreszrod stp] . FE ij x ; hed \ ! 178 From the mural painting for a private music room in New York 113 MURAL PAINTING SN ou} Uy ssn "N ‘JaIseqooY ‘Jove, uvUySe jowdg Zuyuyed [RIN sJouyINe, WoT ‘osmY ye AUIapRoy UBdLIOUTY oY} WO; systJIe Ino Suoure Aouapusy yUsseid ay} sUIseS OTyM ‘diysueypy [neg ‘104djnos ay} ut yA afqvoorjou ssOUL ‘410s OIsTeYoIe UB JO UISIOISSBJIOOU PIVMOY AdUBpUE} YEY} S[BOAII YIOM IIqQB SIFT ‘ow0y 7e Auopeoy uBoloury oy} UI drysMOToy sty VOM ay Ja}WT “Ysnig jse10q op ad100x) pue soAeyT, “Woy ‘sioqysiou sty some 19M OYA siozuTed yeas OMY YIM patpnys oy Sunod AtOA. “LRT Ul ‘omtysdurepy] MoN ‘ousey 7e UIOg seM JoUyNeT ‘ssoyured femur Suoure orer st Aypenb sy, ‘1ouNY Jo yono, & sammsse Sutures snotses sty YI souezoduI09 JRorUYIe} oY} 07 sppe JoUxNeY “YIOK MaN] ‘Joysoyooy ye “1oyeoyy, UeUyse dy} Ul UOI}BIOVap 7¥ sdUBY SIy PoAtaoas Sey sUIOY 72 AWIAapRoY UBOLIOULY oY} JO MO]joq ATHLONY WANATOVA AWUVA ‘poeoaer uveq yA YOU sey YOIYM JO UOTpoIIP oyVUIT][N 9Yy} WR oAT}BIODVp pu quosryoyur AIOA B st sTFT ‘oMoy ye AWopeoy UvoleUTY oy} UI diysMoTaq ® pjey pur ‘aynq14sUT JAW osvoryy sy} 78 Sutures} ApAva sty Poatoood ‘QQET Ul ‘URSITOIPL ‘9oISTURT, 7B UIOG SBM JoJUTAA “poy -yysnf ay1nb sousy pue ‘moor Asng pue papModo & Ut UOT]UE}}% a1N}ded 07 sTqeTINs AIBA PoyoUr B ‘IAIMOY ‘SUGGS JT “WOIPEPIYe ue sev euros Aq popresei aq Avut uoryRI4snqTII ino jo siseyduie oreyore pue snoAsou yeyMoulos ayy, ‘pesodsrp sty ye seoqjo Mou ey} ynd 07 suria Aueduroyg preuny 24} puy 0} Awoperoy ueru0y ay} Ut sieak sty Woy yoeq ourvo JoyUIA Bizy pue ‘(9CL “8hL “SON ‘A ‘JOA 92S) YIOK MON “qnyD Sseours -UQ 94} JOy siayIOM-uOM jo speinu sty pip ysieyy evueq por ‘Aued -WI0D) UOSIPY 9Y} WOT, UOrIsstUrUIOD [euRysqns ysry sty jos ussuy ue, snyy, ‘sJeyured Sunod oy} ul soupy -uoo Sutmoys ‘uoryed pouszystpus ue useq ueyo sey uorzeI0di09 ssayfnos Ayyetqiaaoid oy} aoFT ay] OY} pue SSUIp[IN( [elOIeUIUIOD UT UO0I}BIODep jeanur uo ‘yrued soeds pip ‘oI 0} saydeyo sjoym B oq pjnom FTUGH], ANE. ‘UGLNIM SOLSOONV VUZA UOMBIOdIOD ABMPBOIg BAN-AJUOMT © ‘YIOA MON ‘“SUTPIMNE pieuny 2} Ul d1yg s.j0qvg uvisDQeg Suyyured [eMU §,J9jUTM WOLlT 6LT WaEEe C), DOG t THE PAGEANT OF AMERICA 114 anbruyooy ay} UT [TPIS sty Ng Soyo oouvssieuoy = “PUeT ye -ue ‘Ajrodoad se ‘st YW 4st[euoT} -esuas aAnoefqns oy} 0} ‘ase ay} jo drysueus}yerp souy ot} syuosoided JI Jasuoul-uoT}Ipes} DATJVAIISUOD OY} OT, *AATYBVIOA -o1d 918 YIOM s.xOd jo spesteid -de peyyenbuy ‘aouatiedxe UOUIUIOD 00} B SI YJ ‘poylaa -UN SBM DALIULTY VY} UsyM quaurjyuioddestp sty jo Joy dq} Plo} eou0 JoppoA “Asses pue snouojouom pue y}oouSs st ‘yoIt pue snorea AjeyU -yuI Suteq jo peoysut ‘eovjans ‘ay YeYY Os ‘prey ApUaAd 003 ore pue [[euls 00} ore saqno oy], "ysTJIV OY} Spe} Wa}JO JOyIOM dIVsOmM UIapoM oy} VY pres oq Avul Pt osoFYT = “soqno Aioyeijol oy} JO yo JOTOO au 403 ssoodons oiI}Ua PIA you ysnoyy A[qeuoseor pue soovds yeoiS oy} SutyWy sJoUURUT jo ssouasIe] B poAdTyoe XO_D ‘UISUODSIAA “UOSIPeI, YE SUIOP sUy s.jsog “4 e91004) Jo soatjuapued oy} OF somsy essojoo INO} 9Y} UT “UMIpsut JoyJOUR OUT pozE[sUBIy oq 07 YSnouUS oarzIsod sem UsSISOp SXODQ NOANAY VVS°VN ‘XOO NOANAY (‘LOS ‘S6F ‘8ST ‘L8 “SON OsTe 92g) “ssouyYy IAIZBIODep pue ApUsIP sey YN “POM oY} UI SuTyZ YSIOM oY} JOU ysoq 9q} JoYy}IOU ST “SpIoM asoool uMO STU ul “paLaur fy SIH, “pe ymMs ][o“ SeM poyyeur Teoul] pue astooid STU yor mM IO} o[A}s B ‘OlBsOUL ye puey B Yoo} AT[eInNzeU ‘URUIS} RIO [BSIOAIUN B SB “JappeA NYY “[eloyeUl Sutmpua 310UL oy} 1O0f susIsop oyeul oO} poeyse u990q JABY petpnys Apeaaye oACT om SUOT}VIOIIP ISOYM S}SIPIV oY} JO [eIVAVS }VY} puy oM A[suIpsoOOOW “FesuITY qured ay} Ary] Joyured yeanut [HJssvoons pue Asnq oq} soop 310Ul OU Wg *Jfosuary soqno pezo[oo 9} Ay 4jOU sv0p 4ysTqIe oq} yey} dUeIOHIp [eyURysqns oy} YM ‘Suryured jeanur Jo WLIO; poziyetoads & ATWO VSINOd JO ST OIVSOTL ‘TVIN “VVS “VN ‘HHCCHA NHITA be) UOSIPLIN ‘[0I{ded 9784S UISUODSTAA OT} UT 4719977 SATJUNPUEd OTeSOUI S,x0OD WOlG ZT (‘O9L ‘ChL “SON osT[e 99G) *pe}}turpe Ayyer9ue3 SI jekerys0od oresour jo ‘gsoposuRparypIp, OFUr sosdz] o}yeUNzAOJUN IY} UO JUSTTUIOD 07 3UTYSt MA *ssa1SU0D JO AIVIQLT 9Y} Ul Devaurpy [oud OTeSOU SJopp9A WO1T Ist aE 115 MURAL PAINTING ecm ; S clear or ¥ : aes SRS SE cd eee From the mosaic in the Church of St. Matthew, Washington EDWIN HOWLAND BLASHFIELD, N.A., S.A.A., P.N.A., N.LA.L. Epwin H. Buasurrevp’s versatility as a designer (see also No. 161) has naturally extended to other forms of mural decoration than painting. In this mosaic he shows his intelligent command of a now ill-understood medium. It is one of his maturest efforts; and if it inevitably lacks something of the unconscious grandeur of its Renaissance prototypes, it gives as resonant an echo of them as our age is able to make. In a success It is interesting to note that would have spoiled many a man, the painter has lost none of his aspiration. how readily the artist adopts that formality of style which is proper to a mosaic. 116 THE PAGEANT OF AMERICA From the mosaic panel History in the Library of Congress, Washington. © Curtis & Cameron FREDERICK DIELMAN, N.A., P.N.A., S.A.A. Freperrck DreLmAn was the first and only American painter of foreign birth to be made President of the National Academy. It was an honor which his personal sagacity and evenly maintained talent amply justi- fied. Dielman was born in Hanover, Germany, in 1847. Brought in childhood to America, he returned for his training to Germany as a pupil of Diez at Munich. He began with genre pictures, often of classical subjects; and also did some illustration. Latterly he has been concerned with mural design and teaching. 37s : O2KR@" Ne Oe h gae From the tapestry The Great Crusade, in the George C. Booth Collection, Detroit Institute of Arts His somewhat severe style well suits the medium of mosaic in which he has probably worked more frequently than any other American painter. ALBERT HERTER, S.A.A., A.N.A. TAPESTRY-WEAVING is of course merely’ a kind of mural painting in colored threads, and hence properly finds its place here. That place is a modest one, for though much American tapestry is technically excellent it is mostly deriva- tive from older designs. Albert Herter, however, has designed in a contemporary fashion. Born at New York in 1871, Herter became successively a pupil of Beckwith at the Art Students’ League and of Laurens and Cormon at Paris; he early mastered the Beaux-Arts style and, tiring of it, turned to mural paint- ing, and finally to general decoration and especially to tapestry design. Here he has skillfully adapted to modern uses the splendors of the late Gothic pictorial cloths. The Great Crusade is one of the fine bits of symbolism that have been inspired by the World War and reflects the long heritage of idealism behind America’s entry. MURAL PAINTING JOHN LA FARGE, N.A., S.A.A. | STAINED-GLASs design is again, strictly speaking, only a highly | specialized form of mural painting. It is conditioned by the @ translucent material and by the necessity of support by leads, which count in design as broad black lines. In general, the American tradition has been highly pictorial. We began with windows of this sort imported from England or Germany, and only gradually developed our own glass designers. Most of them have been painters. Among the many who have designed ably for glass, a book of this kind can consider only the most inventive and greatest. This is unquestionably John La Farge. When in the middle of the eighteen seventies he began to con- cern himself with glass, he was dissatisfied with its poor quality. Noticing the fine iridescence on a commercial soap dish, he experimented for glass of greater depth and variety. His researches were carried forward by an associate, Louis C. Tiffany. With these materials of unprecedented splendor La Farge designed many windows of a fully pictorial type. The gracious and bold design from the Buffalo church is charac- teristic. It is a translucent painting without the profusion of decoration which is traditional in stained glass. This ‘fee a Ss oe Tee Te eS ee ee eee ee ene een RE ener oem, 187 From the stained-glass Peacock Window in the Worcester Art Museum, Worcester, Mass, CE OT a So ME ee © me: | eon ’ manner has been widely emulated, but no stained glass designer has inherited La Farge’s skill in handling this splendid but re- fractory medium. (See also Nos. 108-10, 152-54, 220-21, 496,499.) 186 From the stained-glass Resurrection Window in Trinity Church, Buffalo JOHN LA FARGE’S PEACOCK WINDOW Near the end of his life La Farge worked to eliminate the leads, cementing the pieces of glass invisibly. Two little windows of this sort, the Peony Window and the Peacock Win- dow, are possibly the most colorful creations in the entire \history of handicraft. For larger work the method was neither practicable nor advisable. At present, our designers for glass, realizing the difficulties of full pictorialism, are generally returning to the medizval method of small figure composition in formal panels with much decoration. This method is safer, as more idiomatic to the material. But since the movement is retrospective and the many designers of rather equal merit, we have to note it passingly in general terms. John La Farge’s invention, since no one has had the genius to follow it up, remains a unique contribution of America to the arts of design. It was a brilliant adaptation of the splendor of the Renaissance style in a more splendid material than even the Renaissance had provided. 118 THE PAGEANT OF AMERICA WILLIAM MERRITT CHASE, N.A., S.A.A., ALACAGE. Wit11am M. Cuase’s love of colors and textures and rare surfaces found its most joyous expression in his large picture of still life. His studio was always overfull of stuffs and metal work — properties for his interiors. The lustrous iridescence of great fish especially attracted him, and his painting of them was as consummate from the point of view of sheen and surface as it was deficient in inner gravity. Chase is the high type of pure techni- cian, and thus is at his best when nothing but technique is at stake. (See also No. 150.) 188 From the painting Still Life— Fisk in the Pennsylvania Academy of the Fine Arts, Philadelphia MARIA OAKEY DEWING Tuer infusing of inanimate objects with the artist’s mood is the final grace of a still-life painter. Mrs. Dew- ing, who was born in New York in 1845, has this quality in a high degree. She was a pupil of the National Academy school, and of La Farge and Courtois. She is a painter of flowers of extraordinary accuracy and sensitiveness, giving lovingly the de- tails of the portraiture of flowers without loss of their softness and bloom. She is also an excellent por- traitist and painter of gardens. One rarely finds such an alliance of talent as she and her husband, Thomas W. Dewing (No. 224), represent. 189 From the painting Poppies and Mignonette in the Freer Gallery of Art, Washington EMIL CARLSEN, N.A., S.A.A., N.LA.L. A smmiLar quality of intimacy invests the still lifes of Emil Carlsen. He was born in 1835 at Copenhagen, Denmark, where he studied as an architect, and came to New York in 1872. He began as a still-life painter, combining with fine tone and texture great intimacy of feeling. Carlsen has lately cultivated with success landscape and marine painting. In general he is closely attached to the Luminist manner, but, like Twachtman, seeks his effects rather through subtlety of tone and manipulation of surface than through roughly broken color. (See also No. 203.) 190 From the painting Still Life in the Art Institute of Chicago « 119 STILL LIFE YIOX MON “IV JO WNISNIW UBIT[CAOIII 9} UT sazwoag Buyjured S,POOMYOOT wo Z61 (BES ‘ON os|® 99S) “uOTysosans AATPaJos puv astoaid Ara B Jo OsTR JNq ‘9oUDOT}OI JO JAB UB SIT “SIOMOP JO SsoujooD pue ssoUdopus} AI9A oY} 9YOAI YOTYA SI} SB SOIPNYS [BUOISBIDO YoNS UI Jes} poysery -ai puids Suryesjoued pue oATyeyIpoul Ss pooMyDo'T ‘asn UMO sIy 0} poydepe ATMAAYSnoyy sy YOY Jop st AA JO Sorppeuoy MOT oy} Ut ystQreIZI0d wv Aparyo SBM of] ‘SIIeg UI palpnjys pue osreq ey uyor jo [dnd & sem ‘uoysog 7e FIG] UI pelp pue [OSL Ul “NorPouUOD “UOPIAA YE UIOG SVM OYA ‘COOMMOOT NOLIN ‘VN “‘GOOMMODOT NOLTIM OSvoTYO JO oINIPYSUT IV 9} Ul apowwoyg ay,z Suuyed s,Avey wo1g 161 ‘gu08 st yey} Aep & Jo voeI3 poyeorystydos ay} JO SUOT}RIOAD ayRoI[ap AUBUT Os ‘salIN}UI. YMIEz4SIe puB Y}UI0}UDAS oY} JO SIOTI9} “Ul Yue. wo pazipetoeds AT[euy pue ‘ssouaatpIsuas oie Jo soanqord aruas 97q7I[ YI uesoq ay ‘aanjord ay} ut payueseadar ST YOY JO WOO B ‘neayeyo AIN}UId-Y]U90749I0 UB UT S9AT] OY Joy ‘souBLY Ut ATJsOUT poyIOM sey oT ‘seatsseiso1d ay} Jo aouenpUt ay} Jepun podoyarsp ynq ‘seg ye yeuuog jo pidnd ev ATnpYNp sea pue gegy ur ‘syasNY9 “esse yy “ureysulpy ye usoq sem Avy) ‘“uOTOY ul soup ArUOPT JO poour yy 0} UTZe UOT} “BZIIATO JOY & OF Ssouyoisouloy B yUaseddar sIOIIayUI YOUIIT IUII}-pjO SAV) UALIVAA GONVUT Ad AUNANNOH.A NOLAT WAOomaso “TVIN “V@Nn’S ‘AVS ULLIVM 120 THE PAGEANT OF AMERICA & ee 193 From the painting The Silver Screen in the Phillips Memorial Gallery, Washington Ses FRANK WESTON BENSON, N.A., N.IA.L. Waite all of Frank W. Benson’s work reveals a joy of life, he is chiefly a technician. Born at Salem, Massa- chusetts, in 1862, he was a pupil of the Boston Museum school and of Boulanger and Lefebvre at Paris. He a Bg he Hesse From the painting An Offering to Buddha in the possession of M., Parish Watson, New York is an excellent painter of portraits and groups in outdoor conditions, employing skillfully the broken color of the Impressionists. He is a sturdy draftsman and a fine etcher. After achieving success in interiors and portraits in the open air, Benson has turned to etching and still life. Here his fine eye and accomplished technique achieve such marvels of brilliancy as the present picture. (See also Nos, 240, 451.) HENRY GOLDEN DEARTH, N.A., S.A.A. Henry Gotpen DerartH imposed upon the general humble themes of still life a strange- ness not without monumentality. He was born in 1864 at Bristol, Rhode Island, and died at New York. A pupil of the Ecole des Beaux-Arts and of Aimée Morot at Paris, he first painted French landscape in low but luminous tonalities, with great rich- ness of mood. In his later years, Dearth forsook his gray-brown tonalities, adopted the sharpest colors and built up a fastidious artificial world in which the rich properties of his studio combined with the figure — both in terms of still life. These exotic compositions are of impressively decorative effect with the most novel and delightful audacities of color. (See also No. 206.) HOWARD GARDINER CUSHING, ANAS S.A.A. Howarp GARDINER CUSHING represents an uncompromising eestheticism akin to Dearth’s. No contemporary carried further the research of the decorative. He was born at Boston in 1869, and died in 1916; studied with Laurens, Constant and Doucet at Paris. Cushing made a few flower studies based some- what on Japanese arrangements in which his fastidious taste is quite at its best. He was more widely known for his portraiture which had an exotic and very decorative quality of great charm. His fantastic vein also oc- casionally expresses itself in informal mural decoration. (See also No. 274.) HENRY GEORGE KELLER Henry G. KELLER, renouncing the somber and rich tones usual with still- life painters, has sought the keen res- onance of color which the Modernists first explored. Keller was born at Cleveland, Ohio, in 1870. He was a pupil of Bergman at Diisseldorf; of Baische at Karlsruhe; and of Ziigel at Munich. Keller is a very experimen- STILL LIFE 121 195 From the painting Flower Piece in the possession of Mrs. W. K. Vanderbilt, New York tal artist, working in landscape toward abstract pattern (but always preserving recognizability), and lately developing in still life extraordinary force of color and felicity of composition. He is also an accomplished painter of animals and a successful teacher. pe CHAPTER RIALY LUMINISM AND ITS SEQUELS IN AMERICA, 1890 FTER the Franco-Prussian War, two talented young Frenchmen, Camille A Pisarro and Claude Monet, thoroughly restudied the art of landscape. They noted that most landscapes of the past were painted on a far lower scale than that of nature, using sharp contrasts of light and dark to obtain luminosity — studio devices which nature herself never employs. They also observed that full sunlight had not been successfully painted. Turner, whom they had studied in London, had come nearest to it, as they thought, because he rejected the darker colors and built his luminous canvases on white and the primary colors, using the so-called prismatic palette. They also advocated a new attitude for the artist. His réle was no longer to be one of active interpretation but of passive observation. He was to clear his mind of memories and prepossessions and let the scene come to him. Such momentary, intense observation 1s of the essence of Impressionism, every time being the only time, and the innocence of the eye being the main thing. Such seeing opened new beauties of color and light, and for- bade the old artificial beauties of traditional landscape painting. Since the basis was the isolated impression, the picture, no longer executed in the studio but in the face of nature, must be completed before the impression fades, say in a few hours. The light changes rapidly, and therewith the impression. To keep on painting when the impression has shifted is to mix several pictures on one canvas. The subject is no longer the topographical forms but the light, one might even say the time of day. Repeatedly Monet insisted that he painted not forms but the colored atmosphere that lay between them and himself. The forms, then, became indifferent. Monet paints twenty Hay Stacks, Sea Cliffs, Cathedral Fronts, Rows of Poplars, Lily Pools, there being always a new picture when the clouds pass or the sun shifts a few degrees. At an early exhibition he called one of his pictures Impression, Soleil Couchant, and the term Impressionism sprung to the lips of hostile critics as a slogan of abuse. The Impressionists adopted it gallantly, and fought their way to recognition under it, winning their fight about 1880. Evidently Luminism would be the more accurate name, as indicating their subject matter, light, and the means they employed to obtain it. The ideal of capturing momentary, beautiful effects of light has engrossed so many excellent modern artists that it may seem pedantry to emphasize its limitations. But evidently the dogma of the single isolated impression logically reduces the artist to a series of theoretically unrelated _ states of observation and execution, and deprives the work of art of everything that memory means to the individual artist, and tradition, which is merely the memory of the race, means to the work of art. In short, the program was anti-intellectual, and its complete realization would have resulted in wholly banishing mind from art, except in so far as something, a modicum of mind, is implied in any state of seeing and doing. . This implication of the Luminist theory was not soon perceived, in fact is still imper- 122 LUMINISM AND ITS SEQUELS IN AMERICA, 1890 123 fectly understood, and early criticism hardened rather against the new and startling technique. It seemed to consist of rough blotches of bright paint confusedly applied, and the pictures were regarded as shameless daubs. As a matter of fact, the new technique was entirely logical and very thoughtful. Given the necessity of rapid execution, the old successive overpaintings became impossible. The method must be summary and direct, a few hours to a picture. Then, if high degrees of light must be suggested, a new method must be found, for pigment is always much darker than the respective colored light. Here the Impressionist drew upon the recent experiments of Chevreul and Rood. These physi- cists had discovered that a hue produced by many broken colors mixed at the right distance by the eye was far more luminous than the same color mixed on the palette. For example a coarse stipple of blue and yellow on the canvas emits more light than the brightest green in the tubes. On such facts the Impressionists based their new technique, rejecting black, which never occurs in nature, using the primary colors, red, blue, yellow or their near affinities, in skillful weavings of strokes and dots, building the picture solely in colored planes, which, without contours or sharply defined edges, suggested the place, distance and general quality of the objects in the picture. Such was the early procedure of the Impressionist until it was refined in a more scientific sense by their successors of the ‘nineties, Bonnard, Seurat and Signac. It did well its work of producing vivid coruscation, and it has engrossed the imagination of the more progressive artists ever since that time. As regards landscape, it had the advantage of greater truthfulness to general effect and of making possible registrations of full sunlight with which the older painting had been unable or had not cared to cope. It had the disadvantage of largely sacrificing suggestion of form and mass to suggestion of illumination, and of rejecting all procedures which are based on tradition, memory and second thought. Yet, all in all, it had a most reinvigorating effect on landscape painting, and the Americans who took up the method measurably avoided its excesses. In figure painting, though it produced the most novel and brilliant canvases, its advantage was less apparent. The figure became merely a casual reflector of light, an impersonal apparition; beauty of form was much broken up and effaced for a hardly compensating play of iridescent color. The light, as Fromentin had said of Rembrandt, became “the principal personage of the picture,”’ not always to the picture’s advantage. The nude in the open air grew tediously staple. For evidently the peculiar beauty of the nude may be better sensed in the fixed and artificial light of the studio. Upon portraiture the effect of the new Luminism was frankly deplorable. You cannot give the sense of a personality under distracting and accidental effects of light, you can at best give a casual and unstudied guess at the personality. Such has never been the practice of great portraitists, and the best of our time have either kept to the traditional methods, or have merely used the new palette decoratively. Luminism came tardily to America against bitter opposition. Theodore Robinson was the pioneer. After the usual training at the Beaux-Arts, he sought Monet, and in the late “eighties painted excellent pictures in the new technique. He was a good figure painter, and declined to make the complete sacrifice of contour and mass which the unrelenting theory of his master demanded. Robinson’s endeavor to reform the old manner cautiously in the light of the new color was generally followed by the American XII—9 124 THE PAGEANT OF AMERICA Impressionists. The year of his death, 1896, saw the award of prizes to Childe Hassam and Edward Redfield for pictures of Luminist intent. They have remained the leaders of the movement in America, Hassam, more delicate and experimental, searching the nuances of the figure in indoor and outdoor illumination, doing iridescent seas and cliffs, knocking off wonderful water colors and pastels, at times returning to his first theme, the whirl and hue of festive New York; Redfield, sticking more resolutely and robustly to the business of suggesting the scenery of his own Delaware valley. The two represent re- spectively what may be called the tender and the tough side of Luminism among us, and scores of able painters have enrolled themselves under one banner or the other. The work of such men as Elmer Schofield, Cullen Yates, and Gardner Symons is the whole- some staple of our exhibitions, its general rightness suffering perhaps from a shade of monotony. More important than the three pioneers of Luminism is John H. Twachtman. He approached the innovation still more cautiously, ignored the prismatic palette and all stereotyped stippling formulas, seeking rather a delicate registration of values of light that should leave the form, substance and linear composition intact. His pictures are the last refinement, not so much of the new method as of the new principle. He creates his world with infinitesimal differences of high tones, yet leaves it firm, precise and austerely impressive. The picture that at first sight seems merely a whisper actually carries farther and grips longer than those pictures which are intentionally a shout. Asa teacher — for neglect drove him to that bread-winning expedient — Twachtman imposed - beneficially his own strong and lucid refinement upon many pupils. Emil Carlsen, Charles Woodbury and many others have made an adjustment with Impressionism similar to Twachtman’s, and such young men as Dougherty and the Beals have sought the spirit of Luminism, without wholly sacrificing thereto the older values, or adopting its pet recipes. The future of American landscape is probably along these lines of discreet assimilation rather than with the orthodox Impressionists, unless indeed we are to be swept into new channels as yet dubious and uncharted. The final ultra-scientific development of Luminism in the work of Seurat, Cross, and Signac was generally ignored here, and on the whole for good reasons. American land- scape painters have generally approached these innovations with practical intent; less to find new principles than to try better procedures. Thus the general acceptance of Luminist methods has not really impaired the essentially national character of our land- scape school. On the contrary Luminism has given new resources to an objective tendency already firmly established. Aside from the direct influence of Luminism, its indirect effects on the older artists have generally been beneficial. Martin and Inness in their latest manner here showed the way. Luminism has required of the older men a restudy of consecrated conventions, has set before them the delight of finer notations of color-values considered as relations of light, has provided them with new technical resources, has offered a novel, bright color- scale with its own decorative possibilities. So most of the progressive painters of our generation have taken counsel of Impressionism even where they have not accepted it wholesale, and they have not failed to receive the benefit which ever comes to art from any sane and fine adventure in naturalism. nas (SR er, LUMINISM AND ITS SEQUELS IN AMERICA, 1890 125 THEODORE ROBINSON, S.A.A. Ir was perhaps fortunate that our pioneer Im- pressionist, Theodore Robinson, while grasping the principle intelligently, declined to adopt the more radical and questionable procedures of the new school. Robinson was born in 1852 at Irasburg, Vermont, and died in 1896 at New York City. Like most of the ambitious young painters of the seventies, he sought Carolus and Géréme at Paris, but unlike the rest he promptly grasped the meaning of the new Impressionist movement and attached himself to its leader, Claude Monet. He became an excellent painter of landscape and the figure in the open air, and a skillful creator of effects of sunlight, but he was taken away before his art was fully grown. His position as a pioneer of Luminism in America is assured; indeed his compromise with the more extreme procedures of the Impressionists became standard for the American progressive school. JOHN HENRY TWACHTMAN, S.A.A. Joun H. TwacuTMan again adopted the spirit of the new Luminism, but worked out his own personal methods. He was born at Cincinnati in 1853, and died at Gloucester, Massachusetts, in 1902. A pupil of Duveneck, at Cincinnati, of Loefftz at Munich and of Boulanger and Lefebvre at Paris, Twachtman soon renounced these academic beginnings and adopted the pale tonali- ties of the new Luminist school, whose formulas 197 From the painting La Vachére in the National Gallery of Art, Washington he employed with fastidious delicacy, but without sacrifice of strength. He was perhaps the ablest land- scapist in the Impressionist following that America has produced, being equally happy in snow scenes, marines, cataracts, and harbor views. His art had the firm basis of an impeccable draftsman, which is most apparent in his sketches and etchings. (See No. 439.) 198 From the painting Summer in the Phillips Memorial Gallery, Washington 126 THE PAGEANT OF AMERICA TWACHTMAN’S SUBTLETY TWACHTMAN’S precise and ex- quisite handling of those tones which give distance and atmos- phere is best illustrated in such pictures as this little masterpiece which also embodies his always original and striking ideas of composition. The balance of tones is so subtle as to approach a vanishing point, and his pic- tures were regarded as empty and meaningless by many of his con- temporaries. But such work as this eventually trains the public eye, and to-day Twachtman’s position as one of our finest landscapists is soundly assured. Even his slightest sketches have rare distinction and are preferred by many to his finished pictures. For in them he has, by eliminat- ing every unessential detail, per- fected his theory of concentrated composition. : st BS SEX ‘ sy RES ae : "i 199 From the painting Wild Cherry Tree in the Buffalo Fine Arts Academy, Buffalo, N. Y. JULIAN ALDEN WEIR, N.A., P.N.A. J. ApEn WEIR used the new resources of the Luminists as a means of reinforcing his strong native Ameri- canism. He rejected the prismatic palette, and it is only his handling that betrays his relations to the new French school. He was born at New York in 1852 and died there in 1919. A pupil of his father, Robert W. Weir, and of Géréme at Paris, Weir became an excellent figure painter in the Beaux-Arts style. Soon he renounced this uncon- genial manner and ranged himself with the Luminists by reason of his concern with lighting and atmos- phere. He preferred silvery tones and overcast skies to the blare of full sunlight. His thoughtful and deli- cate spirit evoked a blithe yet restrained poetry from our commonest American scenes. One feels in his pictures a quietly ardent love of the native soil and at times a strong sense of the idyllic, in his plowed lands and plowmen. (See _ [ also Nos. 237, 440.) 500 sae From the painting Upland Pasture in the National Gallery of Art, Washington — Pe, Deed ‘4 de) 2 Amie oe LUMINISM AND ITS SEQUELS IN AMERICA, 1890 127 WILLARD LEROY METCALF, N.I1A.L. In general point of view Wil- lard L. Metcalf never departed much from our native landscape school, but since he practiced skillfully the new simplifications and carried very far the science of color as values of distance his place is with the new school after all. Metcalf was born at Lowell, Massachusetts, in 1858 and died at New York in 1924. He was a pupil of the Boston Museum school, and of Bou- langer and Lefebvre at Paris. But it was chiefly his own studies that made him a landscapist of rare precision and delicacy, seek- ing, like the Impressionists, exact notation of outdoor light but without accepting their formulas. He observes in the face of nature in New England 201 From the painting Unfolding Buds in the Detroit Institute of Art. © Detroit Publishing Co. an objective rectitude which, in virtue of scrupulously fine vision, attains a sober sort of poetry. There were greater artists, but there was no more accurate eye in America in his time. THOMAS ALEXANDER HARRISON, N.A., S.A.A., N.LA.L. ALEXANDER Harrison may stand for many able American painters who have completely capitulated to a foreign manner. He was born at Philadelphia in 1853 and became a pupil there of the Pennsylvania Academy. Later he studied with Bastien-Lepage and Géréme at Paris. Harrison is a most skillful painter of landscapes, marines and the nude in the open air, a delicate colorist attaining his iridescence without using the roughly broken color of the Impressionists. He has received many foreign honors and is one of our most distinguished expatriates. 202 From the painting Le Grand Miroir in the Wilstach Gallery, Pennsylvania Museum, Philadelphia 128 THE PAGEANT OF AMERICA EMIL CARLSEN, N.A., S:AsA” NULACL: Emin CARLSEN’s patient and thorough development has led him from still life (No. 190) to landscape and marine painting, in both of which he commands at once a certain delicacy and largeness of vision. Carl- sen is a sensitive interpre- ter of sea and landscape, keeping the tone very high with slight contrasts, and with a fine sense for the movement of clouds and water. In the frankness and directness that under- lie the refinement of his art he is true to his Scandi- navian origins. His quali- ties too are affine to those of our American realism. 203 From the painting The Lazy Sea in the Brooklyn Museum, Brooklyn HENRY BAYLEY SNELL, NAS SAAS Someruine of Eng- lish open-hearted- ness and objectivity as regards landscape remains in the art of Henry B. Snell, al- though he received his training and has made his career in America. Born at Richmond, Eng- land, in 1858, he came early to the United States and wasapupilofthe Art Students’ League. He is an accom- plished marine painter in oils and water color with fine gifts of observation and great probity of execution. Aside from his painting he has been constantly a teacher with a gift of respecting and developing the individuality of his students. His is an art of fine understanding, moderated rather than assertive. 204 From the painting Entrance to the Harbor of Polperro in the Worcester Art Museum, Worcester, Mass. oe a, ee oe ene, ee LUMINISM AND ITS SEQUELS IN AMERICA, 1890 129 ES mS sin kent Res: fai i ee: 205 From the painting The Church at Old Lyme in the Buffalo Fine Arts Academy, Buffalo. © Detroit Publishing Co. CHILDE HASSAM, N.A., N.LA.L. Wuen one speaks of Luminism in America one thinks, if well informed, of the painting of Childe Hassam, for Hassam has more faithfully assimilated both the spirit and the technical procedures of Impressionism than any other American painter. Nevertheless, his work has kept an entirely native quality. Hassam was born at Boston in 1859 and studied at Paris with Boulanger and Lefebvre. He began as an illustrator, genre painter and water colorist, giving valuable records of New York in the eighties and ’nineties.. Finally, he turned to landscape painting in the manner of the French Impressionists, and has made himself the most prominent practitioner in this style in America. He paints also the figure out of doors and in, always subordinating it to the luministic effect desired. His sense of color relations as registering distance and atmospheric density is the finest. The limitation of his great talent is on the side of invention and meaning. Among his favorite sketch- ing grounds have been Gloucester, the Isle of Shoals, Cos Cob, Connecticut, and Easthampton, Long Island. 130 THE PAGEANT OF AMERICA fit, 206 From the painting Golden Sunset in the Brooklyn Museum, Brooklyn HENRY GOLDEN DEARTH, N.A., S.A.A. Henry Gotpen Deartu’s always lyrical and fantastic vein prevented him from going the whole way of scientific experimentation with the Impressionists, but he learned much from them. The Golden Sunset is a fine example of those French landscapes in low tones which Dearth produced for many years with unfailing skill and imagination. The method is transitional between the older dark manner and the new Impressionism. Intimacy is the note. It has evident affiliations with the work of such transitional French painters as Cazin, but is richer in mood. Dearth passed in his late years into a purely esthetic and esoteric phase which has been treated under still life (No. 194). WILLIAM RITSCHEL, N.A. Wiii1amM RirscHeL again has shared the modern preoccupation with spe- cific effects of ilumination without accepting the Lu- minist palette and han- dling, caring too much for the expression of mood to accept quasi-scientific limi- tations. He was born in 1864, at Nuremberg, Ger- many, and was a pupil of Kaulbach and Raupp at Munich. Ritschel came to America in 1895 already a well-trained artist. As a marine painter, he conveys both the power of the sea and the brilliant delicacy of its illumination, with a 207 From the painting Morea Moon in the Milch Galleries, New York sense of Its my stery - LUMINISM AND ITS EDWARD WILLIS REDFIELD, S.A.A., N.LA.L. Epwarp W. ReEprFieLp, who was born at Bridge- ville, Delaware, in 1868, is perhaps the typical examplar of “bright paint- ing’ in America, seeking the coruscation of the French Impressionists without making their sac- rifice of form. Redfield studied at the Pennsyl- vania Academy and at Paris with Bouguereau and Robert-Fleury. As a landscapist he accepts the blond palette of the Impressionists without adopting their formulas. His pictures are so many big and vigorous sketches in the face of nature. His SEQUELS IN AMERICA, 1890 131 From the painting Snowdrifts in the Rhode Island School of Design, Providence art, with a certain wholesome obviousness, catches also something of the pathos of old cultivated sites ne- glected and being reclaimed by nature. Redfield’s technical point of view is shared by many able landscape painters, such as W. E. Schofield, Cullen Yates, George Gardner Symons and others whom strict limitations of space unfortunately relegate to a bare mention. 209 From the painting Late Afternoon in the Art Association of Indianapolis, Indiana PAUL DOUGHERTY, N.A., S.A.A., N.DLA-L. SUPERFICIALLY Paul Dougherty might be included in this group but his richer and more subjective coloring and his decorative sense give him a place apart. He was born in 1877, at Brooklyn, New York, and studied independently at Paris, London, Florence, Venice and Munich. As a painter of marines and landscapes he reveals both a fine command of deco- rative arrangement and an extraordinary vision of the light and motion of nature. He is an experi- mental spirit equally able in oil painting and in wa- ter colors, and is at pres- ent seeking the massive emphasis of the new con- structionist school, with results as yet uncertain. In every phase he has the precious gift of energetic workmanship. 132 THE PAGEANT OF AMERICA DANIEL GARBER, N.A. AGAIN it is a keen and personal decorative sense that limits the naturalism of Daniel Garber. With a fine discretion, he seeks the scenes in nature that furnish the preferred ar- rangements of masses and hues. He was born at Manchester, Indiana, in 1880, and studied at the Academy of Cincinnati and Philadelphia. Garber paints the landscape of the middle Delaware valley with a keen sense of pattern and unity, working the color toward a preferred tonality of terra cotta and pale blue. Within this convention, he is a close student of the facts of illumination, which he also transmutes skillfully in occasional in- teriors with figures. None of our landscapists, perhaps, has caught so completely the very quiver of sultry weather. 210 From the painting T'ohickon in the National Gallery of Art, Washington JOHN SINGER SARGENT, N.A., R.A., N.DA.L. Satep and somewhat bored by his triumph in fashionable __ portraiture, John Sargent (Nos. 225- 27) about 1910 turned to outdoor sketching, and achieved both in oils and water colors notations of light and form of the most consummate virtuosity. No American painter has conveyed the actual look of things more faithfully, and the more bewildering the look of things was, as in this instance, the more ably Sargent painted it. What is lacking in this amazingly skillful work is anything like personal in- terpretation. It is more interesting to the painter than to the layman. (See also Nos. 172-73.) LUMINISM AND ITS SEQUELS IN AMERICA, 1890 133 A WATER COLOR BY SARGENT SARGENT is never more ingratiating than when he drops the professional pose and pride and sketches his intimates in such water colors as this. It is masterly in the most unobtrusive fashion; the virtuoso has given way to the friend, and meaning, which is singularly and perhaps purposely absent from much of Sargent’s brilliant painting, creeps refreshingly into the work. DODGE MACKNIGHT Few American water colorists spread a more beautiful wash than Dodge MacKnight. It is this technical resourcefulness, the capacity to force slight means to yield elaborate effects that has given MacKnight a faithful following among connoisseurs. He was born at Providence, Rhode Island, in 1860, and was a pupil of Cormon in Paris. He is an extraordinarily brilliant water colorist, get- ting the maximum of luminosity out of the scantiest and most vivid strokes and washes. In his pyrotechnics there is a certain monotony of excellence. He has sketched widely, but the sense of place is singularly weak in his work. He is a capital type of the painter who is chiefly an executant. He is well represented in the Boston museums. 213 From the painting Below Zero in the possession of Denman W. Ross, Cambridge, Mass. 134 THE PAGEANT OF AMERICA ERNEST LAWSON, N.A. An admirable lyrical sense sustained by a sufficient grasp of actual appearances and an uncommon decorative tact have contributed to make Ernest Lawson justly the most esteemed of our younger painters of landscape. He was born in California in 1878, and spent several years in private study in France. His very personal gift in landscape expresses itself in gracious compositional patterns expressed in frank color. No one better conveys the freshness and joy of springtime; everything is pervaded with a sense of possible movement and of growth, and the color is of extraordinary lusciousness. It seems that if you squeezed a Lawson dew would drop from it. 215 ee . ee < ¢ : ee 6 hes i. 3 From the painting Vanishing Mist in the Carnegie Institute, Pittsburgh LAWSON IN MORE SIMPLE TENDENCY In his more recent work Lawson sacrifices something of the blond lusciousness of his early pictures to more simple and massive con- struction. This is a transitional picture in which there is less emphasis on compositional pat- tern and more on mass and sub- stance. Lawson’s art is working in this direction, under the influ- ence of Cézanne and his Modern- ist followers, and though this must entail some sacrifice of Lawson’s earlier lyrical quality, doubtless his talent will find us compensations for the old beau- ties which we momentarily miss, a LUMINISM AND ITS SEQUELS IN AMERICA, 1890 135 216 From the painting Southern Seas in the possession of the artist REYNOLDS BEAL, A.N.A. Au the close observers of appearances found welcome resources in the bright palette of Impressionism, Nothing more of the movement than that appears in the work of Reynolds Beal, who, a yachtsman him- self, paints the way of a ship on the sea in the spirit of a robust illustrator. Beal was born at New York in 1867 and followed the classes of Chase. He has made himself a powerful marine painter, chiefly in water colors, with a fine grasp of the energy of waves and the tossing of fishing craft. Perhaps only a sailor of small boats can appreciate the truthfulness of such a record as Beal’s. HAYLEY LEVER, A.N.A., R.B.A. Ir is ships resting at moorings or along crum- bling wharves that attract Hayley Lever. He was born at Adelaide, South Australia, in 1876, and studied in Paris, London and New York. He is a sensitive observer of fish- ing ports on both sides of the ocean, with a keen sense both for their move- ment and color and as well for their poetry. He balances with fine pic- torial tact the interest of a seaport as a mere spectacle and as a place of human activities and habitation. 136 THE PAGEANT OF AMERICA 218 From the painting The Western Slope in the possession of the artist JONAS LIE, N.A. Our artists of Scandinavian birth have very readily naturalized themselves, having a candid and objective outlook like that of our own painters. Among the best of them is Jonas Lie, who was born in Norway in 1880. A pupil of the National Academy and the Art Students’ League, he made brilliant beginnings in landscape which he has con- tinued intermittently. He has painted a series of scenes from the building of the Panama Canal. In his recent work, ex- emplified by the present picture, at all times an excellent colorist and an ingenious com- poser, he has struck a larger note. GIFFORD BEAL, N.A. Onz is always grateful to the joyous painter, and especially when he adds as well quick sympathy and technical refinement. This broadly suggests the mood of Gifford Beal, who was born in New York City in 1879. After study with Chase, Du Mond and Ranger, Beal became a painter of landscapes with figures and especially of crowds in sport and recreation. He is a dashing workman, an excellent colorist and skillful composer both in water colors and in oils. He has lately been working less for pattern and sketchiness and more for mass. His work has a brilliant sort of elegance and a nice balance between illustrative and decorative considerations. Few of our younger painters catch so accurately the picturesque evanescences of the American spectacle. 219 From the painting The Puff of Smoke in the Art Institute of Chicago phi’ iil are extraordinarily just and brilliant, with a true sense of the glamour of primi- tive life. LUMINISM AND ITS SEQUELS IN AMERICA, 1890 137 JOHN LA FARGE, N.A., S.A.A. As we are approaching the application of Luministic methods to figure painting, we may profitably look backward thirty years to the Samoan water colors of John La Farge. In the late ‘eighties, John La Farge with his friend Henry Adams made a yachting cruise in Polynesia, associ- ating closely with the gentle barbarians and actually ac- cepting membership in their tribes. La Farge’s South Sea records in water colors se oP ee 220 From the painting in water color Aitutagata, the Hereditary Assassins of King Malietoa, Samoa, in the possession of Mrs. H. L. Higginson, Boston ANOTHER SOUTH SEA PICTURE BY LA FARGE Herz is another of La Farge’s just and vivid water colors of the picturesque customs of the Polynesian tribes. The imposition of his habitual elegance on these barbaric themes gives them a peculiar attractiveness. The suggestion of light, while keeping all the color at full saturation, is technically extraordinarily skillful. To place at the end of this chapter the water colors of John La Farge is to do violence to chronology. However, these remarkable paintings, like La Farge’s still earlier landscapes (No. 108), actually anticipate much that __ was essential in Impressionism, and they also show the compatibility of the new color with the old tradition of painting. In short, these sketches so accurately denote the reasonable American compromise with radical Luminism, that they may serve as a résumé of the entire movement in the United States. It will be seen that the whole Luminist movement in landscape, though profoundly in- fluenced technically from France, was in direct con- tinuation of that national love of natural appearances which speaks in the verse of Bryant and Whittier and in the prose of Cooper, Irving and Thoreau. It will also be noted that the scientific preoccupation with appear- ances has tended somewhat to lessen the subjective and poetical attitude toward landscape which came down from Cole, through Church, to Homer D. Martin and George Inness. ralthiby DSSete aaa ter color Samoan Girls Dancing the Seated Dance in the collection of 221 ~+From the painting in wa W. S. Bigelow, Boston CHAPTER XV PORTRAIT AND FIGURE PAINTING, 1880-1895 the figure, whether under natural or artificial ilumination, evidently offered a fascinating series of unsolved problems, which were attacked with energy. The fact that oddities of illumination actually tend to disintegrate the figure and to impair real portraiture we have already noted. Indeed, the best investigators of these appearances avoided the extreme roughness of Monet’s early manner, and drew rather from the finer and more thoughtful methods of Manet, Renoir and Degas. To enumerate them would be tedious, and, since they are famous, unnecessary. Mary Cassatt and Sargent of the Spanish Dancers are among the earliest; so are Chase's exquisitely studied interiors, and Benson’s and Tarbell’s. Hassam’s figures, indoors or out, are again distinguished items in the class. Alden Weir cared much for irradiation and made it a factor in intimacy and character. Wilton Lockwood handled with ability the dusky values of Whistler, and Dewing in his exquisite small figures mediates between the traditional manner and a pearliness which is of the new tendency. Evidently the quest has greatly extended the repertory of the painter, making possible what was impossible before. It has also facilitated that close study of men in crowds which is a rather new and promising pre- occupation of our recent art. . Figure painting may be roughly classified by the look of the painted surface. It is either unified, rather smooth and urbane, or broken into sharp areas with a certain abruptness of effect. The first method is the traditional academic way, that of George de Forest Brush or Kenyon Cox. It gives not the actual or vivid aspect, but the way the figure looks in memory after repeated study. ‘There is a large contribution of mind to the first observation. The second method rests on a quick and vivid notation of the essentials + of the momentary aspect. No interpretation or contribution of mind 1s wanted. The aim is to convey the first impression with truthfulness and vigor. It is the method of Hals and Velasquez in their latest manner, of Chase and Sargent among us, and it was formulated for all modern painting by Edouard Manet, active in Paris from the ‘fifties to the ’seventies. His simple and clear aim was to abstract from his observation every- - thing that he merely knew, and to set down emphatically only that which he really saw. To this end he made a scientific analysis of his seeing. He found that the eye does not recognize an object by thoroughly exploring its surfaces, but rather by picking up certain essential areas of color, which are the great constructional planes of the object. Once these planes are grasped, the recognition must follow, and the whole process is instan- taneous. The science of optics would have no quarrel with this view. This view cast a new light on the task of the realistic painter. His duty is simply to find the planes and to apply similar colored areas, taches, as Manet called them, to the 138 es quest of light naturally soon passed beyond the field of landscape. Indeed, PORTRAIT AND FIGURE PAINTING, 1880-1895 139 eanvas. The sharp and vivid emphasis of his pictures shocked sensitive spirits but com- mended his theory to vigorous painters. It wi'l be seen that in standing on the momen- tary observation, and largely eliminating memory and mind, he was an Impressionist a generation before the word was coined. But he was not a Luminist in the narrow sense, caring only in his last years for accurate notation of the intricacies of natural color and light, liking the arranged light of his studio as well as that of the unmediated sun, using black freely when it served his turn, and having no regard for the prismatic palette and divided color. He was also not a Luminist in that he always cared more for structure than for subtle gradations of light, studying these not for themselves but chiefly as a means of construction — whereas for the thoroughgoing Luminist, structure is always incidental, a by-product of correct registration of the lighting. So, while Manet’s late, blond, open-air studies were the point of departure for Monet and his school, Manet’s earlier Velasquez-like figure pieces were the chief inspiration for his American emulators. From the ‘nineties they could see them in America, and, as early, some of the best were in the Luxembourg at Paris. Such men as Duveneck, Chase and Sargent caught the notion, partly from Manet, partly from the same old masters that inspired him. It was the right method for the painter who wished to convey keenly the look of things, without mental admixture, and it inevitably became standard for young American painters of the realistic stamp. Henri took the idea from Chase and remains its most prominent exponent. His art has the qualities and defects of its kind, great vividness on first sight, which often affords no reason for looking again, a lack of reflective quality and of richness. George Luks used and uses the method with care, energy and ability in his character portraits and street scenes. Fortunately he was too fundamentally an emotionalist to surrender to the re- quirement of impersonality. Glackens made his brilliant beginnings in this mode, until dissatisfied he sought more thoughtful and harmonious formulas. It is the basis of the structure of Jerome Myers, though he has adapted it in tender and whimsical senses. John Sloan has worked through it to finer and more intellectual notations in which interpretation counts as much as appearances. George Bellows made it the basis of his robust art. There is much of it in the sterling portraiture of the late Joseph De Camp, and in that of such relative novices as Louis Betts and Wayman Adams. Painters of this type represent what has become the central tradition of our figure painting, occupy- ing an intermediate position between such conservatives as Brush and Cox, and the new Expressionists. Like all strenuous investigations of appearance, the whole movement has been a wholesome one, incidentally a fine training for the average slack eye, and with the in- evitable disadvantage of all attitudes that tend to exclude from codperation with the outer eye the no less important eye of the mind. xXII—10 140 ay THE PAGEANT OF AMERICA 222 From the painting A Ray of Sunlight in the Minneapolis Institute of Arts JOHN WHITE ALEXANDER, N.A., S.A.A., P.N.A. Or the European manner John W. Alexander made a very personal application, being guided by a native sense for the decorative. He was born in Allegheny, Pennsylvania, in 1856 and died in New York in 1915, much lamented, for he had been singularly friendly and serviceable. He began with magazine illustration with Abbey; later he studied at Munich, and with Duveneck at Venice, and was influenced by Whistler. As a portrait and mural painter, he developed a highly decorative manner, with arrangements in sweeping curves, low tonali- ties and thin pigment, and withal, an alert and delicate sentiment. (See also No. 166.) ROBERT FREDERICK BLUM, N.A., 5.A.A. THE counsel of exquisite execution which moved all the new men was carried to its highest point by - Robert F. Blum. Born in 1857 at Cincinnati, he died in New York in 1903. His early training was as a lithographer and illustrator. Blum traveled widely and finally worked out a brilliant style of his own under the influence of such great technicians as Alfred Stevens and Fortuny. He was long resident in Japan where he painted some of his best pictures. A versatile and cosmopolitan spirit, his early death was a great loss to American art. In elegance of conception and draftmanship none of his American contemporaries excelled him. (See also Nos. 171, 441, 515-16.) 223 From the painting Venetian Lacemakers in the Cincinnati Museum Association ‘saoaidiaysemm Area asay} posopuod yuasseg ATYsnos10g} MOY azt[Bel OF ST JL yNsuOD OT, YIOX MON “dy JO UINasNy UBITOdOMSyY 3944 UT s nvaimoy “nujy fo NDOT ‘X Fuvpojy BYuyed $juesivs WoT C%Z “UOSO" “Ano AVMUIT Ye SI _Y avpYPY JO YOYS SNOWVAIA dIOU PUL PoIpNys sso] YW ‘snjoreD jo ee . eee ss S296 9 souvew oy} smoys [Ns pue Fggl ur poqured sva ouUaIsIIeg [NINE &B Jo UOT}eZeIdI9zUT JURSI]e pus DAUM SILT, “FUOUL pUB VOTPzZoyOVIVYD UBAUN JO FI UOINexa YURITIIIq ysour Jo sarpaqoyao Arey[TUA pue yeoryjod ‘yeroos yo Arayye3 Areurpsoesyxe ue Sutonposd ‘uopuo7T ye Apetyo peat] eA *s}styresqsod Jasunod oy} JO YURTPIIG Ysour sy} sv popiesor sem AYUIM oIOJoq pUB UBING-sNJoIeD YA poyxIOA eH “S361 Ul puepsuq ut perp quasieg ‘souaI0[y 72 ‘9¢g] Ul UI0g ‘ssoUMOT[OY TeNQeJeyut yuonbesy spt pue Ajloepne pue JOS1A sz — JOoYps sy} JO spoojep pu sorzipenb ay} OG yeeaet semsy peysniq ATpjloq st ‘woreisued styz jo SUBOLIOUTY 94} JO poysInsurystp ysour oy} rey Aq SVM LNEDUVS "GS NHOE TYIN °WU CV'N \LNGDUVS UAONIS NHOL he UOWSUTYSVAA “WV JO AiTTVH IeAg oy Ul aT YN 14H SupUyed s.Butmeq Word FZ 1g io) Ser a ay, ‘AVM S}I UI poysmnsurystp Ards ‘aysey_ oaTpefqns pue Aytsotwe1d jo we ue ur ‘yutod Sutystuea eB 0 ysouye ou0y jo Ayrun Axed spolfqns omsy yfeus stAT = “UIT peAdas [Jom sey stieg ye s1Agejoy pue Josurejnog wor pauses, oy yorya onbrayoo} ofqeuorysey ot], “AYA YUotoyap A[surpuodsasi09 jo pue ‘Surpeay jo sopeys ysoug pue spoout ‘saarou Jo oinyzeaId & ‘UOTYSe] JO ULUIOM [eNo][9zUT 94} st yolqns sty *Apooys0d 4 spueut -u109 oY yNq JeMOIIeU st asUBI SI}{] ‘Sutjooy feuosied pue ssuequt a10ul & UN] g jo ssauaysmbxa ay} 0} poppe ‘eg Ul uo}sog ye UI0q SBM OM “ONIMAM “AA SVYWOHY, ‘IVIN “VN “ONIMGAG UAWTIIM SVNOHL 19 [=>) [o @) — 3 ioe) ie 6) a O Z. — H Z. —_— —_ Ay <2) lon _ i) = pos a) Z << H _— =< om oe om es) Ay 142 rom t Metrop THE PAGEANT OF AMERICA portrait of William M. Chase in the olitan Museum of Art, New York 227 From the painting The Four Doctors in Johns Hopkins Hospital, Baltimore SARGENT’S PORTRAIT OF CHASE Tur audacity and brilliancy of Sargent’s mature style are well exhibited in this portrait of a fellow-artist. It is flicked on the canvas with the lightness of a Frans Hals and is also full of Chase’s robust and quizzical character. It was painted in 1902 and was carried through in a single sitting of a few hours. To many it will seem over-asserted, but it is undoubtedly as both Chase and Sargent wanted it to be. SARGENT’S FOUR FAMOUS PHYSICIANS Tuts group of the four famous physicians, Osler, Halsted, Kelly and Councilman, reveals Sargent in the maturity of his powers, about 1903, and in its dignity and character seems as perfect an example of an institutional picture as America has produced. By this time Sargent was very weary of portrait painting, and was turning off perfunctory work at times, but the personalities of these four great specialists, pioneer professors of the medical school of Johns Hopkins University, inspired him to recover all the serious- ness and sobriety of his earlier manner. Compositionally the picture is very interesting in that the widely scattered and apparently casually arranged figures fill their big space admirably, and the space itself seems to share the medita- tive seriousness of the great scientists who occupy it. (See also Nos. 172-73, 211-12). 143 PORTRAIT AND FIGURE PAINTING, 1880-1895 dee owes "yud[e} Shoresul pur ysnqod Jo 10yeI] ‘oINISUT IV JOIN Oy} UT WoqHD "SAW Jo IwaIIOd ,SoTTA\ WIOIT 62 -snyfi oueSeu ve sem oy sSuruud oq SIT FV “SUB Ul URING-snforeD jo pue ‘y1OX MAN Ul YPLMYog pue asey) JO ‘Set “WA [enwWoy] ‘royyey sty jo pidnd & sem sayy ‘L98T ut ‘YOK MON ‘BOI 7e UIOG ‘sdapueUT “U0 IBAA PPIOAA JO sSalias @ JO] SUNG [BIIUIPy jo ssousyl] yUeT[aoxe ue Ajoye] pur ‘amoplep, IPN ssozy -o8 oy} JO pWezod plAlA & opeu sey SoTL “APAL ‘aUUerpeut0d paaoy-|faa pue yeois @ jo yesjsod sfqeyreurss sIq} sopisag = ‘anbruyooy yo AouenpypLiq pue pooja sAT}BIO.ap aOJoq wITe sIy Jap VIVO PUB SsaUey]] SUL[RUT ‘souAty Ino jo systyeqqsod suto0sysno10y} M2} BY} JO UO ST SATIN “WY ONIAUT "TVIN “WN “V'V'S ‘SHTIM AASNVU DONIAUI ‘saltmopeoe ustei0y Aueur Jo Jaq -WoUI B SI ay pue ‘spreMe uvodoing” Aueul podataoei sey oy ‘proiqe yonu SUIpIsey = ‘arayMasja pue 10q -Iy uuy ‘yoMeq ye sinyeu feo10ysTy @ jo ssurzured [emur opru sey oFT ‘rojoo jo Ayand paseo, Aouepusy UJ9pOUL dy} PeMOT[OF sey sIOYIPIPAT sivak use} yse_ sty up ‘aseyd SIY} JO onstiaypoereyo st waspyy buwouay ayJ, ‘SoUIly INO Jo soipnys JoyovIeYD pue syresysiod snos0F1A ysOUL oY} JO ous Suronpold ‘syst~vor URUMIEN pue YUeIY oY} JO SerjI[eUo, Yep oy} UI ysIy ye poyIOM eH ‘SUeg 7 Josue[nog pue o1aqojoT YUM pue ‘Awapeoy JIOppessnql ey} 7e perpnys sisyopyy “ysnaq [N}1OJOO pue oyNjOser & YIM syeI1} osoyy sossoidxo oy pu ‘sorsesrodurezU0S sty Jo ysour ueYyy APTePA Jasuorjs pur Jopduns v syuasoidad ‘Ogg Ur ‘UBStYoIP “WorJaqq ye ULOg SBM OY “SUTHOTAT INV) SATIN "TVIN ‘G(ONVUd AGC YNANNOH.C NOIDAT YAOMAO “WN ‘SHAHOTAW THVD SATToAL OOD SuTystand woned © ‘siry jo onqWysuy JO1J9C 9} Ul Las bur,uay ay,z Buyured oy} wo, 144 subtlety. heritor of modern po 230 From the portrait of Horace Howard Furness in the Pennsylvania Academy of the Fine Arts, Philadelphia DOUGLAS VOLK, N.A., S.A.A. - Dovuetas VoLK, who was born at Pittsfield, Massachusetts, in 1856, is, again, a portrait painter of the objective tradi- tion, varying his vein with ideal compositions like that which we reproduce. His method is more linear than is the fashion, since he was a faithful pupil of Géréme in Paris, but Volk handles the line with elegance and tact. He is a portrait and figure painter of a precise and dili- gent temper with a constant idealism, and one of the best American representatives of the conservative Academic tradition of the ’seventies. As we have already observed, there are distinct advantages in the older methods of portrait painting, for they are methods of interpretation rather than of representation. e portrait of S. Weir Mitchell in the Pennsylvania 232 Academy of the Fine Arts, Philadelphia THE PAGEANT OF AMERICA JOSEPH RODEFER DE CAMP, N.ILA.L. JosEPH Dr Camp also was a portraitist of objective char- acter and forceful in' representation though without much He was born at Cincinnati, Ohio, in 1858 and died at Bocagrande, Florida, in 1923. De Camp’s straight- forward and masculine talent was akin to Duveneck’s whose pupil he became, studying later at the Royal Academy at Munich. As a portraitist De Camp was a worthy in- his first master’s robust directness, leaving ex- cellent likenesses of many famous contemporaries, as this of the greatest American Shakespearian. When so much rtraiture is approximate and chiefly decorative, one should be especially grateful to those unassuming painters who are content to leave us faithful records. 231 From the painting The Boy with the Arrow in the National Gallery of Art, Washington ROBERT VONNOH, N.A., S.A.A. Mucu that has been said about Douglas Volk is true of Robert Vonnoh, but Vonnoh’s vein is more delicate. This tends to stylize his portraits somewhat at the expense of that objective reality which he earnestly seeks. Vonnoh was born at Hartford, Connecticut, in 1858. He studied in the Massachusetts Normal Art School and under Boulanger and Lefebvre at Paris. He is a portraitist of distinction in the linear academic style, as in this portrait of a great neurologist who was also a graceful author. Vonnoh has also painted a few landscapes of an austerely charming precision. ee 145 PORTRAIT AND FIGURE PAINTING, 1880-1895 ‘sdajseul Yon, pjo Jo saosoidi9qseur 9771] 9Y} Ipisoq AyqeyJoyuI0D Suey pynom soimmyord suoyrmepy ATureyIag «‘ayeystur vw oq Avut of] JO afeos ayy ye spreqjsod jo Suyured jeuornusauos dq} JY} sysossns szresqsod jews sty jo Ayyenb sutAjsyes oy J, ‘WoIyBIdUEd yse] oY} JO suUBOIIOUTY yeois ay} JO piooal g]qeN[BAUI UR Useq sARY JYSTUT YeYA WI WoL, payor, savy OM pue ‘sarqt wludiepetud ‘sy ouLE ui J0 -qayeo ystytag Jo Aparyo st Aroqsadaa Awepeoy BluvA[Asuued 9} Uy RS buzumnogd yo feenrn 4ye1j10d § ee ae FES sty ‘purysuq ul douapIsod yenqyq o -ey sty jo osneoeg = ‘ssurpunozins einyeu sty ul prens sty yo yzysned SI Joq}Is oY} YOM ul oanzesys0d jo addy ayeuTqyUI pue [feu & ][FYs aivI YIM sostporid uoyMepy *s}1y -xnveg sap afoorg oy} pur ‘diomyuy ‘Kulapeoy jeAoyy ay} 7e Joy] pure ‘aray} AMIapeoy oy} UI psIpnys oy ‘ecg ul vrydjapepryg ye ul0g “U0 -[lTUep, am oyy Uyor st Aouspusy SIY} pomoryoy ATreo OYA sysIzIeIy -iod mmo jo oug ‘Uor}yeUTUINTTI jo suorjipuoo Areurpsro SurApnys pue surzysi, orpnys yeuorusau0. BUIPIOAR UY} VIOUL 9]}}I] 0} SAUIOD Ayyensn ‘tves aavy om sv ‘sutured amsy pue yeasjiod ul WSINDOT NOLTINVH THON NAOL “UOISNJUOD OI}SI}AV JO JUSMIOUL sty} 7B AVA UMO Ss} SUIPUY Ul sey UTC} SNOWsSUOI-JJas B yBYyy AZNoOWIp oy} MoYs JAB oIQdoPe ATYStY sty Ur puayq yey} sures AuvUA oY, “UINTpoUT vioduio} oy} Ul JoJeUTTIadxe UB PUL UdUIS]eIp sNoIovUD} SOUL IMO jo UO SI 9FT “s}IV OULT oy} JO JOOWS Ie IY} Jo 1OpOoNG, sem oy sreok AuvUI JO “WOTPIpeI} OIWIepeode pastAar B UT ysT}TeIQI0d pue doqured omy quoyjooxe ue Surmooaq “WossOT JOIAYQ-ON'T YUM pur ‘syry-xnvog sop afoog ay} ye ‘ondeoT S}UIPN}G WV sy} 4B porpnys oF] “YIOX MON ‘PAAnpusyAnds 4e GOST UI UIOG seM [[epusy “poyeyo Ajooj1ad useq Joaou sey yor stsoyzUAds v OZ a[SSnajs Zuo] v ui [[epuey queaBiag posesue sey yy “adA} [BNqoa][oyUT oy} JO Jozured ev yuNeY 07 aUO SBM ‘ZUTIOTOO OI}STUTUIN] Mou Vy} BuI}}0SI0F7 You ‘snjorwD jo JOoySs ay} JO ssoBJMs Yo oy} YW poyyour IvoUT] YOUeT oy} Jo AzoAVs oY} SuTUIqUIOD Jo Bapl AH, “IVIN “WN “TIVONGM INVA9UAS WVITTIM ‘OD SuTystiqnd IoONEed © sais aka {OM9C 9 UT s7y6YyssoLg Buyuyed 8 [[wepuss iets “sry jo €&% THE PAGEANT OF AMERICA 146 yIOX MON ‘41V JO TINesNyT ULIPOMOMIIA OY} Ul VseUIT !anNYA UP 141M WP suyjuled s.xnvog VID WOLT 9&2 a a ee a a ee ee See eee ees sae ‘JoJOVIVYO IO} ssuas ou v SpuvUIUIOD pue * ae 307 Warner’s bronze doors on the Library of Congress, Washington OLIN LEVI WARNER, N.A., S.A.A. Lucuprry of outlook made Warner the first and one of the best of our decorative sculptors. He appears as such in the bronze doors for the Library of Congress. The group in the lunette represents “Tradition”’; the two figures in the lower panels are “Imagination” and “Memory.” Warner’s sense of fitness emerges beautifully in this pair, whose pose and gesture are controlled by an exquisite economy. The decorative scheme of the whole portal is reduced, characteristically, to its simplest solution. 192 THE PAGEANT OF AMERICA 308 Warner’s Diana, marble, in the Metropolitan Museum of Art, New York WARNER’S DIANA TuroucH the 1870’s the more intelligent painters and sculptors turned to Paris for instruction and inspiration, with the advantage of an improvement in technique and the disadvantage of subjection to alien ideals. At this moment of transition only a few artists managed to shape a personal course. Among this élite Olin Warner has a distinguished place. He was born in West Suffield, Connecticut, in 1844 and died in New York City in 1896. Among the first of our sculptors to turn from Italy to Paris for training, Warner studied under Jouffroy and Carpeaux. In Paris no doubt he learned his delicate modeling, but the often su- perficial brio of the French is replaced in Warner by a fine austerity. He has been called the most “Greek” of our sculptors, for his objective handling, and his elimination of the unessential. AUGUSTUS SAINT-GAUDENS, N.5S.S., N.A., S.A.A., N.1.A.L., many honorary foreign memberships To an intelligent foreigner American sculpture would be summed up in a single name, that of Augustus Saint- Gaudens. He was born in Dublin, Ireland, in 1848 and died at Cornish, New Hampshire, in 1907. Saint-Gaudens is unquestionably the greatest of our sculptors, and indeed in many ways the most outstanding figure in American art. His father was a French shoemaker of southern France, who made his way to Dublin and there married an Irish girl. Augustus, the third child, was only an infant when the family emigrated to New York. He was apprenticed, at the age of thirteen, in cameo cutting for six disagreeable years, during which he learned the nicety of scale which makes his low relief so monumental. 309 Bronze Tablet by Saint-Gaudens in memory of Robert Louis Stevenson in St. Giles Cathedral, Edinburgh, Scotland oe SCULPTURE SINCE THE CENTENNIAL 193 310 Saint-Gaudens’ Farragut Monument, bronze and marble, in Madison Square, New York SAINT-GAUDENS’ FARRAGUT . Arter study at Cooper Union and the National Academy of Design, Saint-Gaudens went to Paris in 1867, entering Jouffroy’s studio at the Beaux-Arts. Returning in 1875, he won his spurs with the Farragut Monu- ment (1881), the product of a fortunate collaboration with the architect, Stanford White, and a model there- after, in its happy union of sculpture and architecture, for both European and American monuments. Other features of this work are still imitated in contemporary sculpture, the fluttering skirt of the Admiral’s coat, for example, suggesting the environment which Saint-Gaudens’ figures never lack, and the use of the inscrip- tion for both decorative and expressive force. HIS GENERAL SHERMAN Tue equestrian figure of Sherman (1903) is the sculptor’s most finished work in that technical mastery which has here brought his peculiar purposes to fruition: his pictorial effect which is nevertheless not picturesque; his poignant mingling of poetry and fact; the diminution of mass by which he underlines detail without excess of weight. Distaste for gesture makes of the General an immobile apex to the ensemble; Sherman’s fiery purpose is inherent rather in the flying cloak and spirited steed. It is an art of intima- tion and of accents which are as re- fined as they are telling. The reality of the hero is idealized, while the lean and ardent Victory walks firmly on 311 Sameas cea Shamik Monument, bestise: at Fifth Avenue and Fifty- the earth. ninth Street, New York, courtesy of the City of New York Art Commission 194 312 Saint-Gaudens’ Abraham Lincoin, bronze, in Lincoln Park, Chicago AMOR CARITAS SaInTt-GAUDENS art moves between an idealized realism and an idealism which is always lucid and specific. The Amor Caritas represents the latter phase of his genius. This relief, one of the few American sculptures to be included in the Luxem- bourg Gallery of French masterpieces, was originally one of the three angels at the foot of the Cross in the Morgan monument at Hartford, Connecticut, destroyed by fire before completion. The same head, without the grave sweetness imparted by the Ameri- can, appears in the Gloria Victis of his French fellow-pupil, Mercié; we find it again in the Victory of the Shaw relief at Boston. THE PAGEANT OF AMERICA SAINT-GAUDENS’ LINCOLN Ir was inevitable that Saint-Gaudens should do a Lincoln. From the life mask model by Volk, he ere- ated a portrait of the Great Liberator that has be- come as standard as Stuart’s Washington. The strength of its grip upon Americans had no small part in the revolt against Barnard’s realistic render- ing and will doubtless withstand the competition of French’s colossal figure at Washington. The sculp- tor has here advanced from the realism of the Farragut (itself far distant from the emphatic fact of Ward’s Beecher). The chair and pose give the figure environment; the garments are out of focus save for a few telling details. The homely face and figure become thus an ideal of irresistible ap- peal; no one, as Dio Chrysostom said of Phidias’ Zeus, “having seen it, will conceive him otherwise thereafter.” 313 Saint-Gaudens’ Amor Caritas, bronze, in the Luxembourg Gallery, Paris SCULPTURE SINCE THE CENTENNIAL 195 THE PEACE OF GOD TueE title The Peace of God was given by Henry Adams to the statue which is shown here; the commoner name “Grief” shows by its disparity the figure’s power of suggestion. It is a fairly early work (1891), and yet com- monly admitted to be the greatest that American sculpture has produced. Out of the indeterminate ensemble provided by the stark simplicity of the setting, the broad symbolic drapery, and the sexless figure, come stabs of characteriza- tion — the single visible arm, and the listless fold between the knees that pro- duces the effect of spiritual exhaustion. It is asufficient commentary on the power of this sculptor for effective concentra- tion, to remark that the observer never misses the absence of the other arm, or rather its bare indication by the left hand which supports the elbow. The virility of Saint-Gaudens’ art may be gauged by comparing this figure with the similarly veiled but much more urbane Death of French’s group (No. 316) 314 Saint-Gaudens’ The Peace of God, bronze, on the tomb of Mrs. Henry Adams, Rock Creek Cemetery, Washington DANIEL CHESTER FRENCH, N.S.S. (hono- rary president), N.A., S.A.A., N.LA.L., A.A.A.L. Wuite Saint-Gaudens is incontestably the greatest American sculptor, Daniel Chester French may be regarded as the typical American sculptor, or at least the typical New England sculptor of our times. He was born at Exeter, New Hamp- shire, in 1850. The Minute Man was completed at twenty-three, with no model but a cast of the Apollo Belvedere. French’s previous work in- cluded a number of small plaster groups, and the mark of the genre is still with this conception, as well as the neo-classic survival of carefully rendered properties. The immediate popularity of the figure has been generally the fortune of this sculptor’s works. This is due in part to the absence of foreign traits save such as his later works have acquired from French-trained Ameri- can confréres. He is in fact almost entirely an American product, having studied under Rimmer in Boston and Ward in New York, with only a year under Ball in Florence. His figures squarely conform with average American taste in the consistently feminine mode in which their pleasant idealism is cast. 315 French's Minute Man, bronze, at Concord, Mass, 196 317 THE PAGEANT OF AMERICA 316 French’s Death Staying the Hand of the Sculptor, bronze, in Forest Hills Cemetery, Boston French's Spirit of Life, bronze, on the Trask Memorial, Saratoga Springs, N. Y. FRENCH’S ALLEGORY OF DEATH Frencu’s best loved work is Death and the Sculptor, an allegory for the tomb of Martin Milmore, a sculptor who died at the age of thirty- eight. This work was executed about the time of Saint-Gaudens’ Peace of God, the influence of whose veiled mystery may be seen in the Angel of Death who, stays the sculptor’s hand. French here succeeds in sounding a deeper note than usual in his first period, perhaps because for once he has masked the incorrigible urbanity of his heads. HIS SPIRIT OF LIFE Frencu is American-trained, save for a year with Ball at Florence. Because thus freed from foreign mannerism, his works make a universal appeal to our public, and also because they are couched in the feminine mode that prevails in this country for ideal expression. His recent work has lost the early suspicion of genre and acquired a broad authority and grander rhythm that justify the leading place accorded him. His colossal Lincoln for the Memorial Building at Washington (Vol. XIII, No. 556) solves with reasonable success about the most difficult problem that a modern sculptor could set himself — a benign colossus — in a frock coat. SCULPTURE SINCE THE CENTENNIAL JOHN J. BOYLE, N.S.S., Soc. Artistes francais From now on our prospect is very varied, since we have to do with endeavors to assimilate French training to per- sonal idiosyncracy and American conditions of patronage. For a certain incoherence in the spectacle, there is com- pensation in a generally good level of craftsmanship. Among these individuals let us begin with the gifted Trish-American John J. Boyle. Born in New York City in 1852, he died there in 1917. His training was at the Pennsylvania Academy, and under Dumont and Thomas and E. Millet in Paris. A sculptor of uneven ac- cent — witness the absurd bear cub (described by Lorado Taft as “very dead”) —he is nevertheless one of undeniable force, which he owes to his native and un- compromising approach to his subject. French training gave him style without sophistication. 319 Ruckstuhl’s Hvening, marble, in the Metropolitan Museum of Art, New York 197 318 Boyle’s The Stone Age, bronze, in Fairmount Park, Philadelphia FREDERIC WELLINGTON RUCKSTUHL, Nis Sac N-LAL: FrepERIC W. RuckstuHL who was born at Breitenbach, Alsace, in 1853 was brought to the United States as an infant. Ruckstuhl’s training was with Boulanger, Lefebvre, and later under Mercié, at Paris. The last named has strongly influenced his work, even to the arrangement of some of his large monuments. The Evening also shows the rich modeling of the Toulouse school, but less of its submission to the posed model, and a very agreeable reminiscence of neo-classic severity. There is also a quality more American than French to be found in its relative seriousness and slow rhythm. The highly eclectic character of his work has won it popularity while seriously limiting its development. 198 THE PAGEANT OF AMERICA 320 Donoghue’s Young Sophocles, bronze, in the Art Institute of Chicago CHARLES HENRY NIEHAUS, N.S.S., N.A., N.LA.L. NigHAvs’ ready and industrious talent has made him one of the most productive of our contemporary sculptors. Born at Cincinnati in 1855, Niehaus studied at Cincinnati and at Munich. Either from his foreign training or from natural bent he manages at times in single figures to pro- duce a rhythmic composition rare in our sculpture. To this decorative gracefulness, as here, significance is some- times sacrificed, but the fluent drapery and easy pose of the Hahnemann make it a welcome exception to the customary heaviness of our monumental portraits. JOHN DONOGHUE For the lyrical audacity of his inven- tion the ill-fated sculptor John Donoghue has a place apart. Born at Chicago in 1853, he died by suicide in 1903. Donoghue was a pupil of Jouffroy’s at Paris, and afterward settled in Rome. The Sophocles is his masterpiece, and one of our most brilliant sculptures; its author shares with Saint-Gaudens the ability to concentrate his accents, and to make his movement emotionally significant as well as decorative. New tribute has recently been paid this work in its paraphrase by Niehaus for the monument to Francis Scott Key. Com- parison of the two reveals the superior inspiration of Donoghue’s figure, whose youthful fire is brilliantly rendered in summary planes and sharp accents, and in the bold sweep of lyre and hand. The specific time and place (the poet is leading a chorus after the Battle of Salamis) show Donoghue’s independ- ence of the academism of Jouffroy, and only exceptional power could de- velop formal beauty out of so much particularity. A figure of Saint Paul by this sculptor stands in the rotunda of the Congressional Library at Washington. Niehaus’ Dr. Hahnemann, bronze, at Washington SCULPTURE SINCE THE CENTENNIAL CLEMENT JOHN BARNHORN, N.S.S. Iw contrast with the eminently professional facility of Niehaus, Clement Barnhorn offers something of the charm of the amateur in conceptions greater than his technical resources. Born at Cincinnati in 1857, Barnhorn’s training under Bouguereau, Puech and Mercié at Paris was less effective in forming his style than his early practice as a wood carver, which in early bronze and marble work betrays itself in occasional blockiness, cylindrical limbs, and a tendency to incise rather than to model. The work here reproduced, however, has profited by these peculiarities to become a very fine modern evocation of Gothic style and content. This sympathy with medieval art is more apparent still in some of our youngest sculptors, who find in the Gothic and Ro- manesque of France a more congenial schooling for modern expression than is furnished by the traditional classic. 323 Martiny’s Soldiers and Sailors Monument, bronze, at Jersey City, N. J. 322 Barnhorn’s Madonna, limestone, in St. Mary’s Cathedral, Covington, Ky. PHILIP MARTINY, N.S.S., A.N.A. AMERICAN architecture at the high point of its ornateness some twenty-five years ago naturally enlisted both the monumental sculptors and also those whose vein was purely decorative. Among the latter one of the most popular is Philip Martiny, who was born in Alsace in 1858 and came to America in the early ’eighties. An architectural decorator, trained by Eugene Dock in Paris, and assistant to Saint Gaudens in New York, Martiny came into prominence at the Chicago Exposition of 1893. Unlike most of our decorators of foreign birth, be contrasts his ornament with the structure it adorns; evading thus any architectonic limitations. His work, though devoid of serious content, achieves an impersonal lightness and gracefulness of effect that is of course an echo of the European rococo tradition, but too rare a feature in our sculpture not to be appreciated. 200 THE PAGEANT OF AMERICA 324 Adams’ Primavera, bust in colored marble, at the National Sculpture Society Exhibition, New York, 1923 LORADO TAFT, N.S.S., N.A., A.A.A.L. One finds a fuller and more robust expression and a wider imaginative range in the sculpture of Lorado Taft. Born at Elmwood, Illinois, in 1860, and trained at the Beaux-Arts under Dumont and others, Taft’s reputation as a sculptor has been unduly overshadowed by his repute as a writer and teacher. As teacher, he is the strongest force in the art world of Chicago and the Middle West; as writer he has given the most complete account of American sculpture, a source-book to which summaries such as the present one are always deeply indebted, not merely for facts but for thoughtful criticism as well. His later works have aimed more and more at mass effects of the type illustrated by the accompanying re- production, in which the beautifully modeled figures in half-relief derive a sensitive surface approaching the famous texture of Rodin’s work, from the contrast they afford with the unhewn stone. Especially noteworthy are Taft’s monu- mental fountains: at Paducah, Kentucky, and Bloomington, Hlinois; the Fountain of the Great Lakes and the Fountain of Time at Chicago; the Thatcher Memorial Fountain at Denver. HERBERT ADAMS, N.S.S., N.A., P.N.A., A.A.A.L. A CERTAIN tendency of American art in general has been to push to the extreme research of refinement. Among such adepts of the expressive “half-word”’ are Thomas Dewing in painting (No. 224) and Herbert Adams in sculpture. Herbert Adams was born at Concord, Vermont, in 1858. His five years at Paris under Mercié and other masters left him more of an individuahst than is the case with our French-trained sculptors as a rule. His affinities are less with France in any case than with the Italian Quattrocento and especially the work of the Della Robbias. Their delicate abstraction of sentiment is rivaled in the sculptor’s peculiar forte, viz., his polychrome busts of women, a recent example of which is here reproduced. Ill at ease in bodily anatomy and movement, the fineness of modeling dis- played in his heads courts and profits by the stiff test of polychromy. 325 Taft’s Solitude of the Soul, marble, in the Art Institute of Chicago SCULPTURE SINCE THE CENTENNIAL 201 326 Tilden’s Mechanics Fountain, bronze, in San Francisco, Cal. DOUGLAS TILDEN As a class the sculptors born in the West are true to the energetic tradition of their origins, more experimental and less bound to traditional forms than their Eastern colleagues. We may group a few Westerners here. Douglas Tilden was born in Chico, California, in 1860. In spite of study in New York and Paris, Tilden’s work displays an unacademic originality more at home on the Pacific than the Atlantic coast. Athletes have been his favorite themes, wherein he strives to lift the genre to ideal significance, as also in the huge lever-punch of the Mechanics Fountain, served by a group of athletic nudes. 327 328 THE PAGEANT OF AMERICA Dallin’s Appeal to the Great Spirit, bronze, in the Museum of Fine Arts, Boston, Mass. Rhind’s Father Brown Memorial, bronze, in the Church of St. Mary-the-Virgin, New York CYRUS EDWIN DALLIN, N.5.5., A.N.A., N.LA.L. Cyrus E. Daun has specialized on the Indian of the great plains. He was born at Springville, Utah, in 1861, when Indian fighting was still an ordinary incident. Dallin studied at Paris under Dampt and Chapu and is instructor in sculpture at the Massachusetts State Normal School. His most successful works have been Indians, whom he depicts in attitudes that lend themselves to monumentality, and with a dis- agreeable leanness of surface that gives them nevertheless a stark impressiveness of silhouette and a strong character. His groups are metallic and lack invention. His work, like that of the painter, Brush, has added to the richness of our art by showing the possibilities to be found in our Indian background. JOHN MASSEY RHIND, N.S. To effect a certain monumentality in decorative sculpture through adaptation of the late medieval forms has been the ambition, quite successfully achieved, of J. Massey Rhind. His birthplace was Edinburgh, Scotland, the year 1860. Pupil of the Frenchman Dalou during his exile in London and afterward at Paris, Rhind belongs to the coterie of sculptors of foreign extraction who have supplied our de- ficiencies in decorative sculpture. A decorator by instinct, he naturally adopts traditional forms and employs them with great under- standing, as in this paraphase of a fifteenth- century Burgundian tomb. He is one of our few adepts in ecclesiastical art. SCULPTURE ISIDORE KONTI, N.S.S., N.A. IstporE Kont1’s art, on the contrary, is that of a graciously elegant worldliness full of recollections of the charmingly frivolous mood of the eighteenth century. Born in Vienna, Austria, in 1862, he came to the United States in 1890. Konti like Bitter received his artistic education at Vienna, which has retained the rococo tradition more than any other European center. Less responsive than Bitter to the atmos- phere of the New World, and ill at ease in the conventional allegory of American monuments, Konti is at his best in works like this which still embodies the fastidious humanism of the rococo style. ALEXANDER PHIMISTER PROCTOR, N.S.S., N.A., N.LA.L. From his choice of residence A. Phimister Proctor may fairly be grouped with the Westerners. He is internationally known as an animalier. He was born in Bozanquit, Ontario, Canada, in 1862 and trained under Puech and Injalbert at Paris. Proctor is the most finished of our animal sculptors. Without the impressionist realism of Kemeys or the force of Shrady, and having nothing in common with Roth’s simplifica- tions, this sculptor succeeds in making his SINCE THE CENTENNIAL 203 329 Konti’s The Brooks, marble fountain,.on the estate of Samuel Untermyer, Greystone, Yonkers, N. Y beasts monumental without making them moral as well. His animals are two-dimensional, with a French elegance that recalls but does not equal the lithe surface movement of Barye. His latest work, The Pioneer Mother, is a monumental group of very effective composition, in which Proctor’s penetrating observation has wrought a masterpiece in the rendering of the weary steeds. 330 Proctor’s Princeton Tiger, bronze, at Princeton University, Princeton, N. J. XII—14 204 331 Grafly’s Portrait Bust of Frank Duveneck, bronze, in the Museum of Fine Arts, Boston, Mass. FREDERICK WILLIAM MACMONNIES, N.S.S., N.A. A.A.A.L., Legion of Honor (France) To be the most audacious and exuberant modeler of his moment is the distinction of Frederick W. Macmonnies. He was born, paradoxically, in Brooklyn, New York, in 1863, before the City of Homes had become metropolitan. Master of a brilliant technique, learned under Saint-Gaudens and Falguiére, that is best employed in the rendering of exuberant movement, Macmonnies uses a summary modeling which brings the muscular action into sharp relief. His works have a restless élan that contrasts sharply with the usual American sobriety and reveals their author as one who, more than any of our sculptors, has assimilated the French point of view. Macmon- nies’ staccato style finds its usual and its true expression in bronze. The early interest in painting which led him to study that art for some months in Munich, is still revealed in his pictorial effects, whose brio often masks an emptiness of content. Macmonnies’ rococo genius, which would have been thoroughly at home in the eighteenth century, is adapted with difficulty to monumental work, in which he often misses the symbolic meaning. THE PAGEANT OF AMERICA CHARLES GRAFLY, N.S.S., N.A., N.LA.L. Amone American sculptors who are academic in the good sense, that is, scrupulously studious of appearances and intelligently mindful of tradition, a very high place should be accorded to Charles Grafly. Born at Philadelphia in 1862, trained in the Philadelphia Academy, and under Chapu and Dampt at Paris, this sculptor is a consummate modeler, whose powerful technique in his more ambitious ideal monuments has been wasted in unfruitful symbolism. Among our sculptors he is supreme in the portrait bust, which in his hands attains a minute convexity of surface like Rodin’s, but more objective, and equal to the French- man’s in its illusion of life. Macmonnies’ Bacchante, bronze, in the Metropolitan Museum of Art, New York 332 SCULPTURE SINCE THE CENTENNIAL ’ FREDERICK WILLIAM MACMONNIES Tue works here chosen for reproduction are among Macmonnies’ first and best. The Bacchante gives dynamic force to a rococo theme, and the Nathan Hale is a master- piece of staccato technique in bronze and an admirable expression of an ideally heroic sentiment. Macmonnies’ popularity has made him a prolific maker of monuments, in which vivacity and audacious complications make up to some extent for lack of content, and partly conceal his persistent borrowing of arrangements and motifs from French and other foreign models. His Diana is thus a brilliant accentuation of Houdon’s; a composition en- titled Pax Victrix is an ingenious combination of Cellini’s Perseus and Chapu’s Jeunesse; certain of his large monumental reliefs (such as the Army of the Brooklyn Memorial Arch) reveal more than a reminiscence of Rude’s Depart pour la Guerre on the Arc de Triomphe in Paris. In the Princeton Battle Monument, one of his latest large compositions, a sincere effort is visible after emo- tional as well as physical energy. The symbolism is however obscure and the surface retains the unfinished effect of the clay model. 334 Barnard’s Rising Woman, marble, owned by John D. Rockefeller. Pocantico Hills, N. Y. v~o (=) Or 333. Macmonnies’ Nathan Hale, bronze, in City Hall Park, New York, courtesy of the City of New York Art Commission GEORGE GREY BARNARD, N.I..A.L. Assoc. Soc. Nat. Beaux-Arts (France) GrorGcE Grey Barnarp is the only American sculptor with whose work one would associate the idea of sublimity. It is an aspiration that: has fallen on evil times, and has only partially been realized. Nevertheless their larger’ imagi- native vision gives to all the works of Barnard a peculiar importance. He was born at Bellefonte, Pennsylvania, in 1863 and studied under Carlier in Paris, but of the French masters he has felt Rodin’s influence most. Like Rodin in his last phase, Barnard tends to philosophize in marble and bronze, a tendency which often destroys the marble beauty which this born chiseler instinctively produces. Barnard’s modeling is far from Rodin’s intricate manipulation of surface, but his works are much more massive. He is an energetic collector of medieval art and a fine connoisseur. These activities are per- petuated in the Barnard Cloisters, Washington Heights, New York, which have become a branch of the Metropolitan Museum. 206 THE PAGEANT OF AMERICA GEORGE GREY BARNARD BARNARD’S epic subjects are constantly too vast for full expression; in groups this leads to con- fusion, but his single figures are at times in- vested thereby with pristine grandeur. In spite of eccentricities, Barnard is since Saint- Gaudens our most outstanding sculptor; he lacks Saint-Gaudens’ poetic clarity and subtle suggestion of environment, but excels him in plastic force and sense of mass. Michelangelo was the youthful sculptor’s ideal master, and he resembles the Florentine in his preference for marble, as well as in his love of the colossal and contempt for the merely decorative beauty. He is in fact the only one of our school at the present day who can think without effort in colossal terms. 335 Barnard’s The Hewer, marble, at Cairo, Il. PAUL WAYLAND BARTLETT, N.S.S., N.A., A.A.A.L., Inst. de France (Corr. Memb.) BARTLETT was born at New Haven, Connecticut, in 1865 and died in Paris in 1925. He studied under Fremiet, Cavelier, Rodin, and Carrier, and started as sculptor of animals, in which he has no superior in this country. His career was mostly spent in France, where he made a reputation as a skillful bronze craftsman, especially in patinas. His monuments are often pitched in a high key difficult to sustain, and marred by over-modeled ° drapery, as in the Michelangelo of the Congressional Library at Wash- ington, and the Lafayette in Paris, here reproduced. Other well-known works by Bartlett are the Robert Morris in Philadelphia, the Ghost Dancer in the Pennsylvania Acad- emy, and the pediments of the New York Stock Exchange and the : $ 336 Bartlett's Lafayette, bronze, in the Place du Carrousel, Paris. A gift to the French Capitol at Wash ington. nation by the school children of America SCULPTURE SINCE THE CENTENNIAL 207 HERMON ATKINS MacNEIL, N.S.S., N.A., N.LA.L. THE native idealistic tradition of Palmer and French has been carried forward in a more modern technique and mood by Hermon A. MacNeil. He was born at Everett, Massachusetts, in 1866. Pupil of Chapu and Falguiére, and teacher at Cornell, the Chicago Art In- stitute, the Pratt Institute in Brooklyn, and the American Academy in Rome, MacNeil is a strong technician whose power of rendering specific detail and action sometimes interferes with the larger sig- nificance of his subjects. His convincing episodes of Indian life and his seal for the National Sculpture Society are his best works to date. 337 MacNeil’s The Sun-Vow, bronze, in the Metropolitan Museum of Art, New York ATTILIO PICCIRILLI, N.S.S., A.N.A. Iraty, which has supplied virtually all our marble cutters, has also sent us sculptors, among them Attilio Piccirilli. He was born at Massa, Italy, in 1866 and came as a young man to the United States in 1888. This member of a well-known family of Italian marble workmen wields the family technique with the most imagination. Born near the Carrara quarries, Picci- rilli displays a delight in material which only those who carve their own marble can share. The neo- classic passion for whiteness clings to Piccirilli’s work, but a modern touch is afforded by the compact and 338 Piccirilli’s Fragilina, marble, in the National Sculpture Society s . 4 Exhibition, New York, 1923 simplified composition. 208 THE PAGEANT OF AMERICA BELA L. PRATT, N.LA.L., A.N.A. Bea L. Pratt endeavored to add a greater robustness to the idealism of the old school, and found the synthesis beyond his powers. Perhaps the very confusion’ of his ideals accounts for his popularity. People like the imprecise since it imposes no touch of definition. Pratt was born at Norwich, Connecticut, in 1867 and died at Boston in 1917. Pratt studied first under Saint-Gaudens, and then with Chapu and Falguiére in Paris. His most successful works were minor decorative themes in- volving forms of immaturity; his many monumental works are marred by the vicious Falguiére formulas of drapery and by over-modeling of features and anatomy. — KARL BITTER, N.S.S., N.A., N.LA.L. Or our many foreign-born sculptors, none except Saint-Gaudens more fully became one of us than Karl Bitter. He fled from Austria to escape a brutalizing military service and became the most whole-hearted of Americans. Born in Vienna, Austria, in 1867 he escaped to the United States in 1889 and died in New York City in 1915. Trained like Konti under Hellmer at Vienna, Bitter was a most versatile sculptor, and responsive to the taste of his adopted country. Director of sculpture at three of our expositions, his early work had the baroque character and easy virtuosity which his European background could supply. This phase is illustrated in the Standard Bearers on rearing horses at the Pan-American Exposition of Buffalo. His charming talent as a little master is shown in the bronze doors for Trinity Church, New York. They brought a popu- larity upon which he built with good effect until his untimely death. 339 Pratt’s Soldier Boy of the Spanish War, bronze, at St. Paul’s School. Concord, N. H plaster model in the Metropolitan Museum of Art, New York, for the Lowry Memorial, 340 Bitter’s Pruning the Vine, Minneapolis, Minn. SCULPTURE SINCE THE CENTENNIAL 209 KARL BITTER, N.S.S., N.A., N.IA.L. Bitrer’s later work is in sharp contrast both to his miniature and to his “exposition” style, with no loss of versatility but with marked increase in thoughtfulness. Using a German simplification in the Lowry Memorial to underline his deco- rative scheme, he reverts to the rococo in the beautiful figure (designed by Bitter, but modeled by Konti after his com- patriot’s death) which crowns the barren Plaza Fountain. The swift precision which these Viennese inherited from Europe has here acquired stability and slower rhythm. 342 Borglum’s The Flyer, bronze, at the University of Virginia, Charlottesville, Va. 341 Bitter’s Abundance, bronze, on the Plaza fountain, New York, courtesy of the City of New York Art Commission GUTZON BORGLUM, Assoc. Soc. Nat. Beaux-Arts (France); Royal Society of British Artists THE numerous artistic controversies asso- ciated with the name of Gutzon Borglum should not obscure his position as a sculptor of power and originality. He has a streak of titanism which assorts none too harmoniously with his generally realistic outlook. He aspired to carve Stone Mountain as Ghirlan- daio longed to fresco the walls of Florence. Gutzon Borglum was born in Idaho in 1867. More versatile than his brother Solon, Gutzon Borglum is also a painter, and carries the pictorial impressionism common to both beyond the ordinary rules of plastic form. Obviously imitative of Rodin’s last phase, whose influence he encountered when he went as student to Paris in 1890, he substitutes for the Frenchman’s movement of surface a move- ment of silhouette. His mood easily ranges from the purely physical energy of the Mares of Diomedes in the Metropolitan Museum, to the pathos of his colossal head of Lincoln. 210 THE PAGEANT OF AMERICA SOLON HANNIBAL BORGLUM, N.S.S., “AL NUAG THE younger Borglum pursued a more closely limited course with more coherent results. His plastic chronicle of the tragedy of the plains is intense and beautiful. He had led the horseman’s life. Born at Ogden, Utah, in 1868, he died in New York in 1922. This sculptor of Western genre was the son of a Danish physician, once a wood carver. Taught by his brother, Rebisso, and Frémiet in Paris, Solon Borglum’s long experience on the plains is reflected in his dominant physical interest and the unusual sense of atmosphere which make his impressionistic silhouettes suggestive of distance, hot sunlight, or storm. He was influential as a teacher and left a record of his methods in a remarkable book on design and compositions. His art is more at home in genre groups which seem sometimes to bring John Rogers up to date, but he has neverthe- less produced a number of monuments. 4 Borglum’s Rough Rider, bronze, at the National Sculpture Society . Exhibition, New York, 1923 EDMOND T. QUINN, N.S.5., A.N.A., N.LA.L. Tue objective rectitude of the older tradition of J. Q. A. Ward is con- tinued with a more positive artistry by Edmond T. Quinn, whose work until recently has been chiefly in portraiture. Born at Philadelphia in 1868, he was a pupil of the Pennsyl- vania Academy, and later of Injalbert in Paris. Quinn has produced his best work in two recent monuments, the Edwin Booth of Gramercy Park, New York, and this Victory. An objective sculptor with a reverence for his subject rare in recent art, Quinn has found in this worn figure, compounded of the Parthenos and Jeanne d’ Arc, the deepest and truest note so far sounded in our World War memorials. There is in it the lassi- tude which pervaded Europe and America in the period succeeding the armistice — the sadness of a victory which counted the costs. The happy influence of Saint-Gaudens on our school is seen not merely in the fleet- ing resemblance of the figure to the master’s Peace of God, but also in the - ee o stark contrast of sculptur e and wall. 344 ~~ quim’s Victory, bronze, for the World War Memomal: New Rochelle, N. Y. ae tt SCULPTURE SINCE THE CENTENNIAL 211 ALEXANDER STERLING CALDER, N.S.S., N.A., N.LA.L. Tr is far from such self-contained work to the florid energy of the late A. Stirling Calder. However, both moods are valid. Calder strove to give reality to the somewhat theatrical vehemence of the French school, and if he did not wholly succeed, at least he achieved his own expression. Born at Philadelphia, in 1870, the son of a Philadelphia sculptor, Calder began his studies at the Pennsylvania Academy, and continued them with Chapu and Falguiere in Paris. He had charge of the sculpture at the Panama- Pacific Exposition at San Francisco, contributing to that display his Fountain of Energy, an acrobatic nude on horse- back supporting two winged genii on his shoulders. He resembles Mac- monnies in muscular accent and move- ment, but reflects a more contemporary Parisian fashion of loose pictorial composition. 346 Weinmann’s General Macomb, bronze, at Detroit, Mich. SS = 345 Calder’s Depew Memorial Fountain, bronze and mar ADOLPH ALEXANDER WEINMANN, N.SS., N.A., N.LA.L. Tur making of commemorative medals and plaquettes occupies some of our ablest modern sculptors. Most of them are also excellent in portraiture, as would be expected, and some in larger sculptures. Such is the case with Adolph A. Weinmann, perhaps our foremost medalist. Weinmann was born at Karlsruhe, Germany, in 1870 and came to the United States at the age of ten. Having served an early apprenticeship in ivory and wood carving, Soc ‘ble, Indianapolis, Ind. Weinmann later worked under Saint-Gaudens at the Art Students’ League. An artist of powerful line, Weinmann carries the unhesitating precision evinced in his medals into monumental sculpture. The virile movement of his silhouettes has significance as well as authoritative beauty. (See also No. 367.) 347 Bronze Plaque by Brenner for the fiftieth anniversary of the University of Wisconsin 212 THE PAGEANT OF AMERICA VICTOR DAVID BRENNER, N.S.S. Except for an occasional portrait bust and a fountain ‘at Pittsburgh, Victor D. Brenner has usually stuck to his specialty of the medal and small relief. In this field he is an acknowledged master. He was born at Shavely, Russia, in 1871, and got his early training from his father, a Russian Jewish seal engraver. Brenner also studied under Ward in New York and with Roty in Paris, the famous medalist, the most robust and the most delicate of masters. This may have favored a rare combination of quali- ties of good relief in miniature in Brenner’s work, namely, clear contours that neverthe- less coax the light and shade, and an economy of forms with sufficient area left to the un- worked field. HENRY MERWIN SHRADY, NS5., A.N.A., N.LA.L. Tue old naive realism that comes down from Rush never completely surrenders. One finds it vigorous in such a recent sculptor as Henry M. Shrady. He was born in New York City in 1871 and died in 1922. Shrady died just as his one great work, the Grant Memorial, was completed. Completely self-trained, Shrady was primarily an animal sculptor, of unrelenting realism which gives great force to his horses in movement, as compared with the decorative or impressionistic effects sought by others. Extended to the inanimate detail of uniforms and accoutrements — to say nothing of the accurate but stationary gun carriage — such realism becomes merely photographic. 348 Shrady's Artillery Coming to Halt, bronze, for the Grant Memorial, Washington ~. vre* S plaice tal eee a ee Be en ee ee a ee os 5 ee es i ee ee ee, a ae ae ee eee ee ee eT SCULPTURE SINCE THE CENTENNIAL 213 BESSIE POTTER VONNOH, N.S.S., N.A. Bessie Porter VoNNoH who was born at St. Louis, Missouri, in 1872, is perhaps the ablest of a number of American women artists who have worked in small sculpture on familiar themes. THE PAGEANT OF AMERICA 2 rhs) rhs) 365 Malvina Hoffman's The Sacrifice, marble, for the Harvard War Memorial, now in the Cathedral of St. John the Divine, New York MALVINA HOFFMAN Tue criticism of many of our woman sculptors that they are deficient in energy does not apply to Malvina Hoffman. Her early work had the unabashed physical exuberance of Macmonnies. The French Government paid her the honor of buying work of this sort. Latterly she has followed the trend toward abstraction. She was born in New York City in 1887 and trained under Gutzon Borglum and Rodin. Malvina Hoffman has here, in the Harvard War Memorial, advanced in Modernism beyond her teachers to the architectural simplifications of the Germans, Lederer and Metzner. The kneeling mother is perhaps too particularized to assist the generalization; and not enough so to add a note of poignancy. ANTHONY DE FRANCISCI, N.S. WE close our rapid survey with one of those new Americans whose art has grown modestly and surely out of a background of sound artisanship. Anthony de Francisci was born in Italy in 1887. A garden sculptor of the Italian marble cutter school, De Francisci’s medals are far superior to his statues. They lack the sharp definition with which Weinmann exacts full value for every contour, but avoid the sketchiness whereby many ; sculptors confuse me- dallic art with low relief. His power lies in a justly balanced composition and a nice sense of the part to be assigned to the vacant field. Wein- mann’s low relief shows the schooling of Saint- Gaudens, who lifted American bas-relief to a leading rank in art. He more than other pupils has absorbed the master’s effective sense of scale. 366 De Francisci’s crew medal, for the 367 Weinmann’s Medal- Vail Award British-American cup s a ae | ere oe, eS CHAPTER XIX REPRODUCTIVE ENGRAVING LTHOUGH the various processes of engraving have always been used as a means of direct artistic expression, their main use has been for reproduction, the engraver copying and multiplying another man’s designs. This was em- phatically the case in Europe toward the end of the seventeenth century, when the printed picture made its first timid appearance in the British colonies of America. Eng- land, moreover, was very backward as compared with the European continent, and the British colonists were naturally still more backward. Until the nineteenth century, the few American engravers were mostly amateurs or silversmiths who on occasion passed from engraved ornament and lettering on metal to feeble pictorial design. Here the chief exception is Peter Pelham, a professionally trained mezzotinter who came to Boston in 1727, but evidently was unable to maintain himself by his art, since, in 1738, we find him teaching ‘Dancing, Writing, Reading, painting upon Glass, and all kinds of needlework.”’ From the year 1800 all sorts of engraving were practiced in America with professional competence, chiefly as a means of reproduction. Artist engraving, or better painter- engraving, is rare before 1870, and not really common until 1890, when photo-mechanical engraving relieved the manual processes of their immemorial task of reproduction. These facts dictate our general divisions. First, for convenience, the colonial period up to 1800 will be briefly sketched, then reproductive engraving will be traced by proc- esses until their supersession by photo-engraving. Painter-engraving, again treated ac- cording to processes, will naturally claim a special section. I shall depart from this classification to the extent of treating such special subjects as book and magazine illus- tration separately, as well as political and social caricature. Here clarity will atone for apparent repetition. Before proceeding, a word on reproductive engraving in general is essential. At all times the greater number of printed pictures have served a utilitarian purpose, so the making of them should be regarded rather as a fine trade than as an art, narrowly speak- ing. In America the majority of printed pictures have been made by or for commercial firms. One must remember that the stamp on a blacking box and the label on a pickle bottle are just as much prints as a painter-etching or a lithograph. The thing becomes art not by virtue of its destination but by virtue of beautiful design and execution, quite as, for the same reason, a state paper or a commercial report might be good literature. The study of our colonial engraving belongs rather to antiquarianism than to art. Our colonial printed pictures were few and mostly by untrained engravers who, to meet a commemorative or patriotic emergency, dropped other tools for the graver or burin. The following explanations of the different forms of engraving early in use in America may be helpful. Woodcutting is usually executed by drawing, later by photographing the design on a polished block of boxwood cut across the grain. If the design is in lines, the interven- ing wood surface is cut away by an instrument of triangular or lozenge section called a graver. This is pushed by the ball of the hand, or, more usually, the block is pushed against it. When the lines are cleared and brought into relief, the block is inked and a reversed impression may be obtained by pressing paper upon the inked block. Since the 223 224 THE PAGEANT OF AMERICA wood block is in relief it can be set up with type and printed at the same time. This, with ‘ts rich blacks, which harmonize with the type face, make it the ideal method for book illustration, especially that of a decorative kmd. When the design is not in lines, but in tone, the tones must be translated by the woodcutter into areas of parallel or crossed lines. This translation, which involves technical difficulties and great drudgery, was later effected more handily by the white-line process which will be later described. Line engraving is executed on copper or other suitable metal, by grooving out the lines of the design with an instrument of triangular or lozenge section called a burin. It is pushed by the hand and the deeper lines must be gone over many times. The burin raises a roughness or “burr” along the lines which is generally polished away. ‘The plate is then covered with printers’ ink and wiped clean, leaving the ink in the engraved lines. To print, a wet sheet of paper is laid on the plate, and the two are run through a roller- press under heavy pressure. This drives the paper into the inked lines, and when the paper is pulled away from the plate it brings away the ink and the reversed design with it. In the nineteenth century the engraved copper was often electroplated with steel for greater durability or the engraving was executed on a steel plate. In line engraving the preparatory work is generally shortened by biting in the first lines with acid. Except that the dot instead of the line is the unit, stipple engraving is executed like line engraving. The dot, or rather the depression which holds the ink and makes the dot, may be engraved by flicks of the burin, by special punches, or lines of regularly spaced dots may be made with a toothed wheel called a roulette. The effect is rather light and powdery and lends itself to coloring. If this is effected by carefully painting the plate with colored inks and printing, we have a color print. A colored print is one that is printed black and then colored by hand. Mezzotint is a method of engraving in tone instead of lines. Usually the entire surface of a copperplate is roughed with a toothed instrument called a rocker. The plate will now hold ink and print uniformly black. Where middle tones are wanted, the roughness is somewhat smoothed down by a scraper or burnisher. These passages hold less ink and print lighter. Where white is desired, the plate is burnished smooth. The printing is as in engraving, but with less pressure. The method of drawing may be described as negative, the lights being taken out and the darks left, whereas other forms of engraving may be regarded as positive, the lights being left and the darks put in. However, by drawing directly with the rocker and leaving the lights, a positive method is possible also in mezzotint. The mezzotint plate may be steeled, with some loss of richness. Aquatint was invented in France about the middle of the eighteenth century, to cope with the difficulty of reproducing wash drawings, and as a means of color printing. The copperplate is covered by granulations of resin and put in the acid bath which bites into the copper exposed between the dots of resin. Or the plate can be mechanically pitted, as by running it through the press with sandpaper. The rather loose and uniform granu- lation thus produced can be scraped or burnished away after the fashion of mezzotint. Etched lines may be added if desired, and a color print may be made by carefully coloring the plate or superimposing colors by printings from several plates successively. More often the print was colored by hand. This and lithography are the most flexible of the old reproductive processes, and their refinements of copyism have hardly been surpassed by photo-engraving. In preparing this study I have freely used an unpublished manuscript by William M. Ivins, of the Metropolitan Museum. He also selected about three-quarters of the illus- trations. Without so substantial a nucleus, I should hardly have ventured upon a study as difficult and perplexing as it is interesting. To Dr. Frank Weitenkampf of the New York Public Library, apart from the aid of his indispensable book, American Graphic Art, I owe many suggestions and repeated courtesies. a a ti REPRODUCTIVE ENGRAVING 225 R Te homdus MoAkir "ge Ramnts aft 368 From the woodcut of Richard Mather in Green, John Foster, the Earliest American Engraver, Boston, 1909 THOMAS EMMES Tue first American line engraving on copper (see technical explanation, page 224) was also of a Mather, the Reverend Increase Mather, Richard’s more famous son. Concerning Thomas Emmes, who unhandily scratched the portrait on copper after an earlier print, and signed it, we have no information. It was used as a frontispiece for Increase Mather’s tracts, Ichabod and The Blessed Hope, in 1701 and 1702. To his distinguished subject, the engraver did scant justice. In capacity and success Increase Mather compared well with the contemporary diplomat prelates of Europe. Aside from being a valued preacher and theologian and President of Harvard University, he had for years served his colony at London as Commissioner to the throne, and in this function had won the confidence of two kings and of the Protector Crom- well. Little of this patrician career is suggested in Thomas Emmes’ engraving, but other and better likenesses tell the story eloquently. (Vol. XI, No. 32.) There was small chance for the develop- ment of the arts in seventeenth-century New Eng- land, whose population was mostly farmers clus- tered in tiny villages and busy with clearing the forests or freeing the soil from roots and stones. Farmers and fishermen struggling hard to make a living for themselves and families were not likely to develop into artists. JOHN FOSTER A RUDE woodcut of the Reverend Richard Mather is, so far as we know, the first engraving of any sort to be mate in the British colonies in America. It was cut asa frontispiece for an obituary pamphlet published in 1670. The engraver was a young Harvard graduate and school- master, John Foster, who was born in 1648 and died in 1681. He was a parishioner of Mather’s at Dorchester, and the crude portrait must be regarded as the tribute of an amateur to a beloved pastor. Foster apparently had as his exemplar the equally unskillful painting now owned by the American Antiquarian Society, at Worcester, Massachusetts. At least, his untrained hand was guided by much good will, for something of the gentle, timorous and self-distrusting character of the first of the Mather divines transpires from the rude effigy. In 1674, John Foster set up the first printing press in Boston, and his name is associated without much certainty with early map-making in the colonies. He represents the willingness and indeed the need of the pioneer craftsman to lay his hand to any sort of task. (See Vol. XI, No. 20.) 369 From the line engraving of Increase Mather in Mather, The Blessed Hope, Boston, 1701, courtesy of the Metropolitan Museum of Art, New York 226 THE PAGEANT OF AMERICA a le wes 2 U df ve BME EE EB CLES é Muba tis Sure EXV, MBCENNVIT 370 From the mezzotint portrait of Cotton Mather in the New York Public Library NATHANIEL HURD For more than thirty years after Pelham’s death there was no good portrait engraving in the colonies. However, the con- tinuity of the engraver’s art was feebly kept alive by the silver- smiths. In their own art they were as a class admirable designers. They all understood chasing and engraving on metal, and many of them made bookplates or tradesmen’s cards, while some oc- casionally undertook an illustration, a portrait, or even a carica- ture. The Bostonian, Nathaniel Hurd, 1730-77, is fairly char- acteristic of the lot. His bookplate in elaborate rococo style for James Wilson shows that Hurd was no bad ornamentist and a light hand with the burin. He did as well a portrait, an illustra- tion of a hanging, a masonic certificate, a form for a military com- mission, and one for a Massachusetts bond. In short, his activi- ties were very much those of a modern stationer-engraver. The Boston of Nathaniel Hurd was one of the most important shipping and trading centers in the colonies. The sea-trade had brought wealth to many of its citizens. The existence of Harvard college in Cambridge helped to stimulate its intellectual life. In such a community a craftsman like Hurd would have enough calls on his skill to make it possible for him to devote all his time to his en- graving. Only under such conditions could skill develop. PETER PELHAM Ir was again a Mather who was com- memorated in the first mezzotint (see technical explanation on page 224) scraped in America, in 1727; and with it we reach at last a professionally competent work. Peter Pelham made it from his own characterful portrait of the Reverend Cotton Mather, catching adequately the somewhat pompous be- nignity of the famous divine and church historian in his sixty-sixth year. It was the first framing print made in the colonies. In England, Pelham had en- graved twenty-three portraits, and there he must have enjoyed a certain con- sideration, for he was permitted to paint and engrave the children of George II. During the twenty-four years of his activity at Boston until his death in 1751, he scraped fifteen portraits and a large view of Louisbourg. Copying usually his own competent portraits or those of Smibert, he prepared the way - for better work than his own toward the end of the century. Pelham is our first professional maker of printed pictures. In his time New England was a well developed community with many towns whose history ran back a hundred years. o- Pr f7la oy ide Coady Pea’ o——— oe a y) a ay 1 o ff . 4 ; ¢ f ake From the bookplate of James Wilson sir the Metropolitan Museum of Art, New York 3 Js, < dit te ee ee REPRODUCTIVE ENGRAVING PAUL REVERE Tue illustrious patriot, Paul Revere who was born at Boston in 1735 and died there in 1818, was as good a silversmith as Hurd, but a much poorer engraver. His father, son of a French Huguenot who settled in Guernsey, emigrated to Boston where he worked as a goldsmith. The son acquired a taste for drawing and engraving designs on silver. His most famous plate, that of the Boston “Massacre” of 1770, is possibly his worst, though its political effect was doubtless considerable. Henry Pel- ham claimed the credit for the design, and it seems likely that in the interest of patriotism Paul Revere did not shrink from plagiarism. (See Vol. VIII, No. 177.) Since the engraving is undoubtedly his, the plate appro- priately finds its place here. It is fair to say that Paul Revere signs himself merely as engraver. Among his other prints the most interesting are por- traits of John MHancock, Samuel Adams and King Philip; caricatures concerning the Stamp Act (see Vol. VIII, No. 134), and views of Boston, including one of Harvard College. 227 _The Biroopy Massacre pepetatedin Kingeds reek BOSY QV onMorh§4in oby aparty of the 295 REG T Eucravd Prmted > Solghb UnhappyBostow! fee thySons deplore, If ealding drops fromRage fiom Angi Thyhallowd Walks belineard with guiltic{kGore: [I {peeclels Sorrwws lab ring fara Tongue. While faithlefsP—1 and@hisfavageBands, ovaffa weeping World ciuaught appeate With nmrdrousRoncour flretch their bloodyHands;|The plaintiveGlofts of Vidinis fuch as thefe: 'f LikefierceBarbanans gnmmg or thewFrey: ‘ ; hePatriotis copmuséars for each are fhed. Approve the Camage,md enjoy the D ay Sloriatis Tiibute which embalms the Dead . {Shall teach aJupor whe never canbe bili. | She eenheyyty by tad were AML Sas! Gray SamiMaverick, Jam £C aLpwEu Crispus Arruckis ¥ Par*Cane Milled Sex 2v00aede® two of there. (Cunsst? Mons vJororC1.anx) Movie Vm, 372 From the original engraving The Bloody Massacre, etc., in the New York Historical Society PETER RUSHTON MAVERICK In New York the fashionable engraver was Peter Rushton Maverick, who was born in 1755 and died in 1811. His skill was slight enough, as may be seen from the bookplate of John Keese. The classical urn in a garland dates it near the year 1800. His son, Peter Maverick, was a line engraver of greater ability and had the distinction of teaching A. B. Durand (Nos. 382, 390) and of being an original member of the National Academy of Design. There were two other sons, Samuel, an engraver, and Andrew, a print seller. The elder Maverick was kept fairly busy in engraving book illustrations, but nothing of his work except that which grows out of his activities as a silversmith, mostly bookplates, has even minor artistic interest. When Maverick was twenty-one years old, there began the British occupation of New York which was to continue some seven years. The provincial town therefore became familiar with the ways of the British gentry represented again and again among the officers. This was an important cultural contact and must inevitably have helped to shape fashions in such things as the Maverick bookplate. 373 From the bookplate of Jonn Keese in the Metropolitan Museum of Art, New York 228 THE PAGEANT OF AMERICA 4p Ly Gs Plate La a We ot cco the wae anadeere Gig tinea Povinca Lae “ Ae i ‘PPrerinaal Company at albainglon. 6 Ske Fade . 374 From the line engraving The Battle of Lexington in the Lexington (Mass.) Historical Society 375 From a furniture maker’s label by James Smither in the Library Company of Philadelphia, Ridgway Branch lerytanies om the road Yo Con cope ae Lexung ton AMOS DOOLITTLE STILL another silversmith-engraver was Amos Doolittle, born in Cheshire, Connecti- cut, in 1754. He was a soldier in the Con- : tinental Army, and his best-known engravings are four large and crudely executed prints of the battles of Lexington and Concord, published in 1775 after Ralph Earl’s designs. After the war he was a fairly prolific pur- veyor of little portraits and architectural views to the magazines and of illustrations, mostly pirated from English sources, for the book publishers. He lived on to see the dawn of the golden age of American engrav- ing. He died at New Haven in 1832. (See also Vol. VI.) A TRADESMAN’S CARD Mucn engraving at this time and well into the new century was devoted to tradesmen’s cards. These varied from simple lettering to very elaborate ornamented designs such as the commercial card engraved by James Smither of Philadelphia, an Englishman who came over in 1773, of a well-known Philadelphia furniture maker and dealer. In our own time we have seen a return to this artistic form of advertising in the calendars and booklets issued by certain fashionable purveyors. nat os 2 a, REPRODUCTIVE ENGRAVING 229 EDWARD SAVAGE AFTER the Revolutionary War, there was a notable re- vival of engraving, mostly of English inspiration. Since the results were manifest in the new century, we need: here mention only Edward Savage, the first generally resourceful engraver of American birth. He was born at Princeton, Massachusetts, near Mount Ascutney, in 1761, and after a wandering life he returned to his native village, to die there in 1817. Passing from the silversmith’s trade to portrait painting, he went to London and learned mezzotint, and the new processes of stipple and aquatint. In London, from 1791, he began with Knox and Washing- ton that notable series of Revolutionary generals and statesmen which he continued on his return to the United States about 1794. He worked in Philadelphia, where he painted a panorama of New York and Boston. Despite his generally admitted talent, he was little employed, his prints running only to twenty. They are mostly after his own paintings, are in every method then practiced, and include, beside portraits, such subjects as the sea fight of the Constellation and L’ Insurgent, The Eruption of Mount Etna and Inberty as Goddess of Youth. His austere and S76 ortralt, 1792 wot Gorge, Washington, in the Metropolitan : : Museum of Art, New York understanding style closes creditably the not very glorious chapter of early American engraving in which the interest is more antiquarian than artistic. Such are the main features of the very modest annals of our graphic figure design at a moment when English engraving was at its best. Yet the Americans of the seventeen nineties, even if they were producing nothing of consequence, were buying the prints of Hogarth, Sir Robert Strange, Thomas Watson, J. Raphael Smith, Richard Earlom and Thomas Stothard, and a few were reading French books with admirable illustrations engraved by Gillot, Cochin, Gravelot and Le Mire. All this, with the habit of European travel resumed and increased after the Revolution, effected an improvement in general taste which insured for the new century a marked advance in the practice of all the arts and especially in that of the printed picture. JAMES BARTON LONGACRE Epwarp Savace had firmly established stipple engraving as a fit medium for small portraiture. He lived to see such successors as Peter Maverick and W. S. Leney prac- ticing it acceptably in the early years of the new century. But the prominent engraver here is James Longacre. Born of Swedish stock in Pennsylvania in 1794, he was at twenty-one obviously the most brilliant engraver employed on Delaplaine’s Repository of the Lives and Portraits of Distinguished American Characters, Philadelphia, 1815. His stipple portraits of Benjamin Franklin, after Martin, and of the soldier-architect Alexander Macomb, after Sully, have an energy rare in the medium. Delaplaine’s was not supported, and stopped publication, being artistically ahead of its times. But it left young Longacre well launched. He was to do more than two hundred portraits of American statesmen, authors and military leaders. For the period between the War of 1812 and the Mexican War he is by far our most important single source of information. At New York, with James Herring, between 1834 and 1839, Longacre published The National Portrait Gallery of Distinguished Americans, the best collection of the sort that we have produced. It was virtu- ally the culmination of his brilliant career, for in 1844 he became engraver to the United States Mint, drudging there for twenty- 377 cheers the arr’. a ttee = hes ee i Benjamin Franklin by artin, in Delaplaine’s Re- s : “ 4 pository, Philadelphia, 1815 five years until his death at Philadelphia in 1869. 230 THE PAGEANT OF AMERICA / 378 From the stipple and colored etching Sedgley, the Seat of Mr. Wm. Crammond, in The Country Seats of the United States of North America WILLIAM BIRCH STIPPLE engraving (for technical explanation see page 224), a feeble medium in most hands, soon ceased to exist as an independent method, becoming an expedient for producing tone in designs first made in line. As early as 1808, William Birch was using stipple to shade the little etchings which he published under the title Country Seats of the United States of North America. 'The prints are generally hand-colored, and, without pretensions as art, give a pleasant impression of the country homes of our early American magnates. Birch was born in Warwickshire, England, in 1755, made promising beginnings as an engraver in London, came in 1794 to Philadelphia, where, besides engraving many views of the city, he made portrait miniatures in enamel. He died there in 1834, leaving a son, Thomas, who had already gained repute as a painter of our naval victories in the War of 1812. William Birch seems a case of a fairly able engraver who went off badly under the de- 379 From a stipple and line engraving after the ine 1832, of N. P. Willis by or eer ae in N. P: Willis, Sacred Poems, New York, pressing effect of hackwork in provincial conditions. JOHN HALPIN Ir is unnecessary to trace stipple engraving through the mixed styles, mostly bad, to its end about 1870, when it yielded to the improved wood engraving. It was chiefly used as a means of softening line engravings which were already too soft. One may trace it through the gift annals from about 1830 to the Civil War and thence to its end in the sleek and sentimental illustrations of Godey’s Lady’s Book. Occasionally the mixed manner produced unexpectedly handsome results, as in John Halpin’s portrait of N. P. Willis after Greenough’s bust. The flesh is stippled, the rest worked in line. Of John Halpin we have little information except that he practiced his art in Russia and was active in New York from about 1850. Al- though by a kind of accident stipple had the priority over line engraving in America, line engraving here as elsewhere was, until the improvement of the woodcut, the chief method of fine reproduction. Apart from its multifarious use in illustra- tion and commercial work, it served chiefly for portraiture and for copying paintings. Up to the popularization of pho- tography in the late 1860’s, the person of taste ordinarily had steel engravings on his wall for his pleasure and in his port- folio for his studies. ——— REPRODUCTIVE ENGRAVING 231 JOHN NEAGLE, N.A. (hon.) NaTuRALLyY the best talent of the engravers was ap- plied to what was reckoned the finest and most serious branch of the art. Ingenious ways were invented to multiply plates from a steel cylinder, and, unhappily, ruling machines and lathes, hand or even machine driven, eventually hastened the line engraver’s very slow and laborious task. But before the resultant de- cadence of the art, a very creditable chapter was to be written. It opens auspiciously with patriotic commem- oration. The portraits in Delaplaine’s Repository, 1815, were mostly in the favorite stipple. But three were in line, of which two were by the young Englishman, John Neagle. His was a dry but competent hand, as one may gather from his portrait of President Jefferson. Neagle was born in 1796 and trained by his father. He came while still young to Philadelphia, dying there in 1866. 380 From the line engraving after the portrait of Thomas Jeffer- son by Bass Otis, in Delaplaine’s Repository, Philadelphia, 1815 LONGACRE’S ENGRAVING OF DANIEL BOONE WHEN, in 1834, Delaplaine’s was reissued and enlarged as The National Portrait Gallery, stipple had passed out of fashion, and most of the added portraits were in line. Even the editor, Longacre, now occasionally worked in line and used it as an auxiliary in his very picturesque likeness of the pioneer and explorer, Daniel Boone. 3 381 From the stipple and line engraving after the portrait of Daniel Boone by Chester Harding, in The National Portrait Gallery, Phila- delphia, 1834 ASHER BROWN: DURAND, N.A., P.N.A. Amone the additions in The National Portrait Gallery were eleven portraits in line by Asher Brown Durand, representing the highest American achievement in this field. It is hard to imagine anything more vivid than the figure of the New Jersey Revolutionary leader, Major Aaron Ogden. And here one may note that, brilliant and faithful as Durand always was when copy- ing the portraits of others, he surpassed himself when, _ as in this case, the exemplar was his own. Durand’s life has been treated earlier (Nos. 42, 68), and we shall have - ° s 382 From Durand’s line engraving after his portrait of Major to return to him as a master of the framing print. Aaron Ogden, in The National Portrait Gallery, Philadelphia, 1834 232 383 From the line engraving after a daguerreotype of Henry Inman, in C. York, 1846 Edwards Lester, The Artists of America, New THE PAGEANT OF AMERICA CHARLES BURT WuEN the National Portrait Gallery, greatly enlarged and brought down to date, was reissued in 1856, the numerous additions tell the story of the decline of line engraving. The portraits from the first edition are emphatically the best. The new portraits are largely in ill-understood mixed methods, and some show the levelling trace of the ruling machine. During the decline some excellent por- traits were still cut in line. One may signalize here Charles Burt’s spirited portraits for C. Edwards Lester’s The Artists of America, New York, 1846. The style is vigorous and sketchy, the preparatory etching being left to do much of the work. Burt, born in Edinburgh in 1823, came to America in 1842, and died in New York in 1892. He is best known for his large plates after the genre paintings of William Mount, but he readily turned his hand to any form of engraving including that of bank- notes. The ominous legend “after a daguerreotype,” scratched under the portrait of Inman, reminds us that line engraving was waging a losing fight not only with such more facile methods as mezzotint and lithography, but also with photography. There remained still a long history for the line-engraved portrait, but chiefly as a commercial sort — in the encyclopedia and on the banknote, on the postage stamp, and in the biographical books on local celebrities. WILLIAM EDGAR MARSHALL Happiny, a few men of talent loved line engrav- ing enough to keep it faintly alive as an art. The best of these was William E. Marshall, who was born in New York in 1837 and died there in 1907. His careful and understanding work gradually built up for him a well deserved popularity. He was indeed the last American line engraver to make a public impression. Originally trained as a banknote engraver, he studied portrait painting in Paris and there exhibited in the Salon. He is known for his few carefully studied engraved portraits, most of which are after his own paintings. His James Fenimore Cooper of 1861 is one of the best. His Longfellow and Grant and Lincoln (1866) have become standard, and widely known, the Lincoln especially so. For Beecher’s Life of Jesus the Christ, 1871, Marshall executed a head of Christ after Da Vinci and later produced another conception of his own, first modeling the head in clay and also making a cartoon sketch from which his engraving, of colossal size, was produced in 1880. Some survival of the stiffness of the banknote style places Marshall lower as an executant than Durand, but he remains one of our most serious and impressive masters of line engraving. There is little to regret in his work save its much too limited extent. 384 From Marshall’s line engraving after his portrait of Abraham Lincoln, in the Metropolitan Museum of Art, New York J REPRODUCTIVE ENGRAVING 233 THE LARGE PATRIOTIC PRINT Tue large framing print in line began in the serv- ices of patriotism. John Trumbull’s admirable Revolutionary _battle- pieces, though engraved abroad, were preparing theway. American naval successes during the War of 1812 were duly cele- brated by the engravers. Indeed, enforced isolation from England, the center ___ of fine print-making, of- fered opportunity to our own talent. Among the many Marine pleces painted by Thomas Birch _ we select the United States and Macedonian, pub- > lished in 1813. It was 385 From the line engraving, 1813, after the painting United States and Macedonian by Thomas Birch, courtesy of Kennedy & Co rather mechanically en- ____ graved by Benjamin Tanner, who was born in New York in 1775 and died at Baltimore in 1848. It shows that the average practice was improving. Line engraving in America fairly reaches its majority with Asher __ B. Durand’s fine print of 1820 after Trumbull’s The Declaration of Independence (Vol. VIII, No. 235). It abounds in ingenious formulas to suggest texture and even color. It need only be mentioned here for its ex- cellent quality as engraving and for its just popularity. Of the vast number of patriotic framing prints it is ___ the only one that does not look too old-fashioned on a modern wall. It was the harbinger of a succession of patriotic prints, civic or military. Deathbeds of statesmen, famous congressional debates, conferences, battles were the chief categories. The work was fairly creditable, but the stream showed no tendency to rise above its fountain head in Durand’s Declaration. A POPULAR PRINT AFTER DURAND’S PAINTING SUFFICIENTLY characteristic of the class is a line engraving of 1845 after Durand’s painting The Capture of Major’ André. No less than three hands worked on the steel, Alfred Jones (1819- 1898) for the figures and James Smillie and Hinshelwood’ for the landscape. Born in Scotland in 1807, James Smillie came to New York in 1829. He had had good English training and became the successor in public esteem of Durand. He was elected to the National Academy and died in Poughkeepsie, New York, in 1885. 386 From the line engraving after the painting The Capture of Major André by A. B. Durand 234 THE PAGEANT OF AMERICA THE LANDSCAPE COLLECTIONS In popularizing the best American paintings line engraving rendered amore valuable and permanent service. Here Asher B. Durand is doubly a pio- neer — in the figure and in landscape. His six prints in The American Landscape, 1827, set a standard which the many subsequent and more suc- cessful landscape collec- tions never reached. His Ariadne (No. 390) of 1835, after Vanderlyn, is still the best American line engraving, and won distinction in Europe when the art was at its high point. In both cases Durand had admirable originals. Thomas Cole and Durand himself were exceptional landscapists. Wanderlyn had added to native talent the severe training of the French schools. Let us follow separately the two lines of landscape and figure painting. Durand’s print after Cole’s Winnepesaukee established a type. Everything is minutely rendered; extreme lights and darks are sacrificed to a general pearly gray. The burin line performs the miracle of simulating a delicate wash. One may guess that Finden’s incredibly delicate transcripts from Turner’s water-color vignettes set a fashion hardly robust enough for the larger plate. OTHER LANDSCAPE PORTFOLIOS Te American succession in engraved landscape is chiefly in illustration, but there were separate plates after Cole, as later after Bierstadt, F. E. Church and Thomas Moran. From the Civil War, landscape albums of widely varying merit abound, popularizing the pictures of the Hudson River and Heroic schools. One of the most charming of these col- lections is The Home Book of the Picturesque, published by Putnam in 1853 and reissued as A Landscape Book in 1868. Among the artists are Durand, J. F. Cropsey, T. A. Richards and R. W. Weir. John Halpin, H. E. Beckwith and James Smillie, sometimes after his own designs, are the chief engravers. The little prints, often vignetted in the. English fashion, are beauti- fully printed on India paper. Our cut shows a rarity for its moment, a winter scene by Régis Gignoux best remem- bered as the master of George Inness. (See also No. 70). if US {hap Oe Ji. rea . = t ae 387 From Durand’s line engraving after the painting Lake Winnepesaukee by Thomas Cole, in The American Landscape, 1827 Gene eie 388 From Halpin’s line engraving after the painting Housatonic Valley by Régis Gignoux in A Landscape Book, New York, 1868 REPRODUCTIVE ENGRAVING 235 PICTURESQUE AMERICA THE swan song of land- scape line engraving was ambitiously if not sweetly sung in the two portly volumes of Picturesque America which the Apple- tons published in 1872, under William Cullen Bryant’s editorship. Noteworthy for its wood- cuts, which must later occupy us, the collection marks the senility of American line engraving. Everything is slicked and _ ago From Hinshelwood’s line engraving after the painting Smoky Mountains, North Carolina, blurred, the ruling ma- y Homer D. Martin in Picturesque America, New York, 187 chine executing passages too fine for the hand and eye, and painfully mechanical. The great popularity of the book is a sufficient commentary on the taste of the moment, for it is to be feared that it sold rather for its bad steel engravings than for its excellent woodcuts. The leading engraver, Robert Hinshelwood, is a good type of the general utility engraver toward the end of the art. He was born at Edinburgh in 1812, came to New York in 1835, where he married a sister of the engraver, James Smillie, whose designs he often reproduced. DURAND’S MASTERPIECE Duranv’s Ariadne after Vanderlyn and Musidora after his own painting, both published in 1835, were landmarks in several ways. They were Durand’s farewell to an art he had graced; they secured for the nude its place in our sun, they set a high standard for the art of reproductive line engraving. After nearly a century, the Ariadne still seems to deserve the encomiums with which it was greeted. It is throughout executed with a gentle strength, it is well unified without sacrifice of the rich darks, it is atmospheric in the landscape through wise utilization of the preparatory etching, it is broadly modeled and most gracious in mood. It was a calamity for American line engraving when Durand quit such work as this for forty years of mediocre land- scape painting (No. 68). However, Durand may have had a just sense that he was quitting an art which, having reached its height, was sure to de- cline in favor of an art only at its beginnings. And it is fair to say that Durand’s service as a pioneer in our landscape is hardly less important than his fuller accom- ee . Rig, vB . we ore ee re Rts aoe ‘i plishment as an engraver. 390 From Durand’s original copperplate, 1835, after the painting Ariadne by John Vanderlyn, courtesy of the United States National Museum, Washington XII—16 236 THE PAGEANT OF AMERICA ¥ STEPHEN ALONZO SCHOFF However, he had left a good example which, according to their abilities, his successors en- deavored to follow. A few plates were cut after pictures in the academic style by Vander- lyn and Daniel Huntington. Of such Stephen A. Schoff’s engraving after Vanderlyn’s Marius Amid the Ruins of Carthage is character- istic. The picture was painted at Rome and won the gold medal of the French Salon in 1808. The engraver was born in Danville, Vermont, in 1818, studied with Delaroche at Paris, and became skillful in every form of en- graving. He died at Brandon, Vermont, in 1905. Marius was issued in 1842 to the mem- bers of the Apollo Association. This organiza- tion, which soon became the Art Union, for some twenty years did a very useful work in encouraging American painting. It bought pictures and raffled them off to its members, it gave annually to its subscribers a print after an American painting, it conducted ably an _ Art Bulletin, the first of its kind in America, ‘ which offered not only considerate criticism of our own art, but also valuable extracts from the current criticism of England. Eventually, the Art Union and its Philadelphia namesake ran foul of the anti-lottery act, and their useful 391 From the line engraving, 1842, after the painting Marius Amid the 3 Ruins of Carthage by Joba Vanderlyn, in the New York Public Library work was prematurely suppressed. THE ART UNION GENRE PRINTS NATURALLY, such organizations had to consider popular appeal and their subscription lists. So their conces- sions to the grand style : wereexceptional, and their staple was the patriotic genre of T. H. Matteson, nicknamed from his sub- jects “ Pilgrim” Matteson, and the popular humor of William S. Mount and R. Caton Woodville. Such framing prints were widely circulated and though of slight artistic worth at least helped to popularize our native painting. Old ’76 and Young ’48 is obviously a print that would sell well among people still talking of the battles of the Mexi- can War. The mantel and furniture are typical of mid-nineteenth-century American taste. (See Vol. DL 392 From the line engraving, 1851, by J. I. Pease after the painting Old ’76 and Young '48 a = by R. C. Woodville, in possession of the publishers it te a ee ee Fd gti RL hg a Eg S. tJ a ee REPRODUCTIVE ENGRAVING 237 EDWIN DAVIS FRENCH BETWEEN 1820 and 1850 line engraving did a great service to American painting in the way of winning a public for the native school. Thereafter the art gradually decayed, partly from within through undue use of the mechanical banknote methods , — unhappily most of the line engravers were drawn into this drudgery — partly from outside causes. There had always been a formidable competition of better European engraving. It increased about the time of the Civil War. A little later, etching and wood engraving were proving themselves more flexible methods of reproduction. Then line engraving had educated its public away from itself. Well-to-do people of the 1860’s had learned to buy American paintings. Finally, the cost of line engraving forbade it the wide field of popular imagery where cheap commercial lithography reigned supreme. So line engraving dwindled about 1876 to the modest usefulness which it still retains to-day. To sketch this aftermath of a great art would be to study articles of familiar fine use — banknotes, postage stamps, letterheads, corporation bonds, membership certificates, diplomas, menus and bookplates. Only the last branch is of importance artistically. We must represent it by a single example of the work of our most prominent bookplate y eS | Bowe 393 Bookplate of Princeton University, line engraving with stipple, 1897, courtesy of the Librarian designer and engraver, Edwin Davis French (1851-1906). Like most of his colleagues, he studied intelligently the prints of the German little masters, and his bookplates, like their prints, are often rather marvels of firm and delicate craftsmanship than of fine design. Such is the case with the bookplate here reproduced, which is chiefly remarkable for its rich and vigorous ornament. It is unsafe to predict of any art that it has passed beyond the possibility of revival, yet it seems unlikely that reproductive line engraving will ever recover its lost prestige. Photogravure reproduces any sort of a graphic original with equal fineness and with far greater fidelity. So it seems that line engraving may with difficulty keep its present circumscribed position as a respected but generally neglected survival. 394 From the etching by Stephen A. Schoff after the portrait of Mrs. Adams by William M. Hunt, in the American Art Re- view, 1880 a REPRODUCTIVE ETCHING By the 1860’s reproductive etching (for technical ex- planation see page 253) was rapidly replacing line en- graving for framing prints. The fashion, as_ usual, came tardily to America in the late 1870’s. Etch- ing is so flexible a process that it readily lends itself to reproduction, but that task does not enlist its specific qualities. It is easy for us to see that the vogue of the reproductive etching had something artificial about it. Etching was a novelty and considered intrinsically pre- cious. However, there is something to be said for the fashion. The warmth and freedom of etching were more agreeable on the wall than the cold bleakness of line engraving. In any case, the phase of reproductive etching is so much a part of our history of taste that it must be briefly written. Many of the reproductive etchers had been already engravers in other methods who thriftily, and generally ably, tagged on to the new fashion. Such was the case with the veteran line en- graver, Stephen A. Schoff. It is hard to believe that this urbane interpretation of a Boston lady is by the same hand that some thirty years earlier engraved so mechanically Vanderlyn’s Marius (No. 391). 238 THE PAGEANT OF AMERICA JAMES DAVID SMILLIE, N.A. We have again to do with an engraver in James D. Smillie’s really brilliant etching after F. A. Bridgman, an expatriate American Orientalist of repute. It is extraor- dinarily light and luminous. Smillie had learned banknote engraving from his father, James Smillie. Gradually liberating himself from this work, he became one of the most versatile of our early etchers, a landscape painter of distinction, and a National Academician. Under wood engraving (No. 421) we reproduce one of his fine landscape designs. He was born in New York in 1833 and died there in 1909. Reproductive etching survived in portraiture after its vogue otherwise had waned. Jacques Reich’s minutely worked portraits of American statesmen, Wash- ington, Franklin, Jefferson, Lincoln and Cleveland, are almost of our day. 395 From the etching after the painting Lady of Cairo Visiting by F. A. Bridgman, in the American Art Review, 1880 JACQUES REICH Sucu a portrait as the Cleveland may seem to retain too much of the photographic character of its origmal. Never- theless, it is a memorable presentation of a massive person- ality, and it has taken its place in popular regard with Savage’s Washington (No. 376) and Marshall’s Lincoln (No. 384). Reich was born in Hungary in 1852. He was trained at the academies of New York and Philadelphia and in Paris. He died in 1923. 396 From the etching in Selected Proofs, New York Public Li- brary, after a photograph by Pach Bros., corrected by sittings from life. © 1906 by Jacques Reich THOMAS JOHNSON Anotumr etched portrait that has become standard is Thomas Johnson’s Walt Whitman. It is highly pictur- esque and very rich in the blacks. It conveys admirably the somewhat histrionic and professional geniality of the poet toward a world of camarados. Its free handling of the needle as compared with Reich’s engraver-like dryness may be noted, and as well the skillful handling of ink on plate to obtain tone. Thomas Johnson is better known as an excellent wood engraver in white line, but like many of the men of the 1870’s he readily turned his hand to any medium. In short, the mark of the decade in reproduc- foal Seeder: ave : tive work is that of a constantly improving craftsmanship OM ae Nace grr at a Cedtirg. se and a greater versatility. é REPRODUCTIVE ENGRAVING JOHN SARTAIN, MASTER OF MEZZOTINT Mezzorint (for technical explanation see page 224), notwithstanding its early introduction by Peter Pelham, was practiced only sporadically among us until John Sartain came from England in 1830. In particular, those big framing prints after famous contemporary painters which are the glory of the English school of engraving were virtually lacking here. Probably the fame of such mezzotinters as J. Raphael Smith, Richard Earlom and Charles Turner meant an impossible competition for the American engraver, while the abundant English supply must have amply met the quite limited American demand for fine mezzotints. Indeed, Sartain, who could have done it admirably, made few framing prints, and those mostly small. You must seek his more than fifteen hundred engravings, nearly all mezzotints, through a score of gift annuals, in the files of such magazines as Graham’s and the Eclectic, and in the richly illustrated books of American poetry of the 1850’s and 1860’s. He was born in London, in 1808, and came to Philadelphia in 1830. There he was active for over forty years. He outlived his favorite art by many years, dying in 1897, 398 From the mezzotint after the portrait of Robert Gilmor by Lawrence, in the New York Public Library well after all the old forms of reproductive engraving had yielded to the new photomechanical processes. SARTAIN’S POPULARITY THE popularity of Sartain’s mezzotints was due to something that had nothing to do with their art — their highly finished look as compared with the competing line engravings and woodcuts. a man of his gifts was asked to copy poor originals almost without exception. It was unlucky also that American portraiture had waned as the side-whisker waxed, and, as for the ladies, they had apparently conspired to present a book-of- 399 From Sartain’s mezzotint after the painting Col. Marion Inviting a British Officer to pine by John B. White, in possession of the publishers beauty front as monoto- nous as it was insipid. In short, Sartain made the mistake of being born a generation too early or too late. The Colonel Mar- ion represents his techni- cal ability in the framing print. Before Sartain’s time the versatile Edward Savage scraped a big plate of Etna in Eruption, print- ing it in colors in 1799. This ambitious and exotic creation is to-day chiefly interesting as our first color print. In a smaller mezzotint of a little girl with a mousetrap, after Reynolds, Savage essays the current English man- ner. The success of such ‘early and isolated efforts was not sufficient to jus- tify their continuance. 240 THE PAGEANT OF AMERICA a eee 400 From the mezzotint line and roulette, after the painting Preciosa by Daniel Huntington, in Longfellow’s Poems, Phila- delphia, 1845 JOHN , CHENEY Mezzorint was of course used in the mixed manner. Here John Cheney, popular in the annuals for his heads of pretty women, must represent alone a considerable class of fashionable engravers. In the print representing Longfellow’s Preciosa, here reproduced, it would be an ingenious critic who could fully disentangle the methods. There is much line engraving and more rouletting, the deep blacks in the cloak, hair and landscape are some form of mezzotint in which both the rocker and the roulette have served. It is a brilliant example of a rather dubious method and thoroughly characteristic of its moment as of Cheney’s agreeably sentimental idealism. Cheney was a Connecticut man, born in South Man- chester in 1801. He studied in Europe and for the charm of his work achieved a great temporary popularity on his return. However, he was obliged to abandon engraving as the art declined. He died at his native village in 1885. JOHN HILL, ENGRAVER IN AQUATINT Tue long endeavor of the reproductive engraver to repre- sent tone otherwise than by webs of lines seemed to find its solution about the middle of the eighteenth century in the invention of aquatint (see technical explanation on page 224). But the method required a very delicate and sure hand. The accidental character of the grain made correction of a mistake very difficult. For this reason the process was short-lived even in England and Europe. In the United States it was practiced even more transiently by Englishmen — such as John Hill and William J. Bennett, N.A.—who came over expressly for the purpose. Some of our early engravers, as Edward Savage, did aquatints exceptionally. But the art was not firmly established until John Hill came to New York in 1816. He was born in London in 1770. He devoted himself in America to big panoramic prints of Hudson River scenery, often after the paintings of W. G. Wall. His first considerable enterprise was Pictur- esque Views of American Scenery, 1819, after Joshua Shaw. It was largely devoted to wild nature. The plates are skillfully handled and either lightly or fully tinted. His notable achievement was the big prints after Wall for The Hudson River Portfolio, 1828. Here he was celebrating the most settled and idyllic landscape that America then afforded. Hill died in 1850, on the banks of his beloved river, at West Nyack, New York. 401 From the Gaia after the painting New York from Weehawken by W. G. Wall, the Metropolitan Museum of Art, New York REPRODUCTIVE ENGRAVING 241 ROBERT HAVELL Rosert HaAveE.., who was born in Reading, Eng- land, in 1793, was enlisted at thirty in a notable American enterprise when he was chosen to en- grave Audubon’s Birds of America. The making of these great plates, still unsurpassed in their kind, occupied Havell for eight years between 1827 and 1839. Then he followed his work to New York. Havell settled at Ossining, where he executed many most excellent aquatint views of Hudson River scenery. His list is a large one, and the work is always distinguished. THE PASSING OF THE AQUATINT Sometimes Havell made his own designs, as in the view of West Point here reproduced. He lived until 1878 — engravers are a long-lived race — dying at Tarrytown, New York, in his eighty-fifth year. He had witnessed both the passing of aquatint under the competition of lithography and its partial revival as an auxiliary to painter-etching. While the careful topo- graphical aquatints of John Hill and Robert Havell look somewhat old-fashioned to-day, they are far better than the commercial lithographs which superseded them, and they contributed powerfully toward the creation of a cult of land- 402 From the aquatint by Robert Havell after the drawing from nature, in Audubon, Birds of America, London, 1830-39 scape by which our painting was to profit. Of the aristocratic copperplate methods aquatint was the first to go, but they all yielded ground toward the Civil War to the old art of wood engraving and the new Cinderella of the reproductive methods, lithography, both of which in their turn were within a couple of decades to surrender the reproductive field to the new process of photo-engraving. — a 403 From the aquatint, 1848, View of West Point by Robert Havell aftei his painting, courtesy of Kennedy & Co. 242 THE PAGEANT OF AMERICA THE BEGINNING OF LITHOGRAPHY LirHocrapHy (see technical explanation, page 254) appeared in America in two in- significant illustrations, of 1819, by Bass Otis. It made up for lost time, and within fifteen years had become, with the possible exception of the woodcut, the most usual way of making the printed picture. Affording the first easy method of printing in colors, it served the most various uses. Commercially it was available for purposes of a circus or theater poster all the way to a bottle label. Wherever color was desired, in valen- <— tine, Christmas card, membership certificate, 404 From the stchaatagih The Mill by Bass Otis in the Analectic ornate title-page, it was lithography that de Mee ed delivered the goods. It multiplied colored framing pictures, mostly of the crudest sort, the joy of modest householders who, without aspiring to the real oil painting, disliked the gray austerity of the steel engraving. Virtually the entire story up to the ap- pearance of painter lithography, almost in our own time, is subartistic, and very much so. Lithography afforded new resources to illustration which will be considered under that rubric. The new process of easily reproducing a drawing first attracted such painters as Bass Otis, Rembrandt Peale and Henry Inman. Bass Otis made the first American lithograph, a little sketch of a mill published in the Analectic Magazine for July, 1819. It is conceived without much sense for the new medium, in the fashion of an etch- ing. Otis, who is better known as a portrait painter, was born in Bridgewater, Massachusetts, in 1784 and died in Philadelphia in 1861. Wer ae a REMBRANDT PEALE, N.A. Tue portrait painter, Rembrandt Peale, made several excellent lithographs, of which his celebrated “‘Porthole” Washington is the most famous. Better, however, is the larger oval lithograph of Washington here reproduced. It uses skillfully the full gamut of velvety blacks and . pearly grays which are proper to the litho- graphic stone. Such work was a mere epi- sode of Rembrandt Peale’s long and versa- tile career as a portrait 405, From Rembrandt Peale's lithograph, | 1856, s = 4 after his oil portrait o ashington, in the Metro- and historical pater politan Museum of Art, New York (Nos. 39, 53). HENRY INMAN, N.A. Tuat clever and experimental painter Henry Inman naturally applied lithography to more complicated problems of reproduc- tion. His little print of his own wife after Thomas Sully’s paint- ing is one of the best sheets of its time. Using all the tender grada- tions of the inked stone, Inman has sacrificed nothing of the alertness of his original. One might have expected work of this quality to compete formidably with the popular steel engraving, but the fashion was too strongly set to be easily changed, and 40 From Inman's lithograph, 1831, afver “Thomas lithography was long regarded either as a curiosity or as a con- Museum of Art, New York — ' venience for commercial reproduction. _ p>, a 4 =j oe hee ~ si Sol - mins, ce el Scag a ee, By a = pt. Se Set ant ela a) -4 \ or Py htt + i celet REPRODUCTIVE ENGRAVING 243 ALBERT NEWSAM OccasIoNALLy, however, a professional lithographer of good quality emerges. Such was the deaf-mute, Albert Newsam, who was born at Steubenville, Ohio, in 1809 and died near Wilmington, Delaware, in 1864. He was early associated with George Catlin, writer and illustrator of books on the Indians, but found his vocation as a portrait lithographer for Childs and Inman of Philadelphia. His portrait of William Rawle after Inman is an admirable example of vigorous draftsmanship with the lithographic crayon. It should be noted that Newsam made no endeavor to copy the surfaces of the painting, but transcribed them freely in forms proper to the chalk. Like most lithographs of the time this bears the name of the draftsman, whose work consisted in making the drawing on the stone, and also the name of the commer- cial firm, Childs and Inman, which did the actual printing. This was the usual division of labor. JOHN WILLIAM HILL, A.N.A. In the field of topography, landscape and town-view, lithog- raphy flourished mightily, promptly driving out aquatint. It was a poor American village that did not have its bird’s-eye view to hang in the hotel, the barber shop, and the office of the justice of the peace. New public buildings inspired the lithographer, as did parades, balls, famous ships and the new OMELET E Cs 407 From the lithograph, 1832, after Inman’s oil por- Lae of William Rawle, in the New York Public Li- rary railroad trains. Such work, though invaluable for the antiquarian, has generally no artistic merit. The reader, having seen much of it in the other volumes of this history, will be satisfied with a bare mention here. Among these big commercial sheets a diligent search will reveal a few of fair quality. Hardly more than this can be said of John W. Hill’s view of Rockland Lake, here reproduced. Hill was born in England in 1812 and died in 1897, having practiced many kinds of reproductive mediums. His touch has a certain delicacy and feeling, but not much strength. Currier & Ives of New York were the most active publishers of this type of work. Their sheets are freely used in our other volumes (Vol. III, Nos. 176-77, 246, 260, 394). 408 From the lithograph Rockland Lake by John W. Hill in the New York Public Library 244 THE PAGEANT OF AMERICA FELIX OCTAVIUS CARR DARLEY, N.A. For his albums of outlines after American authors, the famous illus- trator, Felix O. C. Darley, employed lithography very successfully. His plates after Washington Irving’s Rip Van Winkle and Legend of Sleepy Hollow and after Judd’s Margaret are among the best things of the sort that the century produced anywhere. Probably the engraved outlines of Flaxman were the inspiration, but Darley showed discretion in choosing a medium which did not put his nerv- ous and expressive line at the mercy of a copyist. Such are the few flickers of inven- tion at the beginnings of a process the future of which was to be chiefly commercial. Here the progress was steady and the story one of expansion. Such facsimiles as Louis Prang made in 1884 for the catalogue of the Walters porcelains are marvels of fine craftsmanship, as are the facsimiles of the Heber Bishop collection of jades made in 1906 by the Forbes Com- pany. All along, the color illustration of scientific books has enlisted a high grade of lithography. In short, from the Christmas card to the membership certificate, wherever color has been wanted, lithography has served the turn, and even now holds its own with the handier photomechanical color printing. As an art it becomes important when good artists design not for but in it. The development of painter-lithography in our own times will be considered in its place. . gis at, SM, od, <——e ) = Sa TM a, A, we, 409 From the lithograph The Headless Horseman for The Legend of Sleepy Hollow, New York, 1849 WOOD ENGRAVING — ALEXANDER ANDERSON, N.A. Tur history of wood engraving in America is so closely bound up with that of illustration that it might well be treated under that head; but since in illustration the interest falls rather on the designer than on his engraver, it will be well to make a brief survey covering the general development and those wood engravers who represent it or made it. The black-line cuts whether in wood or type metal of about 1800 are of no artistic interest. A better practice begins when Dr. Alexander Anderson, who had experimented in copper- plate engraving about 1820, thoughtfully studied the white- line cuts of Thomas Bewick, and began to imitate them. He was born in New York in 1775 and lived to an age remarkable even for an engraver, dying in Jersey City, in 1870. His hundreds of charming little vignettes and illustrations are scattered through tradesmen’s cards, obscure books, religious tracts and the early annuals. A very skillful engraver, he had little capacity for design, and frequently fell back on English originals. In his maturity he did two framing prints, the Boar Hunt after Ridinger, and Water Fowl after David Teniers. The latter is dated 1818 and shows a most resolute and understanding use of the white line. It is also very delicate in its indications of growing things and in its precise registration of distances. It is in many ways a pity that the white-line men of the 1870’s failed to follow Anderson’s ex- ample of boldness and breadth. His work has a typographical [== : _ 410 From the white-line wood engraving, 1818, by Alex- n i 1 cS. ander Anderson after the painting Water Fowl, by David fit ra that theirs entirely lacks Teniers in Linton, Masters of Wood Engraving, 1889 REPRODUCTIVE ENGRAVING 245 ANDERSON’S INFLUENCE On the whole, white line made only a humble place for itself and by 1850 it was quite displaced by black line. We reproduce one of Anderson’s latest blocks in order to represent his more delicate manner. It is the title-page of a very popular miscel- lany. Anderson’s influence may also be traced through the frontispieces and cover designs of tracts and in the minor illus- trations of such early magazines as Godey’s and Graham’s. Generally the engraving is better than the design. Such minor illustration and book ornamentation, while entirely unpreten- z tious, was suitable for its modest purpose, and really much v. FAREWELL better than our work of the same sort to-day. : 2 411 From the white-line wood engraving, 1840, in Anderson, Wood Hngraving, Scrap Book VI, in the New York Public Library mt JOSEPH ALEXANDER 2 ADAMS, A.N.A. PROBABLY white line died young because of its difficulty. It threw upon the wood en- graver the duty of interpretation. He had to invent strokes to create tones quite other- wise expressed in his original, whereas the woodcutter in black line might and generally did copy his original line for line. That was a job for a dull and mechanical talent, and such was the character of many of its practitioners. A little above the average of black-line wood engraving before the Civil War are Joseph A. Adams’ after J. G. Chapman for Harper’s [lum- nated Bible. Adams’ touch is vigorous but heavy, and his cuts are coarse and emphatic without being really effective. Adams was born in 1803 and died in 1880. He was largely self-taught. Adams’ engraving is an example of the type of work that satisfied popular taste in the middle of the nineteenth century. HORACE BAKER Mucu of the work of this period is anonymous, frequently the product of commercial firms. Occasionally one finds a clever or graceful print. Such is the case with those which Horace Baker (1835-1918) cut in 1852, after Hammatt Billings’ designs for Hawthorne’s A Wonder-Book for Girls and Boys. But the investigator of our wood engraving of the eighteen forties and ’fifties has generally to accept small rewards for his pains. In this latter decade started several illustrated weeklies of large circulation for the times — Gleason’s, Frank Leslie’s, and Harper’s. These greatly en- larged the demand for wood engraving, and especially for large prints, but good woodcutters were not forthcoming, 435 rom the wood engraving Three Golden Apples, after ; = design by Hammatt Billings in Hawthorne, A Wonder and the new product remained on a commercial level. Book for Girls and Boys, Boston, 1852 PENSE AIA aoe so Xe ” reeeier 412 From the wood engraving Casting the Male Children into the Nile, after the drawing by J. G. Chapman in The Illuminated Bible, New York, 1846 246 ‘THE PAGEANT OF AMERICA GLEASON’S PICTORIAL Tue intention of mid- nineteenth-century wood engraving was informa- tional rather than artistic. The woodcut of Sutter’s Mill, A View of Coloma, California, which shows where James W. Marshall made his discovery of gold, is thoroughly characteris- tic of the sort, but of better than the average quality. The same volume contains a woodcut of the ornate silver service which the grateful artists of America presented to Editor Glea- son in recognition of his services to art. In hindsight it may seem that he hardly deserved the compliment, but at least he had paid his artists more handsomely than any previous editor. His publication will always be a source — almost the only one — for pictorial news of American events, of the eighteen forties and. early ’fifties. Cp ileete ne % ica COHEN 414 From the wood engraving Sutter’s Mill, A View of Coloma, California in Gleason's Pictorial, Nov. 6, 1852 HARPER'S WEEKLY Harper's Werexzy, which started in 1857, about the time when Gleason’s Pictorial died, did not better matters much artistically. One may assume that it put its best foot forward when, on October 23, 1858, it illustrated Professor J. Russell Lowell’s new poem The Courtin’. The nameless wood engraver has caught much of the spirit of Augustus Hoppin’s jovial and scratchy pen drawing, but has marred the effect by very mechanical treatment of the darks. It will be interesting to bear this cut in mind when we see the much better wood engraving used for Harper’s Weekly twenty years later. ; b A) 415 From the wood engraving ‘‘ An’ all I know ts, they wuz cried in meetin’ come nex’ Sunday,” after a drawing by 5 Augustus Hoppin in Harper's Weekly, Oct. 23, 1858 . 247 REPRODUCTIVE ENGRAVING “Bop, Notoso taal fo toog woman eur enssT wLmMdGe eum Ay ey ee ; 3 ung duy JO 4nd vy} Ul Yono} qayysiy suiddox 0} jposumry SAMYTANG plo oy punoz olf wudIaY A rondo} DUO WP ST HO Qe vyqra poidepe Atpear wospreyony “MATTE wR AOULLOY ot} doy Suu Tuo sv sYyOOU Duwi qonur Os of you “sia Mod p?} I UIT] 19q eI $9119 "Vy ‘f puodsq woaeas sNoLNy L194 SN OPA SLOT MON JO UBITIAQIAD pjo ur Gaysoqaayoury Pe2P7e VY} JO Ssoulzooiq pue po) RL arp go staded oyj Strom prnoy sea app, Fup woyfoy opp] SSOULIaATIS ‘ssoudstio A[PAO] oy} ‘ejdurexe Jo} ‘uorjonpoid -91 INO UT ‘sTeUIsIIO sty uO peaoidun Apyuenbagy oy 7ey} peyodsns oq Avur yt poop Pip AoroMor SarpoiRasad [ROWLOYSTY, SIP ‘819]9998 9A tid spt tog spur -puaasap ory Jo srouuMUE ay} pus ‘aoutaoad ayy Jor Croysuy tony ayy at "UMNOOMUMAMOINM HOTHCALE dO DNLEREW SLOW TTRLSOd ¥ “LID REM LAYS auyoyndox ap a “uy = ‘sop4ys Sutseytp ATopra Dp dosent Rea Shae Se) a UI SUOT}eIYSNI 0 oyenbape (was T sana gem Any ES SBM ULING S UOSpIeYyIY PY UT sl EPS aa i “OU UIAY SVM FOST JO ,. UOTL ee al iy i Y er. WIS TPH SISTHMY,, PUL, “9vep 0} Jo por ‘uapony Aq So 7 iG ‘ BolIIUIY Ul YOOd speul-jseq oy} SBM 7 ‘spuey [e1dA0s Aq 910M SSUIABIBUD OY} ‘107 BIS] 9Jos oy} sem AaTIVG “SSSL ‘yoog yoayg s,sutAIy UOPSUIYSeAA JO UWOTYIpPO peyeijsnyt sureujng oy} ut Apueytq jjes}t poounouue ULMOJaI oy, “ystJIe Ue jo 210Ul PUB UBUIS}]BIO 19}49q & Yq surur0seq se JoAvIsUO pooM oy} “Aoys UT ‘TeUISTI0 ‘STY UI Soul] Iepnorzsed ay} Jo qystXdoo @ uey} out] ul UsIsop [OYA sy} JO IojoIdJoyzUT UB JOYYeI oUTBDEq OFT ‘posuBYD JoOUsISep sty 07 JoAvISUa PooM 94} JO WOLZeIer oy} ‘007 ‘spuey toyy UT ‘AdvoIfEp pue AzUTeZI90 oIOUI YPM VoURYsIP Jo sourld Supaoar passordxo yf ‘sainyxo} Jo spuly [fe yyLM ATMyssaoons padoo WI ‘ssouyoryy pue UOIeLIp UI poleA a1OUL 9UTBIEq OUT] OY} SpUBY OY} UT “ICQ “A ‘f pue UOspreyory "H ‘£ — seureu 0My YUM poyzeroosse ApasIE] St yJ “WV oY} UI JUeUTOAOAdUE [eoIpes B pearesqoun ysouye Surposooid sem Sulavisue poo [eIossuruI0D a[deys oy} AACISONOTY NOSCGUVHOIY “H ‘f POST ‘HIOX MON “7UID ‘UwohDLO NasoaH fo Yoo yoIayS ay.L ‘BUjAIT Uy ‘94190 “VW “£ AG AUDIO POQnYIT BUIMBIP 9Y} J3jJe SUIAGISUB POOM 9Y} WOT -[NOYF MOLE YUM “YUP ATBUIpOOVE pH [Ap star opp cuosTIE RU] oy ofquoyddent JOU SUM BTIVID, JO UATONTO. yp, ‘HIOPSTUL -ooyrs AajUNOD puv UaUISpooM JONMOA Jo suoLBaz sy Apwos YO} spas puv 4saroy off} JOF SU [Jaa Kv PULUT Ot[} 1OF suveuoid qa uo oy seyddns yorpm ayeig v Syndy.alU0D JO oAITEU vw sem oF] “AWULOIA OT} JO UAIPTID aI Zayonaysur Jo asod -and.ayy acy ‘moppoxy Adaaig wt ‘pore, ,, 4f possaulxe ay sv ‘10 “MOTIOH AddaTS 40 ANANAT ANL OIF 248 THE PAGEANT OF AMERICA Che Worson aud the Ahine. JULY. Newburull ON THE Ilupson. the summer more pleasantly than in the fragrant silence of a garden whenee have emanated the most ane practical and poetic toward the greater dignity, suggestions comfort and elegance ; of country life? Ifthe aspect of our SEY $ landscape yearly improves, in the ‘7"e\ beauty of the houses, and in tasteful and 7 \ picturesque rural treatment, our enjoyment of it will be an obligation to Mr. Downing. 418 From the wood engraving after the drawing by J. F. Kensett, in Curtis, Lotus-Eating, New York, 1852 JOHN WILLIAM ORR In the same year as the Sketch Book, appeared George William Curtis’ Lotus- Eating with ornaments cut by J. W. Orr, who had cut many of the best blocks in The Sketch Book of 1852. The little initial W which we reproduce may seem a trifle, but it is no trifle to make a few thin lines tell the story of great spaces. This is one of the earlier examples of a rustic sort of book ornamentation which was to be freely used for the next twenty- five years, and sometimes abused. John William Orr was born in Ireland in 1815 and trained under Redfield in New York, where he died in 1887. He was associated with the Harpers and cut the frontis- pieces for their Illustrated Shakespeare. Orr did a large amount of commercial work, employed competent foreign-born engravers, and ‘his establishment was for years the leading one in this country. He was himself one of the best wood engravers of his time. P. F. ANNIN SoMEwHuat retarded by the Civil War, the reform gradually made its way. In 1864, the Putnams, we have noted, un- der Richardson’s supervision, published the ‘‘Artists’ Edition” of The Sketch Book. After seventy years and more, it remains the finest illustrated book 2s 4 s an 8 ? rahe ¥,- My i Lyf DARN S ' from purely American resources, and it compares very favorably with the splendid illustrated editions of Long- fellow and Poe which the famous Brothers Dalziel were preparing in England about the same time. In 1865, Ticknor & Fields, at Boston, published a charming little edition of Tennyson’s Enoch Arden, employing two of our greatest imaginative paint- ers, La Farge and Vedder, as illustra- tors, and P. F. Annin as engraver. It was the precursor of those admirable little illustrated books of poetry which the successors of these publishers were to publish through the eighteen seventies under the direction of the able wood engraver, A. V.S. Anthony, who did some of the wood cutting ; for Annin in the Enoch Arden. e190 From the wood engraving after the drawing The Island Home by John La Farge, in Tennyson, Enoch Arden, Boston, 1865 a = ee ee Le eye te” Se ee ee ee ale de a ee { REPRODUCTIVE ENGRAVING 249 il " s COMMERCIAL WOOD % ENGRAVING To abridge our story, by 1870 good wood engraving was the rule in book illustration, and it was slowly making its way in the magazines. An illustration chosen almost casually from Harper's Weekly shows the notable progress that had been made even in the commercial production. It renders ad- mirably a fine drawing by Winslow Homer, with such full pictorial effect that it could well be used as a framing print. Such skill had now become so common that the wood engraver did not always take the trouble a 420 From the wood engraving after the drawing Spring Farm Work — Grafting to sign the block. by Winslow Homer, in Harper’s Weekly, April 30, 1870 THE CLIMAX OF BLACK-LINE WOOD ENGRAVING Tue culmination of the old black-line method was reached in the woodcuts of Picturesque America, 1872. That the illustrations too often overran the text confusingly was no fault of the engravers. It was the fashion of the times. Generally the wood engravers had ex- cellent originals by the best landscape painters of the moment, as Kensett, Harry Fenn, Thomas Moran, J. D. Smillie; and such woodcutters as Filmer, W. J. Linton, J. H. E. Whitney and others brought an extraordinary dash, picturesqueness and fidelity to their task. Indeed, these woodcut copies are so much more salient throughout than the original work of these painters that one must concede to the wood engravers a creative part in the effect. The boldness of the method, its rich blacks and flashing whites, seem to many the high point of reproductive wood engraving in America, as more idiomatic and proper to the medium than the more delicate and famous white-line wood en- gravings which were soon to follow. From the early eighteen seventies there had been a substan- tial aid from photography. It was no longer necessary to draw the design on the block, destroy- ing it piecemeal as the cutting proceeded. The drawing could now be made on any scale and transferred photographically to the wood, the engraver keeping the original in sight as he worked. Such a procedure was as indispensable to the mak- ing of the fine blocks for Picturesque America as it was later for the new white-line work. In this work the old style of wood engraving reached its height; it was inevitable that it should be super- seded by something new. ANN Ss 13588 4 421 From the wood engraving by John Filmer after the painting fant Caition by J. D. Smillie, in Picturesque America, New York, 250 THE PAGEANT OF AMERICA FREDERICK JUENGLING Every observant reader will have noticed a free use of the white line in the last five or six cuts. Not till 1877, however, did the auxiliary become the main device. The credit for the discovery is disputed, but it is certain that Frederick Juengling was the earliest to practice it consistently, and the most audacious in its application. The new method rested on the faith that there was a right combination of white lines, flicks or dots to suggest every conceiv- able color or texture. It was evoked by the quality of the painting of the moment — the new-school men were chiefly interpreters of painting of the moment — which bestowed an interest, probably an undue interest, upon textures unparalleled since the little masters of Holland. In the print after Whistler’s self-portrait by Juengling which we reproduce, one may even follow the broad brush-strokes of the origi- nal painting. Juengling was born in New York city in 1846 and died there in 1889. He received honor- able mention at the Salon for his wood engraving. 422 From the white-line wood engraving after Whistler’s self-portrait for L’ Art, 1877 J. H. E. WHITNEY Tr is well to recall that white-line work of this mastery implies a preliminary mastery of the black-line, and some of the triumphs of the new men are still in the old manner. Thus J. H. E. Whitney did nothing more skillful than his copy of Whistler’s etching Jo, in which the wood engraver not only followed the most intricate web of lines faithfully but also simulated the very characteristic look of dry-point. It should be evident that such a four de force of reproduc- tion imposes an unfruitful effort on. the wood engraver —an effort, how- ever, that makes for facility and vir- tuosity. Many orthodox workers in wood protested against this per- verted, thoroughly superfluous expan- sion of their art. 423 From the wood engraving after the dry-point M’N. Whi etching Jo by James A istler, in The Century Magazine, Aug. 1879 HENRY MARSH AGAIN Henry Marsh’s black-line print after a pen drawing by Roger Riordan of an Etruscan fan shows in one of the new men an extraordinary virtuosity in the old manner. Upon such hard-won skill the triumphs of the new school rested. As craftsmen these men admitted no impossibilities. Sept. 1877 te) QR REPRODUCTIVE ENGRAVING OBST SEIN conten One ania oud Uy aed Vl ap Zul assioueN AG, 9IGL Ul palp pur ‘siouoy Usta10y pue uolaUry Auer poatooos Ajysnf off “UsoJoUIU Ye YOK MaNy 0} F c Re ee QUIB JJOAA “Banoqseiyg ze AaoT sonbove jo jidnd ev sem pur gegy ut ‘ooespy ‘UlleysIOM yoy ye usl0G SUM JOM ‘omnjord szeyrumts e want pour UMO S}I ysnoryy ‘SIBIITIN “A “£ Aq 4amo.7, ay2 Socata odes ea ee Tn ee be Let lac ae 9yRed001 qnq ‘s]10 jeursts0 ies OUTI-AOVIQ Vy} Joe ‘TJonIT AvIsny Aq bins saaxalee pooM OUT[-9jJIGM 9} ee oe! CoCr 2y} JO 9anzxe} ey} 9sny -deoal jou prnoys suravisua -poom }8Y} UIVA UT poeyseyoid soto Areiodurayu0g = “Bul -Adoo y}I0M you ATjeer sea yeya Apyopy Areurpsoevsyxo qsour oy} yy SButkdoo 0} UOAIS SBM UOUL OUT]-9}TYM I} JO JOAvapuUE dy} JO YONU 004 yey} SuULAsstur oy} sysossns ‘UOIJUS}UT Ss} JO uOoIssoidxa ut poyied ‘yurid oyy, *yured pepeo] oy} Jo uoryeloid ayy Joo} Ayarey ues uo ‘paonpoid -31 SI YOM zeiqg Joye yutd ay} uy ‘senbruyoo} 9asi10AIp ysouL 94} 0} UlINq sIy But -iayo ATIpeod ‘optyesi9A ysouL oy} sem JOA, Asuozy sdey -iod JooyDs Mou 94} [][@ JO ‘VN ‘“TTOM AUNAH “LI6T Ul CE Pe Poe ere ae AURULIOX) UI UIOG SBM [JONI “SUOT}VI}SN]. INO ul pepnyput st pt Apsormo ysty ev se ATWO JT ‘Surzured fro ue jo Butaeisue [9938 oUT]-yoeyq @ 19zye YooTG poo oul]-e}1YM B poynooxa ATjenyzow ‘szresj10d perpnys A[qearupe sty Joy UMOTY J9}}0q TPN, Avysny ‘ojdurexe Joy ‘usu Mou oy} posesseys ustdoo jo uoryeordui0a ON TINY AVISIO a ee ey a oe ae ae, SN EC eee ee ea ey XiI—17 252 THE PAGEANT OF AMERICA From the white-line wood engraving after the painting The Hay Wain by John Constable. © The Century Co. TIMOTHY COLE, N.A. Prruaps the most completely accomplished of the men of the new school is Timothy Cole. His peculiar talent early won him a place apart, with tranquillity to travel and make his marvelous transcripts after the old masters at his ease. He was about the only one of his fellows who was not under journalistic conditions, and his carefully pondered work shows the advantages of such freedom. In vigorous old age he keeps the white-line method alive a score of years after it has passed out of common use. We might safely represent him at random by any print from his albums of Dutch, Italian, Spanish or English old masters, but we choose instead with some care a sheet which seems to exemplify all the merits of the artist and of the method. It is broad, it does not sacrifice the rich blacks, it retains the untroubled lights, it does not too much conceal the constructive lines in tone; finally it conveys the joyous immediacy of Constable’s mood. ‘Timothy Cole, the last survivor of the great white-line wood engravers, was born in London, England, in 1852. He came up through struggle in the United States and made himself the most resourceful of craftsmen. Much of his work has been given to the interpretation of the great painters of Europe and he has added to the work of his burin enlightening lit- erary comment. He is still active in Poughkeepsie, New York. About the time white line began, the photomechanical relief block processes were being improved. ‘They provided, to be sure with some artistic defects, a real facsimile of any sort of a graphic original, and at very small cost. So one may say that white line had the bad luck to be born under a dispensation of infant damna- tion, and its twenty years of life, somewhat under artificial conditions of encouragement, must be regarded as a respite from an inevitable doom. Before the end of the century it was hard pressed by process, to which it virtually yielded the reproductive field before 1910. We have considered the most prominent practitioners in this technical survey and we shall study others incidentally under illustration. In retrospect, the school seems less American than it claimed to be. Many of the best men, Cole, Wolf, Kruell, for example, were foreign-born. For original design in America the school did little, copying generally European masterpieces. For American illustration it did even less, the work being regarded as too precious for such ephemeral use. Technically, this was the most skillful wood engraving America has produced, but I feel it hardly deserves its proud title of the American School. That term, for every historical and topical reason, were better reserved for the black-line men from 1860 on. They greatly encouraged original design in America, and they divulged it with sufficient fidelity in an idiom proper to the wood block, if not with the magical legerdemain of their more famous successors. Se ee ae! ee ee ee nee Set Ly ae TE yes GHA‘PT EK Ree xs PAINTER-ENGRAVING HE painter-engraver engraves his own design, and the design itself is made in view of the eventual engraving. Thus Rembrandt Peale’s lithograph of his “Porthole’’ Washington and William Marshall’s line engraving of his own por- trait of Lincoln are not, strictly speaking, painter-engravings, because, though we have in each gase the artist engraving his own design, the design was not made to be engraved. Indeed, the ideal painter-engraving would be worked directly on the copperplate, stone or wood block — thought out in the material itself without preparations in other media. Many painter-engravings are thus made. When that is impracticable, at least the pre- paratory studies should be made with the engraving always in mind. Painter-etching and painter-lithography arose almost simultaneously in France and England in the eighteen fifties or a little earlier. The expatriate American, James Abbott McNeill Whistler, fell in with the new movement and became the greatest etcher and lithographer of his generation. But his influence hardly reached America till the late “seventies, where it merely reinforced a native movement toward painter-etching. Painter-lithography though sporadically practiced in America from the late ’sixties has come into its own only in the present century. Painter-wood engraving was occasionally essayed by the white-line school of the ’eighties, but their work was on the whole repro- ductive, and the creative use of the wood block has not been common until the last fifteen years. In all these developments we have lingered behind England and Continental Europe, whereas in photomechanical engraving we have been innovators. In etching the lines are “bitten”’ into the copper plate by acid. Ordinarily the entire plate is coated, “grounded,” with an acid-resisting substance through which the design is scratched with a needle, the metal being exposed wherever the needle touches it. The plate is now “bitten” by a bath of acid; this eats into the exposed lines. When the lightest lines are sufficiently bitten, the plate is removed from the bath, washed, and the lightest lines “stopped out” with an acid-resisting varnish. The plate is now rebitten, the acid sparing the stopped-out lines, but deepening all the others. When the next to the lightest lines are found to be right, they in turn are stopped out, and the bitings are similarly continued until the deepest lines are made. Biting is a very delicate process and there are many ways of handling it beside the merely typical procedure here described. The etched line, as compared with the burin line, is rich and unmechanical partly owing to inequalities in the action of the acid, partly owing to the character of the line itself which, having the section of a pocket, holds much ink. Mechanically the printing is done as in line engraving, but there are many special refinements. For example, by simply varying the amount and distribution of ink left on the face of the plate every print would be different, as is actually the case with the late Whistlers. 253 254 THE PAGEANT OF AMERICA Dry-point, though a form of line engraving, is associated with etching. The dry-point is simply a strong steel needle used like a pencil on the copper. The lightly scratched line has a roughness, “burr,” on one side, which holds the ink and produces a rich and picturesque black line. The burr soon wears down in printing and very few good im- pressions can be made from a dry-pointed plate. Dry-point is often used as a method of adding to plates etched with acid very fine lines and velvety blacks. Soft ground etchings resemble pencil or crayon drawings and are done as follows: The copper is covered with a greasy ground upon which tissue paper is laid. On this tissue the drawing is executed with a pencil or similar point and the tissue is pulled away. It brings with it the ground over the lines, exposing the copper where the pencil has passed. The plate is then bitten with acid, and is ready for printing. Lithography is based on the antagonism of grease and water. A design is drawn upon a stone having an equal affinity for both with crayon partly composed of grease which the stone absorbs. The stone is then moistened with water, so that when ink mixed with grease is applied with a roller, the wet (blank) part resists the ink and the part made greasy with the crayon readily accepts it. The design on the inked stone is now transferred to paper under the press. Or the design may be made on special paper which transfers the greasy drawing to the stone. When the design is made with brush and greasy ink, the print has the effect of a wash-drawing. These are called lithotints. Colored lithographs, called chromolithographs, employ colored inks and a separate stone for each hue and tint. Some of the most elaborate chromolithographs have required from twenty to thirty stones. The method, while admirable for facsimiles, is not adapted to artistic ends, and most of the best painter-lithographs either use color sparingly or not at all. Painter-lithography was never boomed among us; hence its development has been gradual and normal. In a narrow sense, some of the topographical lithographs which were made abundantly from 1830 to 1860 may be regarded as painter-lithographs, since they were drawn for and on the stone by the artist, but their quality is not such as to detain us. Certain early illustrations have technically the same standing. But such precursors show little sense of the resources of the medium. It remained for the Boston painter, William M. Hunt, to employ the silvery half tones and resonant blacks which are proper to lithography, and the handful of little figure subjects which he did toward 1870 set a standard which has not been greatly surpassed. A few other artists experi- mented with the lithographic crayon at this period, without notable results until in 1878 Whistler turned his versatility toward the stone. His finesse in the distribution of tones brought him immediate mastery. In portraiture, in sketches of the nude or lightly draped figure, in scenes of street, park and river, he produced marvels of delicacy and discretion. A few of his lithographs were published in art magazines through the eighteen nineties and thus became available as models, but most of them were buried promptly in the portfolios of discriminating amateurs and were not widely available till the memorial exhibition of 1904, from about which time dates our revival of painter-lithography. The way had been prepared for it somewhat earlier in the cult of the artistic poster in the last years of the nineteenth century. It carried with it an improvement of the design of magazine covers and dust-covers for books, and in the advertising poster. PAINTER-ENGRAVING 255 It was natural that the highly trained wood engravers of our white-line school should find relief from copying in working from their own designs. Elbridge Kingsley did so frequently, driving his studio van to beautiful spots in New England and sketching with the burin on the boxwood. W. B. P. Closson, Henry Wolf and Frank French occasionally executed their own designs, while the carefully studied composite portraiture of Gustav Kruell, the exemplar being his own, may also be reckoned to painter-wood engraving. But the real revival of the art waited for the new century and the complete victory of process engraving. Relieved from the task of copying, the woodcut was to become a means of personal expression. It passed into new hands with quite other ideals than those of the old white-line men. Instead of their silvery tones, the velvety blacks of thick lines and of carefully placed spots were preferred. This was a renewal of the methods of the first woodcutters, and like them the new men often worked with a knife on the side of the block. Indeed, in the search for an even more tractable material linoleum was often substituted for wood. The boldness of the new black-line style had its precedents not only in early book illustration but also in the recent revival of the manner in England by William Morris and his numerous successors in fine printing. But the new black-line men were only exceptionally illustrators. Half-tone was too cheap. At the beginning of our revival of the old woodcut manner of illustration, Howard Pyle’s illustrations were reproduced in half-tone, and so were Rockwell Kent’s only recently. Most of the new men did separate sheets for collectors’ portfolios. For the first time in its history the woodcut became a precious object of limited circulation. Had the energy and ability of the new movement been devoted to a simpler and more typographical form of illustration, a considerable improvement in our public taste might have resulted. But our social, esthetic and economic conditions forbade such a benefit, and the rapid decline of American illustration continued unchecked. The new wood- block men remained privileged outsiders, in a manner amateurs. Many indeed were only incidentally wood engravers, being chiefly painters or etchers. This isolation has its advantages and disadvantages. It gave much of the work an uncentral and unrepresentative character; it also left it very free for experimentation. Thus alongside the standard blocks in Renaissance style we find exquisite adaptations of the old chiaroscuro manner, a flat tone being added to the design from a separate block. Here Rudolph Ruzicka is the leading figure. And we have also from Arthur Dow, Helen Hyde, and Florence W. Ivins a skillful assimilation of the refinements of Japanese color printing, the effects being obtained, somewhat after the fashion of color lithog- raphy, by printing from several blocks. The merits of the revival and the styles of its chief practitioners may be studied in our illustrations. A somewhat exotic character in the work is the price the fine artist must pay for living in an age which, generally speaking, is insensitive to careful design. He is thrown back too much on himself. However, the movement is very much alive and full of promise. It may yet serve as a rallying-point for all who value economy and lucidity in the graphic arts. It is the David who is alone opposing the utilitarian Goliath of half-tone and rotogravure. 256 THE PAGEANT OF AMERICA MARY NIMMO MORAN In point of time, Whistler was the first, as he was by far the most famous, of American painter-etchers. His earliest plates are of 1855. But his beautiful prints were virtually unknown in America before about 1880, and our native school grew up without his influence. It was part of the general forward movement of the late eighteen eighties, and, like the best American painting and sculpture of the moment, it owed much to France. One may safely guess that most of our pioneer etchers had studied carefully such accomplished French etchers as Jacques, Daubigny, Appian and Lalanne, all of whom were accessible in art magazines, and in Philip G. Hamer- ton’s very popular book, Etching and Etchers, 1866. Some consulted the bolder and more summary methods of Seymour Haden. Under such excellent guidance, American etching came quickly to a kind of technical maturity, perhaps too quickly, for the painters and engravers who suddenly became etchers had no more to say in the new method than they had said in the old. So the whole early movement, im- portant enough for the history of taste, is respectable rather than thrilling. It will be enough, then, to cite a few characteristic figures. One of the best is Mary Nimmo Moran, whose intimate glimpses of settled eastern scenery are an interesting foil for the grandi- 428 From the etching Summer, Suffolk County, N. Y., in the ose western panoramas of her painter husband, bien emgeenla Paoeee te woe 2 Thomas Moran (No. 74). She had a rich sense for the picturesque and manipulated the copper audaciously for depth of tone. Indeed, this woman had more robustness both as designer and executant than most of her male rivals, as witness this vigorous rendering of scrub pines of Long Island. STEPHEN PARRISH SrepHEN PARRISH, who was born at Philadelphia in 1846, and self-trained as an etcher, prefers full pictorial effects. Perhaps his best-known plate is Trenton, Winter. On the old house and boats the work is very minute, but the dark passages keep a luminosity which ties them in with the great area of white. A snow scene, forty odd years ago, was an innovation. Par- rish has lived to see the theme become standard, but he can have few snow scenes that convey more of the quiet bitterness of winter than this early effort of his own. Unlike the run of painter-etchers, who are primarily sketch- ers, Parrish has always preferred somewhat elab- orated pictorial effects with the composition well thought out. His is the etching of a reflective nature. 429 From the etching 7'renton, Winter, in the Metropolitan Museum of Art, New York PAINTER-ENGRAVING 257 J. H. HILL TuE new etchers were not too strong on the broad principles of the art, being inclined, partly under the influence of the then popular reproduc- tive etching, to make their plates too pictorial; but they were very curious and ingen- ious in all matters of minor technique. For example, J. H. Hill, the grandson of the father of aquatint in America, effec- tively revived the ancestral art in Moonlight on the Andros- coggin. Here the mixture of methods seems right enough. To have suggested the broken moonlit sky with the etched line would have been, even if possible, immensely difficult and laborious. a8 gf : Es hace 2 is ae ? Se BS ‘ Zs ap tie 430 From the aquatinted etching Moonlight on the Androscoggin in the American Art Rev iew, 1880 JAMES ABBOTT McNEILL WHISTLER WuisT Ler, whose life has been briefly treated under painting (Nos. 103-07), announced himself modestly as an etcher, when, in 1858, he published the twelve prints of his now famous “French Set,” at a little more than a dollar apiece. It was youthful work of extraordinary charm, accomplishment and versatility. The young American was already master in architectural subjects, street scenes, portraiture and familiar genre. There never was a more convincing diploma piece than the “‘French Set,” but it took the world more than twenty years to find it out. One may regret that Whistler almost never returned to that vein of genre which is so delightful in the cover of the set, as in the Marchande de Moutarde and La Vielle aux Loques. Passing to London, Whistler worked through the eighteen sixties and a little later on those extraordinary visions of the Thames at London which were eventually collected into the ““Thames Set.” The mood has now some- what changed, partly under the influence of young Whistler’s painter friend, the realist Courbet. The work is no longer charming, but amazingly intelligent and veracious. If one studies the work on Black Lion Wharf, 1859, he will note that, while it is very elaborate, it is never literal. The etcher never thinks of houses and boats in terms of bricks and boards but in terms of the characteristic appearance of the whole mass. He works always in formulas which, however complicated, are al- ways ingenious, persuasive and large in effect. That work of this highly intellectualized sort was achieved in the open air before the object is striking testimony to Whist- ler’s intellectual greatness. That London should not have acclaimed this admirable cel- ebration of her own pictur- esqueness remains a mystery. The work was straightforward and legible, and could have been understood by the very dock hands who appear in it. 431 From the etching Black Lion Wharf in the Metropolitan Museum of Art, New York . 258 432 From the dry point Weary in the Metropolitan Museum of Art, New York it cost the artist infinite pains. A first plate of the subject was destroyed. When the Venetian prints were exhibited at London, the critics rejected them as too slight, but a few artists and discerning collectors saw their value. They were influential upon a group of young American painters at Venice with whom Whistler fraternized—Frank Duveneck and his pupils — and now and again they captivated an eager young art student in America. Wherever they were understood, a more idiomatic manner of etching appeared. Whistler himself had turned to lithography with characteristic volatility. THE PAGEANT OF AMERICA A WHISTLER DRY-POINT OnE afternoon in 1865 Whistler’s beautiful model “Jo,” wearied from posing or housework, let down her red hair and cast herself into a deep chair for rest. Caught by the beauty of the pose, the artist seized a copperplate and, without taking the pains to burnish out the faintly drawn face of a child, turned the plate upside down and with a few strokes of the dry point achieved within half an hour what is one of the loveliest prints in the world. Its economy is complete. There is just enough work to ex- press the relaxation of the noble long body and the apathetic turn of the splendid head. No stroke could be spared, and none could be added. It is a masterpiece of choice seeing and feeling, and of fastidious design. To one of the latest of the “‘Thames Set,” The Adam and Eve Tavern, was affixed the new butterfly signature, symbol of a coming evanescence in the art. The print no longer shows the severity of its precursors. The line is light and fluent, frequently broken, suggesting atmosphere as well as form. It is the moment of the early nocturnes. From 1870, for seven or eight years, Whistler’s attention to etching was largely suspended, and the promise of the Adam and Eve was not completely fulfilled until Whistler’s bankruptcy and consequent visit to Venice in 1879. THE VENETIAN ETCHINGS Wuisrier sketched many aspects of Venice on the copper, her pattern of domes and towers from the lagoon, her crowded piazzas, but he took most pleasure in finding little bits that were his own. The touch is now extraordinarily light, the line is short and brittle, the needle rather paints than draws, air moves about the design. Very characteristic is the print representing the tunnel leading to a gondola ferry, perhaps the very finest. outdoor print of all time. It looks as if it had been sketched off rapidly. As a matter of fact, 433 From the etching The Traghetto in the Metropolitan Museum of Art, New York ‘ “ TE aS ee ee ee ee ee ei, EDS PORE ey PAINTER-ENGRAVING 259 434 From the etching The Oblong Riva, courtesy of the Cincinnati Museum Association, Cincinnati FRANK DUVENECK, N.A., S.A.A. Frank Duveneck, whose life is elsewhere outlined (No. 143), was at Venice with his painting class during Whistler’s stay. He was already a finished painter with European honors and a considerable group of the most promising of the younger painters had acclaimed him “Master.” He had the flexibility to learn that etching is not a casual way of picture making, but an art with its own laws and limitations. His etchings have such a superficial resemblance to Whistler's that on their exhibition at London the wiseacres suspected the un- likely name Duveneck to be one more mystification of the wily Butterfly. On inspection, Duveneck’s etchings are per- sonal enough, more robust than Whistler’s and more literal, and entirely without that glamour with which Whistler’s work is always endued. His prints are mostly of large size, destined for framing rather than for portfolios. OTTO H. BACHER, A.N.A., S.A.A. One of Duveneck’s best pupils was Otto H. Bacher, who tried his hand at etching under Whistler’s inspiration and really caught more of Whistler’s richness than Duveneck. If one could imagine Whistler for a moment careless about his composition, the plate which we reproduce might almost seem a Whistler. With much ability, Bacher lacked that ultimate gift of taste which distinguishes the good from the great artist. He soon gave up etching for illustration and painting, and in his last years he wrote an amusing book on his Venetian experiences with Whistler. Bacher was born at Cleveland, Ohio, in 1856, and died in New York in 1909. From the etching Three Ships, Venice, in the Metropolitan Museum of Art, New York 260 THE PAGEANT OF AMERICA 436 From the etching Buttermilk Channel in the Metropolitan Museum of Art, New York CHARLES ADAMS PLATT, N.A. WE return to America, where, from 1882 or so, the etchings of Whistler began to be known. In 1884, the firm of Wunder- lich, at New York, ex- hibited the Venetian prints with the special in- stallation which Whistler himself had made for them in London. Our native etching of about this time improves, and has a less homemade look than that of the pioneers. One senses the new ease in Charles A. Platt’s fine etching, Buttermilk Channel, though any direct influence is rather that of Seymour Haden than of Whistler. But it is an art that stands firmly on its own legs, after all — consummate sketching with the line. Platt was born at New York in 1861 and trained in the art schools of that city and of Paris. Etching was only an episode in his career, and it was a capital misfortune for that art in America when he passed on to new triumphs in painting and architecture. He still returns now and then to his first art, but too rarely. JOSEPH PENNELL, N.A. Amone the early devotees of Whistler’s admirable art was a young Philadelphian, later to be his friend and biographer, Joseph Pennell. No one but Whistler himself had done a more masterly etching than the Ponte Vecchio which Pennell signed in 1883. For a man of twenty-three it was an extraordinary performance, and in forty years of practicing every kind of etching Mr. Pennell hardly sur- passed it. The sound and robust tradition of Whistler’s Thames prints underlies such work. Like them it abounds in careful study of detail while keeping the scale and dignity of the theme. It is tech- nically most skillful, from the hazardous deep biting of the blacks to the light sweeps of the dry point in the sky. It reveals, with a very personal sense of place, a singu- larly complete technical repertory. 437 From the etching Ponte Vecchio in Original Etchings by American Artists, New York and London, 1883, in the New York Public Library _ PENNELL AN INTERPRETER OF THE AGE OF MACHINERY JosEPH PENNELL was born at Philadelphia in 1860 and studied at the Pennsylvania Academy. He soon passed into the illustration of books of European travel of which the text was frequently written by his accomplished wife. Of the revival of painter- etching and lithography in the present century he was one of the most distinguished figures. He was a member of the National Academy and received every conceivable honor. His books on pen drawing, etching and lithog- raphy are important contri- butions to the lore of those respective crafts. He died PAINTER-ENGRAVING 261 438 From the etching Trains that Come and Trains that Go, courtesy of Frederick Keppel & Co. in 1926 at New York. Pennell was endowed with a breadth and zest of interest all his own. The year before his death he collected into one vividly written volume his experiences of a lifetime, and the widely scat- tered etchings with which he had illustrated them. That a man of Pennell’s capacity could not make a living by etching tells much about the times. It seems that the whole movement had been overdone and rested too much on handbooks and critical encouragement of a more patriotic than discriminating sort. Almost every- body etched, but few commanded the idiom of the art. There were many etchings, much puffing of them, and few buyers. The print sellers were only half-heartedly enlisted. They kept the native product, which cost almost nothing, but they made their profits by selling reproductive etchings and approved prints of Seymour Haden, Van Gravesande, Buhot and later of Zorn. So American etching after the first spurt took a rest, probably for its good, and became an occasional diversion of the painters. Few of them have resisted the _ 439 From the etching Weeds and Mill, Holland, in the Metropolitan Museum of Art, New York temptation to try their hand on the copper. JOHN H. TWACHTMAN, S.A.A. Amone the casual etchings by painters none are more de- lightful than that handful of little landscapes etched by John Twachtman (Nos. 198- 99). Such a print as Weeds and Mill, Holland, has the freshness and simplicity of a Jongkind and an even more joyous accent. These etch- ings, which the artist took no account of, were not published till after his death. They have the lucidity and _ delicate strength that marks all of Twachtman’s work. 262 440 441 THE PAGEANT OF AMERICA From the dry-point Little Portrait No. 1 by J. A. Weir, in the Metropolitan Museum of Art, New York a PHVA) “ From the etching Busy Hands by JULIAN ALDEN WEIR, N.A., P.N.A. Tue very thoughtful etchings of Julian Alden Weir were merely an incident of his career as a painter, and were virtually unpublished, yet this compact little group of portraits and figures is a true epitome of the artist’s reverent and searching genius, and he who is lucky enough to own the rare set may feel that he possesses all that is essential of Weir. (See also Nos. 200, 237.) ROBERT FREDERICK BLUM, N.A., S.A.A. Lixs Weir, and unlike the run of etchers, Robert F. Blum was a humanist, but his concern was less with the individual than with people in groups at play or work. He was most accomplished in catching characteristic actions, as one may see from Busy Hands, and emphasizing the grace in homely deeds. Like all sensible craftsmen, Blum studied his great predecessors carefully. In this print one divines the nervous broken line and general play of light that had been brilliantly exemplified in the etchings of Fortuny. Blum’s gift for racy genre brings into American etching a quality rare at the moment that could ill be spared. (See also Nos. 171, 223.) Robert F. Blum, in the Metropolitan Museum of Art, New York Pe | PAINTER-ENGRAVING 263 MARY CASSATT Mary Cassatt has been considered under painting (No. 235). Pupil of Degas and always resident in Paris, she may be considered as America’s most distinguished contribution to the French Impressionist school. Her work is not merely technically skillful but also full of specific character. Her etchings begin with an austere and simple drawing, but, in order to obtain full pictorial effect, often end in complications of devices to secure tone on plate which fairly defy analysis. Her color prints are quite the most success- ful of modern times. The tone of Au Thédtre seems to be managed by carefully touching the copper with acid (see technical explana- tion, page 253). Most of the lines appear to be in soft ground and there are dry-point re- touches. Miss Cassatt’s prints were usually limited to a fastidious and objective sort of portraiture in the tradition of her exemplars, Manet and Degas. The scene ranges from fashionable to familiar. In particular there is a delightful series of nurses with children. 442 From the etching Au Thédire in the Metropolitan Museum of Art, New York, courtesy of Durand-Ruel SION LONGLEY WENBAN Ston LonetEY WENBAN is another American who went to Europe to study and never found the way back. He was born in Cincinnati in 1848 and made his career in Munich where he died in 1897. His big and strongly executed plates of town scenes had a marked influence on the German school of etching, which has ever welcomed elaboration. In the present instance, a print of 1883, the year of Pennell’s Ponte Vecchio (No. 437), we find Wenban anticipating those industrial themes which Pennell was to make more fully his own. 443 From the etching Munich Railway Yards in the Metropolitan Museum of Art, New York 7 264 THE PAGEANT OF AMERICA npaky ts CHARLES F. W. MIELATZ, A.N.A. Ovr contemporary etchers may be most conveniently divided __ into etchers of city scenes, of landscape and of the figure. The fact of the overwhelming preponderance of the practitioners of the first of these categories has never been altogether accounted __ for. Whether the ablest etchers have an innate penchant toward the more volatile tonalities of the city, or whether the influence of Pennell is in itself explanation enough, is not ascertainable. Whatever the explanation, landscape has been relatively neglected by the new etchers, though it hasbeen __ the staple of contemporary painting, as it was of the first etchers. Figure design is sparsely represented, but its group is perhaps the most interesting of all. Charles Mielatz may be regarded as the link with Pennell between the old school and the new. He was born in Germany in 1864, was a pupil of the Chicago School of Design, and died at New York in 1919. With the zeal of an antiquarian he explored the nooks and corners of a rapidly changing New York and perpetuated with his needle much of its vanishing picturesqueness. His limited imagina- tion fitted him for the task of faithful transcription, and for this reason his prints will be valued long after those of better painter-etchers are forgotten. Mielatz, however, had an a 1 entirely adequate sense for composition and was immensely 444 From the otc ng aamund in the Metropolitan inventive in all technical matters. Washington Square, for Museum of Art, New York, courtesy of Frederick 5 Keppel & Co. example, employs almost every conceivable dodge to vary the line and secure tone. Such exaggerated ingenuities are of course open to criticism, but they indicate at least an alert craftsmanship. Indeed, Mielatz’s prints are quite as interesting to the amateur of technical pro- cesses in etching as they are to the antiquarian. CHILDE HASSAM, N.A., N.LA.L. Or some two hundred and fifty plates of Childe Hassam, about two thirds are devoted to city and village scenes in New York and New England. Sharing the enthusiasm of Mielatz for old America, Hassam adds a more roving disposition, a more delicate artistry, and a closer observation of effects of light. It would be hard a a rh Pel to choose between the plates made at Cos Cob, Connecticut, at East- hampton, Long Island, and at Portsmouth, New Hampshire. All are full of the facts and the glamor of quiet elm-lined streets, of houses sagging with the years, of crumbling wharves and boats tugging at their painters in the tideway. Hassam’s methods vary from sketchy open line to elaborate pictorial effects. In both moods he is very skillful. (See also No. 205.) Among other etchers of old America may be mentioned Charles Henry White, who has made charming sketches of old New York and New Orleans, and Alice Huger Smith, whose delectable province is her native Charleston, South Carolina. ae : 445 From the etching Old Warehouses, Portsmouth, courtesy of Frederick Keppel & Co. S i HE te ne MR ee ‘SUI}IG Ul plow sy} Jo sn ozeorop o10ur e Jo diysueUTyyeIp snorprysey a1ouI wv SMOYS 7ey} SuTTyou ee — qnq ‘peyueseid aray yooys of}I] Possed oy} UeYZ ssuryoyo snoriqurie siow AueU apeUT sey OFT ‘“YIOK MON Jo sdodesosXys oy} podessa sey pue ‘sooutaoid yousiy oy} Ul ppeye ouos osye sey ynq ‘stueg ut YONUL poyx1OM sey IFT “SLET Ul YIOX MON Ul UO ‘JoSqo\A "W UeULJOPY st ‘s uLpysneyoey jo jidnd ve pue ‘oyeryedxo ueowoury . 0D F MOLIVH “HW Ingi1y Jo Asayinoo ‘ArviqryT ONGNd YIOX MIN AIOA UaLSaaM WOOWTVY NVINGAH “ISOUBIL ‘Ayey] Jo Joaeisue [einyo} -Iyore yeois oY} WOIy vou “nyur jamz ve soe, Avut suo YIom sty up ‘Ayer pue sourig ut syofqns sly spuy off ‘sozeyd oszey] Joyyel sty soppuey oy YOryM YA AyIplos pue yypeorq ay} s[easot aoidyng pug YL “BOMoULY Ul se ‘1o0rK0 SIY opeuL sey oy oJ0TAL ‘odoing Ul UMOTY [Jos SB St “Q9L8I Ul UOJsOg Ul Ulog sem oyM ‘“URTYsnePoep, MeyS preuoqg ‘syefqns yemy -ooplyoue Jog ‘sojdurexo ouy AIOA pue Maz e 0} poz “WIT 9q YSNUI suOT}eysNTTI oY} pue SuCT poopul st 4ST] ayy, ‘Aueduroo sty} oyUT souloo ‘s[epeyyeo Yousty jo ssuryoyo poystuy ATysry pue Ajreo sty Jo urezse0 ul 00} Ie UYyor ‘uredg pue ATey] Jo SMTA ysoug 94} jo Auvut poyoidsozyur savy ssuryoyo peyesrogeye ATysty pu [ny YSnoyy ssoym YOY *q ysourg pur ‘souvsy ul Apoty poxsOM oavy WOTA Jo qYoq ‘sulry JopAe TT, UYOr pue yytug gipuy ore ATeuorsvo00 odoin 07 08 oY a]qv oJOUL oY} SuOUTY ‘spunoz3 Suryoyys possoyoid Moy} wou pep}jes aAey outos pue ‘edom@ jo ssouanbsamy -oid saypra oy} Aq pornydeo useq eavy odAy sty} Jo sioyoyo Aueu ATIVEDLVN SYUMHOLA NYadon PAINTER-ENGRAVING 448 From the etching Cathedral of Burgos, Spain, courtesy of Frederick Keppel & Co. ERNEST HASKELL Many of our contemporary etchers have occasionally made landscapes, but singularly few practice this art as a specialty. Among these the most distinguished was the late Ernest Haskell. He was born at Woodstock, Connecticut, in 1876, and was killed in a motor accident near Bath, Maine, in 1925. His austere and scholarly work embraced with distinction virtually the entire field of the graphic arts, from line engraving to lithography, and from the portrait to the bookplate. His variety in landscape is extraordinary. There are fanciful little plates reminiscent of the conscious arrangements of the early Dutch etchers; there are searching and faithful studies of cedar-crested cliffs near his seaside home in Maine; there are larger prints of the hills and ravines of California. He admired especially the branching of old trees and drew them with a fidelity unexampled since Ruysdael. This print, a gnarled California cedar, well represents this strenuous phase of his talent. To gain a greater severity, he often retouched the etched line with the graver. He was an intelligent student of the old masters and a scrupulous craftsman, and his untimely death was a sore loss to painter-engraving in America. His art was in a peculiar sense one of self-criticism and self-discipline — a refreshing exception in a time that has gloried in unhampered self-expression. THE PAGEANT OF AMERICA ERNEST DAVID ROTH, A.N.A. Wuuttk Ernest D. Roth often seeks his subjects in Italy and Spain, he makes most of his etchings here. This work from carefully prepared draw- ings has less of the sketch in it than is usual in etching, and is more intellectualized. . Discretion is a large part of Roth’s art. It has limited his popularity somewhat, for the public wishes at least the appearance of spontaneity, but it has won him respect where that is worth while. His print of the Cathedral of Burgos, like everything he does, is thoroughly thought out im its subor- dination of incidentals to the vision of the great Gothic pile. Roth was born at Stuttgart, Ger- many, in 1879, and trained by James D. Smillie in the National Academy school. He has his studio in New York. His early prints from old Florentine themes are still perhaps the most attractive, though the Spanish series is tech- nically superior. Though he devotes himself chiefly to architecture, his prints have land- scape quality also. ay naa by From the etching The Head of the Ostrich, courtesy of the artist a ee PAINTER-ENGRAVING JOHN MARIN Joun Marry, one of our ablest contempo- rary etchers, has sketched on the copper very variously, from elaborate studies of French cathedrals to New York sky- scrapers seen with the Modernistic distor- tions. He is perhaps at his best in the intimate subjects of his early days in France, one of which is here reproduced. It is thoroughly characteristic in masking strength of draftsmanship under deli- cate workmanship. Some of the more effective accents are added with dry point. Marin’s baffling versatility has told against his success, the public loving a standardized product, but his fellow artists justly regard him with admiration. (See also No. 265.) From the dry point Hovering Geese, by F. W. Benson, courtesy of Kennedy & Co. CHARLES HERBERT WOODBURY, N.A. - Aw admirable painter of the sea, Charles H. Woodbury has also recorded its mass and rhythmical motion in a few fine etchings. These are executed with succinct, power- ful lines which create the space and the scene in the most direct fashion. It is etching which etchers will most appreciate 451 _ for its economy and selectiveness, but everybody should easily share the robust and keenly observant attitude of a natural 267 450 From the etching Moul’ St. Maurice by John Marin, courtesy of E. Weyhe FRANK WESTON BENSON, N.A., N.I.A.L. To outdoor etching Frank W. Benson has contributed a novelty by bringing the sporting print into the realm of art. The inven- tion has brought him great popularity and corresponding rewards. His numerous studies of wild fowl are those of a painter who is also a sportsman, strong and well observed. In the dry point shown, the sense of motion, which is the first thing felt, is not more remarkable than the sufficient indication of an extensive marsh land effected with a few well-chosen strokes. Like some other accomplished etchers, Benson is equally gifted as a painter of still life and in por- (See also Nos. 193, 240.) traiture. From the etching The Pilot by C. H. Woodbury, courtesy of Frederick Keppel & Co. 452 sea lover. The print here chosen tells its own story. The drawing of the waves and of the scarcely seen liner deserves especial attention. Born at Lynn, Massachusetts, in 1864, Woodbury worked in the schools SII—18 _ of Boston and Paris, and paints chiefly at Ogunquit, Maine. 268 THE PAGEANT OF AMERICA ARTHUR ALLEN LEWIS Ir is in the spirit of the times that much of our best figure design in etching should deal with the life of the poor. Here Arthur Allen Lewis is one of our best masters. He works with a simple and open line which has much expressiveness, quite in the sound tradition of Rembrandt. In the little etching, Old Woman Reading, there is definite character and quiet charm based on sympathy and on understanding observation. Lewis was born at Mobile, Alabama, in 1873, trained under George Bridgman at Buffalo, and Géréme at Paris, and lives in New York. His work is distinguished for beautiful drawing executed in lines apparently simple and casual, but really studied and calculated, as fine work always is. . 453 From the etching Old Woman Reading by A. A. Lewis, in the Metropolitan Museum of Art, New York, courtesy of the artist EUGENE HIGGINS, A.N.A. In Eugene Higgins, equally accomplished as painter and etcher, sympathy for the poor assumes a more poignant and tragic form. He feels their miseries and asserts them with a somber emphasis. Wholly characteristic is this most pic- turesque little print of a young wife admitting a drunken husband at midnight. It is highly dramatic, but nothing is overstated. Higgins was born at Kansas City, Missouri, in 1874. He was trained in the schools of Paris and works in New York. (See also. No. 26).) 454 From the etching Midnight Duty by Eugene Higgins, courtesy of Frederick Keppel & Co. JOHN SLOAN Poor life in New York is again the theme of John Sloan. But here sympathy often takes a sardonic turn. He gives us amazing studies of peopled tenement roofs, amusing glimpses into lighted back windows, whimsical accounts of the sociabilities of artist life — all expressed with a tranquil understanding and in an impeccable drafts- manship. Occasionally he reverses the mirror and shows us the snobbery and futility of the rich. Nothing could be better in a caustic way than the Fifth Avenue Critics. Tt embalms an attitude no longer so completely realizable since the limousine and chauffeur have dethroned the barouche and coachman. It is a social docu- ment of the first order. Sloan has the gift of investing common themes with the dignity of a personal style which is the expression of his own intellectual detachment. (See also Nos. 248, 555.) 455 From the etching Fifth Avenue Critics by John Sloan, courtesy of E. Weyhe PAINTER-ENGRAVING 269 MAHONRI YOUNG, N.A. In etching, Mahonri Young’s mood isa joyous one. With a few master- ful lines he catches the energy of children at play, the charm of old orchards, the movement of life on the great plains. His etchings - show an easier vein than his sculp- _ tures, but it is the ease of complete knowledge. The Navajo Watering _ Place gives not merely the move- ment and character of the Indians ; and goats but also th e sense of gre at 456 From the etching Navajo Weis Fae a the Metropolitan Museum of Art, desert spaces — all in a few lines which are magically right. The whole thing is etching of the purest idiom, the line remaining line and never losing itself in tone. Young is also a good painter and best known as a sculptor (No. 357). ARTHUR B. DAVIES ARTHUR B. Davrss’ world is very much his own. His etchings give us only snatches of the fuller rhythms of his paintings. A tireless draftsman, he often practices on the copper. Single nudes or little arrangements of nudes are his subjects. The mood is abstract, and the abstraction is sometimes enhanced by a moderate em- ployment of the new Cubist formulas. It is an art that is caviare to most, but very delectable to such as yield themselves to the mood. As a consummate craftsman in many fields, Davies has not failed to investigate every possibility of etching. The Antique Mirror may well be technically unique in being entirely in aquatint without any acid-bitten lines. ’ Where a line is needed, the scraper has simply spared a strip of the untouched aquatint ground. But such technical niceties, though interesting, are the smallest part of Davies’ aristocratic and recondite art. He is another of the modern generation of American artists whose versatility is strik- ingly in evidence in his paintings. (See Nos. 178, 253-56, 466.) PAINTER- —- LITHOGRAPHY ; : 457 From the aquatint The Anclgue Mirror, LirnocrapHy from the a a Geese first attracted the paint- ers, since the delicate task of printing could be left to professional _ hands. In France, Delacroix, Ingres, Chassériau and Puvis, with _ Millet and Corot, occasionally drew with the grease crayon, while ~ Daumier, of course, was to make it his chief medium of expression. _ In America original lithography got no such foothold, but it came _ to us early in a few charming sheets of the painter William Morris _ Hunt, who was trained in the French surroundings which have been suggested. Hunt’s The Flower Seller, dated 1856, is still one of the best _ American painter-lithographs. It is very delicate in its modula- _ tions of grays without loss of strength, beautifully drawn, and the _ grain uses all the resources of the stone. Hunt, as has already been : noted (Nos. 102, 155), developed as a painter and did not follow 455° prom the lithograph The Flower Seller, 1856 iq fe by W. M. Hunt, in the Metropolitan Museum of _up these early experiments. Art, Now York LC THE PAGEANT OF AMERICA 270 “OD » Joddey YyoWepery7 Jo £sa1.1n09 *IODSTUM ‘NIN “V sour Aq 125 Surung ay, Ydvisoyiy] 9} Wot O9F soUlIjaMIOs ‘uINIpel MoU 9Y} Ul asva sno TIPHESRE Sepa Mecca: podoyaasp ay pur ‘1o1] 189 sieoh U9} JO suoryeso -o9p poystuyun oulos Ut UIBA IY} PeMOpEYseso} pey of ‘seiseuey, oy} po][eo ere usisop o1ysTUET -PH yA Ayruye snot -Bi8 Tey} Wory yor soinsy pedeap AT}qSI] 10 epnu JO salies yey} oe sydessoy yy] S Jo] |STU AA, jo poinsver} ysoul aH, «SVUOVNVL, GHL -raded uo yoryq Jo Sulsep -mod ar10ul & — FUSS Os suUvOUT Y}LM 90eRTd Jo UOT} -eyoidiayut puke yoyo ue oyo[dui09 os peonp -o1d sey JopIsTy A, Iq ApoqoN ‘Wot} 0} JOLIo} -UI OSIM OU UI SI pue soumyou pozured oy} YW suOT}E[eI JUOpIAD sey soMeYT, 94} JO MOIA OYT, “serpnys ain3y. pue spresqsod ‘smata oyu peprtarp eq Avur ‘sioysuesy ApOIIs a10UT 10 ‘sydeisd -oyy] SIRT “Suryoye ut poaorype Apeosye pey oy YorpA sseoons ey} poyeodar Ayyduroid pue ‘Avy “yy cy, “toydeaZoyyty euorssoyoid oy, Aq podemmooue Buleq “ye oy} dn 00} 9Y SLST UL “JOPISTY AA 0} eL0UT ou suTOD 9a JUN ‘sn UIeJep OF Ysnoue queys10d -unt you ore ‘Append poos jo Aqpesouad aptyas ‘syutid s1oyy ynq ‘auoys oY} IO} Morp Aye -uotseoo0 ssayured uvoioury AueUl sarjuaAes pUe Ser}XIs Us2q}YSI0 oye] OY} HONOUHY, HdVYSOHLIT YATLSTHM V UBIJOUO.NIT OU} UT “IONSTIM “NIN “V “f Aq sowmpyt ‘syutad opyHy esoyy soy Surpaay sty Aq usisop jo somenb oyismbxe os0ur 94} 0} ssousarzisues sty 480} AvuI ouGQ ‘drysueuryiom AyaAo] pue Surpaay [NYIYNvaq Jo opeIUL B sI YOM YT, “JOJO earpsod jo yonoz B sXkvi3 oq} 0} SuIppe yIOX MAN “Q1V JO UIMssNnW ay,E UdBiIs0yi] 94} WO1t 6SF oe 271 PAINTER-ENGRAVING ‘plogted PIBADS Aq LOD AP IOAGD WAVASOMIIT T WORT ZOF ‘jae sv afqezou [Te ye s1oysod Moy poonposd ynq usIsep soysod jo aoueosepn.oaI SUM OF[ “CZEI Ul polp pue ensee] s}Uapnys WAV oy} 7e pouter “998T Ul “YOK MON ‘udyyoolg ult uloq sea peygusg ‘syuouodxa 4ysaqqe Sj Jo ouO pue YouRsG 94} Ut Joouoid & ‘ppyueg preapay jo J9A00 ouIzeSeur o[suts e ynq Aq oi0y poyuosoidor aq ued YJ ‘epRosp yey} UI s}[Nsor ys9q s}t psonpoad pue soryUlu Ude}PY{STIa oY} UT sn Suowe poyieys ‘purpsuq pue souvig Aq poydmoid ‘von -oeid oy J, ‘SUSISOp JaA00 pue siojsod poydeisoyyy Jo py 4SBA 94} JaAOD 0} aIqGIssod -ul st yt Avamns jJourq @ NT NOISAG WHAOD HdVHOOHLIT FHL (‘S8-LEF ‘SON Osye 99g) ‘a8R [eLI|sNpUT INO Jo spaAIVUI 9Y]} JO p10I0I [nyyyWey pue power A[LreurpsovsyxXo UR YET sey oy puUe ‘WII poayeulosey . YIOM JO JopuoM oy},, poy[eo oy yey of] sty ynoysnompy, “yeueg vureueg oy} jo UOTJONAJSUOD IY} 0} po}OAop Soldos sy} puv aaaaLy fo sapdway sxe UMOUY 4S2q 94} yup jo syutid asse, Aueul opeur fouusg “q[NOUPIp st WI sv o[qrxop se UNIpoUT e AQ poYOAI JIM UBUIS}CIP II}BSIOA SOUL sty} JO sarpyenb JayeoIs oy] JI se sulses yy ‘ssouonbsoinqyord pure Ayoesea ‘1amod Areurpioesjxe Jo st yf *psonp -o1dai st 1oJa[IeYD JO syIOM uOM oy} Jo Ydessoyy] oYT, “Ysinqsytg jo sTrat J9e}S puv UOI oY} JO pure [euURD vUIRUe IY} WO FIOM Iq} JO ‘9d90I5) JO suINI oY} JO Sollos o]QeyIeUle & pIp oFT ‘zis Sutures jo squid opeur pue voueuosel yso][NF Moy} 0} syor{q oy} poysnd uayyo ‘juueg ydosor ‘pusrsy sty ‘syooqs jews uo pue Apyusorjor uoARIO o1ydesSOyPY] JY} posn pey UAILSIN\A TUATHA HdVUOOHLIT TIANNUd V B MBS IBAA POA, 2YJ, “s0ys0d oy} 07 sodoad st yout uoryisoduios yo odAy poyyduns yey} Jo Joyseur & ‘0—D » jeddey YoWwepel7 jo Asajinoo ‘jjauuag Ydesor Aq aitq fo ayv'T ay, Ydeisoyyy oy} W017 OF ® 272 THE PAGEANT OF AMERICA 463 From the lithograph The Blind, courtesy of the artist ALBERT STERNER, A.N.A. AMONG our painter-lithographers, Albert Sterner is a somewhat exotic figure. He was born at London of American parents, in 1863, spent his yout abroad, eying at Julian’s and the Ecole des Beaux-Arts before 464 From Age lithograph The Studio in the iceeopalleia Museum of Art, New York, courtesy of Frederick Keppel & Co. he came to America in 1879. He wona precocious success as an illustrator and painter, but in his maturity turned to lithography as his most sym- pathetic medium. His figure subjects, for their imaginative and often tragic mood, have won him a place apart in an art which generally has remained chiefly naturalistic or decorative. They find their closest analogies in the prints of some of the German neo-romantic painters who have drawn on the copper- plate or on the stone. GEORGE WESLEY BELLOWS, N.A., N.IA.L. GrorcsE Brettows was a prolific maker of lithographs, and perhaps at his best in that medium. His themes include, most catholicly, the prize ring, the barroom, — the studio, the gymnasium, the revivalist meeting, and he handled them all with energy and gusto, and often with humor. His tendency to force the blacks somewhat coarsely and to neglect those intermediate tones in which lithography is so rich has been un- favorably noted. It seems to me that the method corresponds to his brusque and assertive tempera- ment. His death at forty-one, when his powers were rapidly developing, was a sore loss for graphic design in America. (See Nos. 249-50.) 465 PAINTER-—ENGRAVING 273 From the lithograph Brook Nymph, courtesy of the artist BOLTON BROWN UnutkeE Bellows, Bolton Brown avoids broad contrasts and draws in refinements of middle tones, keeping the whole effect silvery. Within this mode, his work is distinguished. His favorite theme is idyllic land- scape appropriately peopled with nudes. Aside from his activity as a painter-lithographer, he has written instructively on his craft and taught it to many others. He was born at Dresden, New York, in 1865. A DAVIES LITHOGRPH Tuat remote, delight- ful land of faéry and legend which Arthur B. Davies reveals in his paintings, he has also expressed in _ lithog- raphy. Here his meth- ods are most various and skillful, especially in the restrained use of color. Accordingly, re- production ordinarily does little justice to his artistry. In The Golden City one may at least enjoy the alertness of the drawing, and the economy with which a few light strokes of the crayon adequately sug- gest a broadscene. (See also Nos. 178, 253-56, ‘ Sous SP esas a RS ok ct ae eile OR OR are VP obhus GB eee 2 ae 466 From the lithograph The Golden City in the Metropolitan Museum of Art, New York, courtesy of E. Weyhe 457.) Davies is nowhere more skillful or more truly imaginative than in this apparently slight work. 274 THE PAGEANT OF AMERICA 467 From the wood engraving A Waterfall by W. J. Linton, in the Metropolitan Museum of Art, New York PAINTER-WOOD ENGRAVING PAINTER-WOOD engraving was naturally an occasional activity of the remarkable craftsmen of the white-line period, but their style had been formed in reproduc- tive work and did not change in their occasional experiments in original de- sign. The original wood engraving of our own time, on the contrary, was to de- velop a style of its own based on the wood block of the Renaissance. From the men active before and after 1880 there is no abler woodcut than that of a waterfall by W. J. Linton, N.A., who, though an Englishman, from his long residence and influence in America, may be regarded as an honorary member of our school. Few engravings of the sort so fully combine breadth of effect with a minute exquisiteness in details. Broadly speaking, the method is white line, but Linton did not believe in strict formulas. An examination of the saplings overhanging the chasm and of those upstream will show many effective accents in black line. Linton was born in London in 1812. He came to America in 1867, and greatly influenced our schools. As a critic he opposed the extreme subtleties of the white-line manner. He died in 1897 at New Haven, Connecticut. He had published A Manual of Wood Engraving, 1887. ELBRIDGE KINGSLEY EBripGe Kines ey, of all his contemporaries, was the advocate of the original wood engraving, which he preferably sketched directly with the burin out-of-doors. His themes are the peaceful old towns of the middle Connecticut val- ley. He made larger and more imposing prints, even up to framing scale, but he made no better print than his Old Hadley Street. The space is strongly asserted without crude contrasts of light and dark, and the intimate sentiment of the scene is perfectly conveyed. These original woodcuts of Kingsley’s, signed sym- bolically with his wood- pecker device, are joys for the tranquil type of collector. Kingsley was born in 1842, at Carthage, Ohio, studied at Cooper Union, and died at New York in 1918, an honored survivor of a great school. 468 From the white-line wood engraving Old Hadley Street in The Century Magazine, Aug. 1887 N * rae * Ea ae EL ae PAINTER-ENGRAVING Q75 WILLIAM BAXTER ~ PALMER CLOSSON Witu1raM B. P. Ciosson also cut several original blocks, including that fascinating in- vention, The Water Nymph. It is worked in the most del- icate manner, and is entirely in white line. Closson was born in Thetford, Vermont, in 1848, was chiefly self- trained through travel, and was one of the best of the white-line engravers. In 1894 he abandoned wood-engrav- ing for pastel work and oils. He died in 1926. 469 From the white-line wood engraving The Water Nymph in The Century Magazine, Aug. 1889 == SS == THE INFLUENCE OF WILLIAM MORRIS ON BOOK ILLUSTRATION Ir will be seen that these early painter-wood engravings are episodical — mere recreations of men usually enlisted in reproductive work. The real cult of the original wood block was not to arise until process engraving had driven the wood block from the copyist’s field, and the new work was to be rather decorative than pic- torial. It grew largely out of the general improvement of bookmaking during the eighteen nineties. In OTE SAW EOS SP a 2 S37 —<— era ey Oe C5 CER SAE SO INS MOSSE To) HEREBEGIMNEGH GhHE GHLES OR CANGER LE 4BURY ANDPIRSG GHE PROLOGUE GHERECOR NE ( a pS Re OUTS ——— = NOE CNIZZ, (g A) wi i SS Lat > oss CH= d a (iY (Be. The tendre croppes, and the ponge sonne Rath in the Ram his balfe cours yronne, And smale foweles maken melodye, That slepen al the nyght with open eye, So priketh hem nature in bir corages; Thanne tongen folk to goon on pilgrimages, And patmeres for toseken straunge strondes, ‘2? ON To ferne halwes, howthe in sondry londes; [<2 Ce 4 And specially, from every shires ende gS ui el, Of Engelond, to Caunterbury they wende, Je Ne As The hooly blisful martir for to seke, » Los y= That hem hath holpen whan that they were OPAS Were scelkie. NS Taal cot FLL that in that seson on aday, oA Vey fs ES Ve In Southwerk at the Tabard as &. Lay, H a) « Redy to wenden on my pilgrym- e 3 Jage ex Ail To Caunterbury with ful devout corage, At nyght were come into that hostelrye Wel nyne and twenty in acompaignye, Of sondry foth, by aventure yfalle In felaweshipe, and pitgrimes were they alle, That tqward Caunterbury wolden ryde. . eerie TET POO SONA . BENE. TY OPEN Soe GY CRS Pa | SOG : i < e e@ oN = ee 7 e-eL. e- =.0°2 ,°\ > ee LO Nae 470 From the Kelmscott Chaucer, illustrated with decorative wood engrav- ings after designs by William Morris, in the New York Public Library England, William Morris had limited the illustra- tion of the beautifully printed books of the Kelmscott Press to boldly cut wood engravings. Partly he was imitating the splendid woodcut books of early Germany and Italy, partly he was working on the general theory that, since fine type is a sort of decoration in heavy black line made from a relief block, so the accompanying illustra- tion must also be in rich black line from a relief block. From a decorative point of view the theory was sound. It was taken up by other fine presses in England and America, and popularized by such annals as the Yellow Book in London and the Chap Book in Chicago. Considerably earlier, Howard Pyle (No. 511) had made admirable illustrations which, though printed by process, were based on the old wood-block style. His in- fluence was reinforced by that of Will Bradley and Louis Rhead, an Englishman by origin, who used the wood-block style ably for book decoration, illustration and poster design. The movement was transient. Except in posters it barely passed into the present century, but it had done an in- dispensable work in accustoming eyes, trained by the highly finished prints of the white-line wood engravers and by the specious completeness of the new process prints, to simpler and more mascu- line principles of design. Without such a prepa- ration the new woodcuts might have seemed as shocking as did the beginnings of the Post-im- pressionists. 276 PAGEANT OF AMERICA ROCKWELL KENT RockweE.u Kent takes us to an austere No Man’s Land of his own creation. His simple and powerful methods of drawing led him to employ the style of the old wood engravers in the illustration of his own books, Wilderness and Voyaging. It was” a natural next step to cut such designs on the boxwood, and he has recently thus made a few prints of rare imaginative force. Some of the best are invitation cards for his exhibitions. We choose a woodcut which expresses his rare blend of physical energy with creative spiritual insight. His versatility of effort is most illuminating. That the same man should have created the cosmic mysticism of Immanence or Weltschmerz on the one hand, and his more popular Vanity Fair illustrations and advertisements on the other, is a phe- nomenon unique to the twentieth century. Under painting his life has been sketched, and turn to him as an iUlustrator. (See Nos. 262, 534, 557.) we shall re- 471 From the wood engraving Mast-Head by RUDOLPH RUZICKA AMmoNnG contemporary makers of wood blocks one of the most distinguished is Rudolph Ruzicka. He was born in Bohemia in 1882, studied at the Chicago Art Institute, and makes illus- trations and separate prints at New York. Unlike most of the new wood-block cutters, who generally work in the style of the Renaissance woodcut, he practices a wholly modern style which seems based on such pen drawing as that of Daniel Viérge. The cut of The Municipal Office Building under construction gives his method. Upon a very delicatebut strong construction inline, the engraver superimposes from separate blocks a light tone or colored tint. One sees it in the foreground of our illustration. Ruzicka is also known for his excellent book illustrations. Wi 473 From the wood engraving Vermont Farmhouse by Julius J. Lankes, courtesy of E. Weyhe 472 From the wood engraving The Municipal Office Building in Construction, by Rudolph Ruzicka, in the Metropolitan Museum of Art, New York, courtesy of The Grolier Club JULIUS J. LANKES Wuitz Ruzicka’s themes are urban, those of Julius Lankes are rural. To express them, he has worked out an ap- propriately informal style in which the broad black line of the early schools works harmoniously with the bold white line of Bewick and Anderson. His broad and homely mood and manner are well represented in the print which depicts the Vermont home of the poet Robert Frost. Lankes was born in Buffalo, New York, in 1884, trained in the art schools of that city and of Boston, and lives among the scenes he loves at Gardenville, New York. CHAPTER XXII ILLUSTRATION HIS survey of the graphic arts by processes and engravers has already traced incidentally the main course of illustration. Other volumes of this series present American illustration very fully, so far as it is historical. Accordingly, our study of the chief illustrators and of the main tendencies may be rather brief. In it we are chiefly interested in the illustrator, and only secondarily in engravers and processes. In theory, the illustration and the decoration of a printed book should be one and the same thing. This counsel of perfection is, however, rarely followed, for its successful achievement imposes on the illustrator a very difficult compromise. To visualize a bit of text requires an elaborate method which is undecorative. To decorate a printed page requires simple methods with broad black lines which harmonize with the type face. But such a simplified and abstract manner does not lend itself to realistic illustration. ‘So our more decorative illustrators, such as Elihu Vedder and Howard Pyle, expressly declined to follow their texts closely, and appropriately called their designs not illustra- tions but accompaniments. Generally speaking, decoration has been ignored, It was so at the outset, when the printed picture began to make a timid appearance in American books and magazines. Nothing in the eighteenth century is worthy of even passing notice. The homemade production was rare and poor. Toward the end of the century and in the early years of the next there was among the publishers of Philadelphia and Baltimore abundant piracy of contemporary English illustration. This did something to improve taste, and at least set our engravers to copying good models. : As we began to illustrate our books and magazines from our own resources, line en- graving was regarded as the finer process and wood engraving as an inferior substitute. A little later mezzotint began to rival line engraving, lithography making an occasional appearance as a curiosity or utility. Such was the situation until about 1850, when wood engraving begins to take the lead. Akin to the magazines are the gift annuals. They begin with the Atlantic Souvenir in 1826, reach a peak of an average of sixty annuals a year between 1845 and 1855, then shrink rapidly and virtually disappear with the Civil War. Being intended for gifts of sentiment, they employed all the resources of fashionable bookmaking. Their names suggest their scope. Precious stones and flowers are favorites — the Mayflower, the Amaranth, the Rose of Sharon, the Lily, the Iris; the Amethyst, the Emerald, the Amulet, the Talisman. Sometimes the appeal to sentiment was made less covertly, as in The Keepsake, Remember Me, Gage d@ Amitié, Love’s Offering. They all presented a miscellany of popular authors and illustrators. Varying in size from pocket form to stately octavo, they were generally bound in a glory of stamped and gilded leather and ornamented - often inside with an opulence of colored and even gilded lithographs. However, as de luxe publications, the usual illustration was some form of copperplate engraving. Their vogue then and artistic insignificance now remind us how rarely through the nineteenth century fashionable art has been good art. However, there is still a mild pleasure in handling them, as there is in unexpectedly finding a pressed flower in a long unopened book. Such discoveries powerfully evoke discursive reverie. Q277 278 THE PAGEANT OF AMERICA More than any other artist the illustrator for a generation past has been affected by the photographic reproduction of pictures. ‘The photomechanical processes of engraving are too various and complicated to be described in a book of this kind. Most of them are etchings upon a design photo- graphically transferred to the prepared metal plate. There are, of course, intaglio proc- esses, like photogravure, used for fine reproduction; and relief-block processes — half-tone and line block — used for magazine and book illustration. The relief block, like its fore- runner, the wood block, has the advantage that it can be set with type and printed there- with, while intaglio prints must be made inconveniently in a separate printing or in- serted on plates. The half-tone process is the most in use. A photographic negative of the original drawing is made in the usual way, except that a glass screen of minutely ruled opaque lines is placed between the lens and the negative. This screen breaks up the entire surface of the negative into dots. The negative, when developed, is printed upon a piece of sensitized copper. Heat applied to the metal plate hardens the dots so they will resist the acid of the bath, which is the next step. Where the plate is free from dots the metal is “bitten”? away by the acid and the dots remain in relief. It is the lightness or the darkness of these dots that reproduces the values of the original drawing. The inherent defect of the half-tone process is that the screen covers the entire surface of the block forbidding alike the brightest lights and the deepest darks. To meet this defect the lights are sometimes tooled with a graver in the white-line manner, and the darks burnished down until they are almost solid. By three printings, . or four (including a black printing), in the primary colors, a fairly accurate color fac- simile can be made. But the inks mix somewhat uncertainly, the yellow especially has a tendency to dominate, and in general the results are more specious than satisfactory. Up to the point where a relief block could cope with tone, about 1890, the magazines were not much interested in the new photomechanical processes. As soon as it was found that in a small fraction of the time and at a twentieth of the price of a wood block worked in white line an approximation to its effect could be secured, the doom of reproductive wood engraving was only a matter of a short time. Moreover, the even cheaper process line block copied a line drawing with a fidelity impossible to the graver. The innovation meant an immediate liberation and an ultimate impoverishment of illustration. ‘There was to be no more of that careful collaboration between illustrator and editor, wood engraver and printer, each in his degree an artist; everything was soon to become a com- plete division of labor under conditions of quantity production. A word is necessary upon the enormous production of printed pictures in the past thirty years which, having next to nothing to do with art, does not here concern us. In the early eighteen nineties the ten and fifteen-cent magazine and the illustrated Sunday supplement of the daily papers began life together. Their success was eventually to kill the printed picture as art, reducing it to a manufacture, the poor quality of which was in- evitably decreed by quantity production. The magazine was no longer treasured and read considerately and often bound year by year, but was hastily scanned on the train and left with the brakeman. Both the reading matter and the pictures were prepared for this public. The established illustrators were enlisted at pay they had never enjoyed from the old family monthlies, but they promptly sank to the esthetic level of their new employers. In par- ticular, the printing of process cuts in the nation-wide weeklies was and is so inferior that an illustrator would be foolish to submit a good drawing to the pressman. Besides, the greater public only wants pictures, and is indifferent to their quality or even to their rele- vance to the text. As I write, of the illustrated magazines only Scribner's keeps going on the old basis. Gilbert Seldes in The Seven Lively Arts easily persuades me that the comic strip is lively, but not that it is art. I have seen too many distinguished and delightful talents, such as Fontaine Fox and Winsor McCay, fall to the level of their editors and public. ; ILLUSTRATION 279 hy ak . A % ip é FLAT ROCE DAN, CN SCHUYLEILE. 8 474 From the lithograph by Pendleton after the painting Flat Rock Dam, on Schuylkill by T. Doughty, # for the Pori Folio, Aug. 1827 THE PORT FOLIO Tyricau illustrated magazines of the early nineteeenth century are the Port Folio, 1801, Godey’s, 1830, and Graham’s, 1841, all of Philadelphia. In its twenty- odd years of struggling existence, with much inferior illustration, the Port Folio published a few well- engraved plates after the best artists of the moment. Thus in the number for August, 1827, appeared a lithograph after a painting by Thomas Doughty (No. 65). It is not a thrilling thing, but it is a pleasant enough print, and it expresses an honorable editorial endeavor to give the reader the best, and enterprise in giving a new process a trial. INMAN’S ILLUSTRATION FOR THE SPY Henry Inman’s sensational illustration for The Spy, in the Port Folio for March, 1829, is well up to the level of English illustration at the time. Our own book illustration of the period has little to show of equal merit. It suggests that talent was less lack- aa BOE aan ing than opportunity for the early American illus- THE SPY fini ase trator. The pocket size Port Folio was on the point : of giving way to bigger but not better magazines, which were ultimately to foreshadow that general cheapening of illustration which we have seen fully accomplished in our own day. (See also No. 406.) 475 From the Port Folio, March 1829, line engraving by C. G. Childs “When a flere entered the room that appalléd the ZrOUp...» 280 ti i . 476 From Morse’s illustration The Wife for Godey’s Lady's Book, Dec. 1831, line engraving by A. B. Durand THE PAGEANT OF AMERICA A SENTIMENTAL AGE THE appeal of Godey’s and Graham’s magazines was overtly to sentiment, and they had their prompt re- ward. As regards art, they are nearly negligible. They dealt in the saccharine, and there is no staleness like that of the saccharine which is not of our own times. Paging over old numbers of Godey’s and Graham’s, the person of taste amid a plethora of sentimental illustration will find little to detain him except the quaint tinted fashion plates and the charm- ing patterns for lace and embroidery. Still they occasionally made an effort. Durand’s little engray- ing after S. F. B. Morse’s painting, The W7fe, in an early number of Godey’s, is quite first-class for its time and good for any time. Unhappily, it is a little dark for reproduction, but, even so, its charm and the skill with which the lighting is handled will escape no attentive person. Such work was exceptional. THE PASSING OF GODEY’S AND GRAHAM’S THE average pictorial appeal to our young grand- mothers is better represented by Leutze’s Why Don’t He Come? mezzotinted by John Sartain. This crea- tion united one of the best painters (No. 55) with one of the best engravers, both, however, placed in servi- tude to an editor who knew his public. The picture was calculated to keep the young woman of the day in suspense for a month. The next number of Graham’s contained the joyous sequel, He Comes! Scattered inconspicuously through Godey’s and Graham's were excellent little woodcuts, sometimes by Anderson (No. 410). More intelligent editors would have seen that this was the illustration of the future. Instead they made desperate and costly efforts to maintain the tradition of elegance associated with the steel plate. The plates wore out fast. For a long time Sartain had to make three plates of each of his mezzotints to meet the mounting circulation. Gra- ham’s perished early under the strain, Godey’s sur- vived the Civil War by a few years. Both left the exploitation of the wood- cut to the new magazines of the eighteen-fifties — Harper's Monthly and Weekly, Gleason’s, and Frank Leslie's, published at New York or Boston. For many years and quite to our own time it was to be impossible to run a magazine on pure gentility. 477 From Leutze’s illustration Why Don't He Come? for Graham's M sjeaual x VIII, 1841, mezzotint by John Sartain ILLUSTRATION 281 A “GIFT ANNUAL” ILLUSTRATION Amonc the gift annuals the staple of illustration was feminine beauty. We have a favorable example of this in the Token of Friendship, Boston, 1851. E. H. Ball, the creator of this vision of loveliness, may well be an English painter. If so, the case is representative, for the editors of American annuals too often borrowed both their literary and pictorial features from England. The method again is typical — a sleek mezzotint reinforced by the etched line. 478 From the illustration Spring of Life for the Token of GE galt 2 Boston, 1851, mezzotint by Joseph Andrews and H. W. Smith 479 From Weir's illustration The Drawing Book for the American Juvenile Keepsake, 1835, line engraving by Thomas Illman ROBERT WALTER WEIR, N.A. Ir visions of beauty flattered our grandmothers, so did domestic incidents please them. We have an alluring one in R. W. Weir’s The Drawing Book, an attraction of the American Juvenile Keepsake for 1835. It was drawn while Weir was Professor of Drawing at the Military Academy at West Point. Weir was later to wina considerable repute as a painter of American history (Vol. I, No. 395) and should not be judged by this early effort. THE SNOWFLAKE, A “GIFT ANNUAL” FREQUENTLY, these giftbooks were enlivened by colored lithography. Often it supplies only a title-page or pres- entation plate. Such was the case with The Snowflake of 1849. Its dedication plate is lithographed in gold and . . . . 1 t colors, and appropriately depicts the joys of winter. Seen ete ae i ban and clare 282 THE PAGEANT OF AMERICA THE TALISMAN But lithography was not always content with this modest role. The temperance annuals often scream intemperately with color, as do others. The Talisman of 1852 was illus- trated with colored lithographs with ornamental borders in gold designed by Devereux, and the hesitant purchaser was most specifically assured on the title-page that every- thing was printed in real oil colors. 481 From Devereux’s Rasselas first beholding the Nile for the Talisman, 1852, lithograph in gold and colors JOHN GADSBY CHAPMAN, N.A. WE do not leave prettiness behind us but we at least emerge from insipidity when we come upon J. G. Chapman, the best and most popular illus- trator of the day. His drawing of The Chief's Daughter made for The Brilliant in 1850 does not too much lose its alertness under the smooth com- mercial engraving through which it has passed. It makes possible the rather difficult feat of carry- | ing away from our study of the annuals any im- 482 From Chapman's The Chief's Daughter tor The Brilliant, New 5 a York, 1850, line engraving by Rawdon, Wright, Hatch & Co. pression of art. As a matter of fact, the relatively little art there was in our illustration before 1850 was confined to the humble field of the woodcut. Chapman was born at Alexandria, Virginia, in 1808. Returning in 1848 to Italy he spent many years there painting landscape. He was a clever illustrator of books, and a successful etcher. He died at Brooklyn in 1889. RELIGIOUS TRACTS > Woop engraving was on the whole applied to humble uses until Harpers’ Illuminated Bible, 1846, gave it standing. For example, the various religious tract societies found it wise to attract the unbeliever by a picture on the tinted cover or title-page of every tract, and the picture had to be at once cheap and expressive. From the tracts of the American Baptist Publica- tion Society, active in the second quarter of the century, two cuts are chosen. One is a title vignette 483 From the white-line wood engraving for American ; Baptish BubucaMOR BOC ey a eer for The Christian Stewardship, Tract No. 108. It is acharming suggestion of a sunset, and it well illustrates its text, “The night cometh when no man can work.” PS A a pe ae 4 tent with second-rate woodcuts. ILLUSTRATION BAPTIST TRACT NO. 87 THE same Society offered a more ambitious print on the pink cover of Tract No. 87. It represented in vigorous white line The Loss of the Ship Kent by Fire. It is one of the better nautical designs of a period that excelled in that branch. The indication of the heaving of the helpless ship in a sea running over shallows is entirely truthful and masterly. THE AMERICAN TRACT SOCIETY Acatn the American Tract Society was a con- stant and intelligent patron of the wood engraver. Some of its little cuts seem to-day merely quaint, as that of a Sabbath-breaking boating party which is not only imperiling its souls and bodies but also its best clothes. However, with the text, it doubtless did its work of serving as “a warning to Sabbath-breakers.” For years the Society maintained a mediocre press, con- A change of 283 484 From the white-line wood engraving The Loss of the Ship Kent by Fire, ae sea 1849, for the American Baptist Publication Society, Tract No. management, however, resulted in improved work. Better presses were bought, and much greater care was taken to secure purity and delicacy of line. The new presses facilitated clearness in facsimile, and made it pos- sible to concentrate attention on the tone as well as on the smoothness of tints. The monotony of expression found in all the prints may be ascribed to the general pr & ae ee From the wood engraving A Warning to Sabbath-breakers for the American Tract Society, Tract No. 191 A TRACT SOCIETY WOOD ENGRAVING THERE are better woodcuts in these tracts. That which represents a Swiss freshet is well designed and employs all the resources of the woodcutting of the time. There is probably some influence of the English 485 _ line engravings after Turner’s vignettes in such work. It is also an early example of the habit of interlocking text and cuts, a move, if not a good one, toward decoration. Besides its tracts, the American Tract 3 Society published books and magazines with woodcut illustration of a generally high order. Its patronage helped toward that improvement in the art which xlI—19 actice of imitating contemporary English engraving. Joseph A. Adams (No. 412), Alexander Anderson (No. 410), C. G. Childs and J. H. E. Whitney (No. 423) were the Society’s best engravers. Ye who sincerely desire rest for your souls; who would rejoice ‘to have peace with God, and to be as- sured of his love towards you ; listen to a simple narrative of secencs which I have witnessed, 486 From the wood engraving The Valesian Flood, for the American Tract Society, The Swiss Peasant, Tract No. 180 ‘ followed the year 1850. The religious tracts exemplify an enormous amount of unpretentious and semi- commercial wood engraving which is generally surprisingly good, as sound utilitarian work often is. 284 THE PAGEANT OF AMERICA AN UNSIGNED WOODCUT OF 1857 One of these nameless prints a little beyond the limits of the period we are discussing repre- sents the rescue of Captain Ross and was published in Epes Sar- gent’s Arctic Adventure. It took no mean degree of imagination to realize this Arctic scene from slight sketches or mere descrip- tions, while it took uncommon talent in the engraver to cut it so simply and resolutely in a fashion fairly anticipating the impending white-line method. Again and again one is struck by the excellence of such commer- cial and nameless prints. In- deed, in retrospect, the mass of popular woodcuts during this period is more notable artistically than the mass of aristocratic illustration printed from the copperplate. Time often makes such reversals. When the future historian of the American graphic art of to-day searches our nation-wide weeklies, I feel confident he will take more notes from the advertising sections than from the literary sections. 487 From a wood engraving Ross’ Rescue for Epes Sargent, Arctic Adventure, Boston, 1857 COPPERPLATE ILLUSTRATIONS, MID-NINETEENTH CENTURY CopPERPLATE engraving, however, held its own for fine illus- tration until the middle of the nineteenth century. It may be briefly dismissed. It produced at least, in 1840, the first con- sistently decorated book made in America, John Keese’s The Poets of America, published at New York. Around the poems burgeon foliated and figured borders of delicate and sprightly design. Sometimes the adornment dwindles to headpieces and tailpieces. The notion of engraved accompaniment to a, printed text was presumably borrowed from William Blake’s illustra- tions for Young’s Night Thoughts. But the more direct inspira- tion for the sylphs which sway through the composition is the popular English illustrator, Thomas Stothard. Just once there is a signature of William Croome as designer and of Jordan & Halpin as engravers. The book is as exceptional as it is charming. 488 From Croome’s decorative page for Keese’s The Poets of America, New_York, 1840, copperplate en- graving by Jordan & Halpin GEORGIA SCENES Ercuine makes an almost isolated appearance in the alert vignettes made for Georgia Scenes by a Native Georgian. These humorous little prints are by two hands, so the preface tells us. One would like to know the amateurs who handled the etcher’s needle with such raciness. aes They are a refreshing apparition at a generally 489 From the etching Hurrying to the Races for Longstreet, Georgia Scenes by a Native Georgian, New York, 1850 dull moment. B oogt ‘yon MMCAUMITTE guMOUL Aq Buauisuo OUT | LOPBAVY[D JOJ PUB MOIR IOF STI} BuryyAsoao ‘suorpsoduioo sty ut Aurouosa pure souryeq ug st ayy, “oljoyyedurds puv Sutpueysiopun sAvaye si oy ‘spooul s soyyne sty ATTY Wes BULMOTO *u0Ty Sree -onpoid snoidoo AraA ® UI 9388} poos puv JouMNyY poos “yuauspnl poos sty Jo uosvas Aq Joy}eI NG =m tne pe a paeages, 2 ‘U19} oY} dAJosop Aparey ABUT (LZ-9BS “SON ‘TX “[OA) Jalvbivy_ S.ppnE 410; sourt[yno sty YSsnoy} pecans aang en ia ‘sooatdioyseul [sus Jo onzatA Aq you jJpasuary sesodun Agpeq ‘uorjdisosuexy pidisut s,uMosqyyiyg ‘ ut usd yuoredde st yoy 4ayD4{ OY} JOJ UOTZeIYsNI sy} ut Sutdnois satssoidxe pu Ieojo stp] Of Kee ‘SOI}IOJ Ud} YSto oy} poyeurwop pey ueurdeyy -y ‘f sB salqxis pue saryy u907431Ie oy} soyeuruOp 2H (60F “ON Osye 90g) “AaTIeC, "OD °O “J “lOYeIsN]. UotIoUTY yeoIS 4sIy oy} Yoour 9M YoY La 4 Stedooy jo aoardstyuo ry ay} UL ‘ayJousTA 9771} Jo daIdstyUOIy @ 07 poyuNT ATferoUes ‘19A0 -MOY ‘SBM JJ ‘opqesuodsiput poursas Te oy Ce woryerysnqyi pears8ua-sury 619 doog ‘OSST ‘U04S0g ‘swa0d ‘IOPIUWM JOJ VDIIdsTJUOI] SSUT[T}q WolT 06% pue Sutary Ayqejou ‘siaytum osoid UBdIIOULY JO sjos prepuRys 10OJ “qe jo yUepnys sy} Uss0U00 you op ‘asod -ind 19y} IO} YUaTJaoxo UszJO ITTTAK ‘syNsoi oy} JNg ‘sUBIPUy oY} UO Z syooq 94} pue syioder yuouTUIEAOS ES OYIyUSINS VJOM Os ‘pozeI}sNy snyy =< Ayyensn oom ‘10joo Surpsou ‘Auejoq Es pue AZojoos uo syoog ‘asodand ip orystyieqns jnjosn e& SuUIAIesS SBM x Aydeisoyyy potied sty} [je HOAOUHT, = ‘VN ‘AUTUVG Wavo SOIAVLOO XITHa *SoUl[OP] TepueAA JeaAqQ jo susod ay} jo suorjips Ajres oy} peyst]jequia oy $19}JNOpooM IY} JOF susIsop [eyuoUT -euio [Njoovis pip oy pue ‘(1Zg ‘66h ‘866 SON) TX ‘TOA UI Uses oq AvUI JOZVeIYSNITI Ue se yIOM sty jo sofduexq ‘uorssojoad Aq poyyore ue sea azT “Sep STY Ul VolIOULY Ul JOyeI|sN] satyeuIseun ATUO oy} JNoqe Sutaq jo UOTPUT{sIp 9Y} pey sy yNq “jusTe} [eJUSUIIJUVS pu s[qQoo} JoYy}eI B SEM ssulyig "OSS ‘U0JsOg “OWT AA JO UOIPps suNJoA-ouo vy} Jo} sodatdstyuoT ssurig Weururepy ATWO poyo aq poou ‘udy} ‘ay ‘a[ddys pue Suaeisuo ull jo uolssnostp oy} ut poreyo useq Apeosye oaey sojdurexe etaasg ‘Aoumosig ‘siPT pue STT[TAA ‘qd ‘N SB souo 97,0810} Yons pue Jor YA, pue MOTI -BU0T s¥ siasuis U9}{OSI0JUN Yons jo sutv0d poyoetjoo oy} pousope AjuouIMOD ZuIAeisua IATLG SONTTTIG LLIVANVH 286 THE PAGEANT OF AMERICA DARLEY’S RANGE Dar ey can be tragically dramatic, as in The Death of King Philip, for the Artists’ Edition of Irving’s Sketch Book and again he was the only conceivable American illustrator of the broad humor and melodrama of Charles Dickens. Though later American illustrators have sur- passed him at certain points, he still remains the most universal illustrator we have produced. 492 From Darley’s Death of King Philip for Irving, The Sketch Book, New York, 1864, wood engraving by Richardson DARLEY’S HUMOR For his shrewd and quietly humorous vein let us take an illustration for the beautifully illustrated Enoch Arden of 1865. It holds its own admirably alongside the more intense designs of young Vedder and La Farge. The slight but telling touch of antiquarianism is characteristic of Darley in historical illustration. Darley’s broader humor is well exemplified in the vignette for Whittier’s Cobbler Keezar published in New England Ballads, 1870. Such a thing looks simple and even obvious, but such simplicity rests upon the most thorough preparation, as Darley’s innumerable trial-drawings and sketchbook notes attest. *% From Darley’ 6 tae creak oncravia: wea nee THE FIRST GREAT AMERICAN ILLUSTRATOR Dar.ey was born in Philadelphia in 1822, went into business, trained himself as an illustrator, and made himself famous both in America and Europe before his thirtieth year through his out- lines made for the New York Art Union illustrat- ing Irving’s Catskill legends. The rest is a story of unremitting endeavor for the book and maga- zine publishers. As late as the middle eighteen seventies we find him contributing with the freshness of youth sketches of European travel to Appleton’s Journal. He died in 1888 at Clay- mont, Delaware, eclipsed in his later years by the new generation of illustrators. Of his whim- sical and humoristic vein, Augustus Hoppin (No. 415) and Sol Eytinge, Jr., were successful emulators. In a larger sense Darley left no succes- S04 yom Dovleys Te Cover Kesar Lauate forwalies Nee sors, (For Darley, see also Vols. II, III and XI.) ILLUSTRATION 287 495 From Vedder’s Building the Canoe tor Tennyson, Enoch Arden, Boston, 1865, wood engraving by Anthony and Davis MID-NINETEENTH-CENTURY BOOK ILLUSTRATION Dar.ey’s career coincided happily with that progress in black-line wood engraving which has been described in the preceding chapter. The landmarks are three remarkable books: Irving’s Sketch Book, published in 1852 by the Putnams with Darley as sole illustrator and J. W. Orr in charge of the wood engraving; the Artists’ Edition of the same work, published by Lippincott in 1863 with Darley and numerous other designers and J. H. Richardson as chief woodcutter and superintendent, and Ticknor & Fields’ edition of Tennyson’s Enoch Arden, 1865 (No. 493), with A. V. S. Anthony in charge. The latter book en- listed beside Darley the brilliant new talents of Elihu Vedder and John La Farge and the facile gift of W. J. Hennessy. It set the fashion for the Boston books of poetry which under Anthony’s able direc- . tion were deservedly popular for more than a decade. Though few surpassed their prototype, they remain among the best things we have produced in pure illustration; and though modest in ornamental features, they are still far from negligible from the strictly typographical point of view. It was not to be expected that Anthony should always find illus- trators of the power of Vedder and La Farge, both destined to be famous painters; but he did enlist the young talents of Mary Hallock Foote and C. S. Reinhart, while he made the maturer genius of Winslow Homer pay tribute to illustration before devoting itself solely to painting. aiken at v; IU ANTHONY + DAV/S Sl 496 From La Farge’s Enoch Alone for Tennyson, Hnoch Arden, Boston, 1865, wood engraving by Anthony and Davis 288 497 From Fenn’s illustration for Bound, Boston, 1868, wood engraving by A. V. Ss. An- thony THE PAGEANT OF AMERICA Whittier, Snow-. WINSLOW HOMER, N.A. Winstow Homer often appears in a homespun, rustic vein, as in Bryant’s Song of the F ountain, but there are occasional intimations of his later tragic power, as in the cut of the forspent climber of Long- fellow’s Excelsior. The largeness and simplicity of the design are noteworthy. As engravers, Anthony enlisted such veterans as Filmer and certain young men, like the Englishman, W. J. Linton, and Henry Marsh, who were to play a large part in the approach- ing revolution of the art of wood engraving. (See also Nos. 80-81, 125-30, 420, 498, 506.) 499 From La Farge’s illustration from the Old Dramatists, New Yor by H. Marsh for Richardson, Songs k, 1873, wood engraving HARRY FENN Amone Anthony’s best finds was Harry Fenn, who had a special gift for catching the intimate character of New England scenery. He also in the big designs for the admirable woodcuts in Picturesque America (No. 421) successfully measured himself against our more grandiose sites. An excellent composer of architectural subjects, Fenn perhaps is most himself in little vignettes for poetry. He was born in England in 1845, came to America in 1864, and died in 1911. He was a most versatile general utility illustrator. Excelsior. There in the twilight cold and gray.,. Lifcless, but beautiful, he lay; 498 From Homer’sillustration for Longfellow, Excelsior, Boston, 1878, wood engraving by A. V. S. Anthony JOHN LA FARGE, N.A., S.A.A. Tum fashion of these little books of poetry spread from Boston. One of the best of them, Songs from the Old Drama- tists, illustrated by La Farge, was published in 1873, in New York, by Hurd and Houghton. Already in the delicate, pictorial completeness of the design we have the note of the new illustrators; and even in the woodcutting (probably by Henry Marsh) are many of the tonal refinements of the now imminent white-line manner. La Farge, despite his scanty production, shares with Winslow Homer the honor of being the most important American illustrator between Darley, and Abbey and Howard Pyle. It has seemed better to represent La Farge by his forgotten masterpieces than by such hackneyed if masterly designs as the Wolf Charmer and the Pied Piper. (See also Nos. 108-10, 152-54, 186-87, 220-21.) 289 ILLUSTRATION ‘y00],) Lapuog{ OY, PUR PooFT uUgoy sidy}O Suowe ‘spusse] [BAwTpPoUT OJ suSisap s,o[Ag preaop jo Auvur jo uoryeorqnd ysay oy} Suryeut Aq ye jo Ax1oysty oy} JO SyUeUINIOp yuaueutied oy} 0} ssuojeq pue payerysnyft [joa Apaeurpsioesyzxo sea “Jo}e] pue saryyste usezYS1e oy} YSnosy} ‘003 a7doag buno x s sadn] “UOTYBYSNITE JO [Pde] YSrqy Apuaysisuoo we pourezureur Apyjuo py s,Ladsvjy ‘saodedsmou Avpung oy} Zurpnpout ‘sorpyaem deayo ayy Aq uoryesjsnyt ouy JO PpPy ey JO jo pdosoy APJuooar sv 41 [UN ‘uo Ieok YeYY WoL ‘s1aARI3Ua oY} SuoWe [fnTy puy oM pus ‘ssadiny] uo UNIT peutol pey ofAg preaoxy gist Aq ‘suoryeorqnd sodsez oy} YO AOJ YAOs OIYSTIOJVIVYO STyY JO suOTyeIysNq] iq ouy FuryVUL sem VY OAS Wor “seyoyeys Ysnos s usu Joyo JO sydevisoyoyd Surmeiped U9zJO “YIOM Yowy Jo Jos oyeoljop & Ajuo posoarfop szeoX anoy Joy ynq ‘gLgT se Ajive sv savodde Aoqqy ‘ahg premop, pue Aoqqy “Vy uIMpy ‘s1OJBI|sN]I[I Seq IMO Jo OM} sBuruUIseq Moy} ye pesemmoous ssadin yy ‘ounes ou [TV “Ayyquopy ssauquuog yo uoryyedut0s oyy Aq ‘soruades uasyYSIa 97R] oY} UI ‘OyoJ9Y} peosoy [UN uoryuEy7e opyY pred Bury Nopoom poos oF, ‘ssoy Ne ysySuq queyjeoxo Aue pip YL sB ‘sAoyeaysNTT! Yystpsug poos MO] B poinyeoy }[ “9U9}STXO SPT JO srvak oAy-k]UIA} JSIG OY} LOJ JURIT[IIG Jou se ‘giqrpodses shemye ysnoyy ‘Ayyyuoyy s,sadsvz] yO osn0o [etsoqord ayy, ‘aZre] Ye IoyerysnqI[I we se Joorvo Sutstuosd . @ pooylioes oy yslinqeorswo [eoryyod ew sv oureu yeors sity UIeS 07 YeYI SMOYS BWOF] JD sino FT WO peonpoadas osoy UOTyeAYSNT SASeN *s,augquiog 07 Kem axed pt usya doup & sBa atoyT, “Jeps1o YSTY B Jo seA UOKRAYSH! Ayuwos SY] “aWOFT 4 S4NO FT PEAL[-WOYS OY} STOLET PU OLBT WoEAJoq popunoy SoIpy}UOUL Mou ay} Jo sxoquinu Aja ayy Jo AyWOOIp -oUl [esoued oy} 0} uoTydeoxe UY ‘posopisuoo Ayayeredas aq [[M emyeores 0} peyoaep Apgeryo d19M YIM opBoop ey} Jo soUlz -eSeur mou oyy, ‘eoejd poysinsury -sIp 8 SoArosep “nowawp anbsaunporg Joy synopoom prpuefds eyy jo Aueut peysyqnd ysag yor “pouinor s,uoz -addp peat-woys Joyyer vy} e407] ‘rood pue potsiny sea Sutyynopoom si Ng ‘pee, oy} ul ATisvo sea ‘soqio,qg ULMpy pue urddoyy snysnsny ‘JOUINY OIZOU PUB IYSNI Jo JaAIesqo quajjeoxe ‘preddoyg “7 “AA “Ae ‘sur -Aq JOS ‘sen seutoyy, “1oUulox MOPSUIA, YYM ‘Apyaag, s,taduoy ‘Sor[yUOUL oY} WEY} WoryBIysN poos NAB HE LOO SOR NS MS a10UL pasoyo sarjuaaas useyysIe AT ra NS: GN ee RNS “Of GAC RERS] ony qnomqy sorpjaem oy} “opoyas oy BN LN Wel SON SY ") ag pea, oy axe} soulzeSeur oy} qoyeoroyy, “wed sutpee, oy} Keyd sroystqnd yoo oq} ‘8L8T °F Ss qnoqe Wor ‘AUT, YOR[G Ul UoTyerysNTIE qnopoom jo uoryeurmpns ey} NJ NN . ee Ne SS \ KAS | AN ARK r x « : \ \ . (ast NOLLVULSATIL ANIZVOVIN BSS as ZORIL “SNY ‘AWOL 1W.8LNOH IO punosblapugQ YoUnyD ay.L § QSUN SVUlOyL, Joye SUJAvISUI POOM 9Y} WOLT 00¢ S 3 eee — See ewe 290 THE PAGEANT OF AMERICA & SCRIBNER’S MONTHLY THE leadership of the illustrated monthly magazines was early assumed by Seribner’s Monthly (1871-81). Its first five or six volumes are not extraordinary for illustration, but at least little is perfunctory, everything seems thought out and alive. The wood engraving is generally ex- cellent. The editors clearly gave the best that was available in America. By the last years of the eight- een seventies Scribner’s reaches a turning point. Under the art editorship of Alexander W. Drake, illustration reaches its best estate, and the new white- line wood engraving emerges to cope with the new problems of fine reproduction. The story may be read by turning over the 501_ From Mary Hallock Foote’s illustration for The Picture in the Fireplace Bedroom in A Port- ; u > folio of Proof Impressions from Scribner’s Monthly and St. Nicholas, New York, 1879, wood en- volumes of Scribner s and St. pgheee Sette aoe Nicholas for 1876 and 1877. Here we find the culminating point of black-line engraving and pen draftsmanship in such a cut as Henry Marsh’s Etruscan Fan after Roger Riordan (No. 424), Scribner’s, August, 1877; Timothy Cole, soon to shine among the white-liners, making a line block after the veteran, C. S. Reinhart, Scribner’s, J anuary, 1877, and the gifted Englishman, W. J. Linton, going far in the direction of white line when interpreting the popular illustrator, Mary Hallock Foote, for St. Nicholas about 1879. These are about the last of the old. The process line block was soon to supersede the hand-cut line block, fostering new beauties and complications of pen drawing, while white line was to cope with the new and more painter-like illustration in tone. TIMOTHY COLE’S PIONEER WHITE LINE Tue much discussed white-line style has already been considered. Whatever its merits and defects, the wood engravers had no choice. Confronted with illustrations that were complete paintings, and with artists and art editors who insisted on exact copying of the tones, there was nothing for them to do but to reject the old linear methods and the old ideal of linear interpretation of the drawing in favor of painting with the graver. For many years white-line passages had been common and increasing. It was the appearance of an audacious new illustrator for Scribner’s, James E. Kelly, later a sculptor, that forced the change. Mr. Drake, the editor, insisted that Kelly’s brilliant and ragged wash drawings be closely reproduced, and nothing but white line would do it. Timothy Cole regards his unsigned print after Kelly’s Lhe Gillie Boy as the first woodcut completely executed 553 Wom Kelly’s illustration The Gillie Boy tor Scribner's Monthly in the new manner. Meigen ee Bee dic Aug. 1877, white-line wood engraving by ILLUSTRATION 291 JUENGLING’S PIONEER WHITE LINE In the same issue of Scribner’s appeared another pioneer of white line. Juengling’s cut after Kelly’s Engineer Crossing a Chasm is a more brilliant and consistent example of the manner than Cole’s, and Kelly and Juengling together pressed the revolution to the point of success. Nor should Drake be forgotten. His act in rejecting Juengling’s first block for the Engineer and insisting that all the loose- ness of the brush-drawing should pass to the block is perhaps one of the most momen- tous editorial decisions in history. W. J. Linton, in concluding his classic history of wood-engraving in America, falls foul of Juengling and of what the author terms the new ““Chinese”’ school of engraving, which adheres strictly to the Confucian tenets of complete self-effacement. All artistic per- sonality, Linton claims, is gone, replaced by a slavish photographic imitation of the original with all the meaningless, un- selective detail and fineness of the photo- graph. 603 From Kelly's Engineer Crossing a Chasm for Scribner’s Monthly Illustrated Magazine, Aug. 1877, white-line wood engraving by F. Juengling COLE’S LINCOLN Drake, when in 1881 Scribner’s Monthly became the Century Magazine, had only to continue his old policy. Though there was much excellent illustration for text, the ideal was rather that of a choice pictorial album. Timothy Cole’s admirable white-line cuts after old and modern masterpieces of painting were the prominent feature, as were Elbridge Kingsley’s transcriptions of American landscape. That universal talent, Henry Wolf, made the white line translate not only painting but ancient and modern sculpture. Often little or no text accompanied such plates. Their per- fection was due to an ideal codperation between art editor, artist, wood engraver and printer. Nothing was shirked. There resulted perfections which cannot be repeated under modern mechan- ized conditions. One scans Cole’s marvelous woodcut after Wyatt Eaton’s pen drawing of Lincoln with mixed feelings, wondering whether the added shade of refinement over a process cut from the same original justifies the pains. Hap- pily, such counting the cost never deterred the white-line men of the strenuous ‘nineties. The unsparing criticism of the older school of en- gravers was both a spur and a curb to their ae il celal | eee ee a ee eee ee ee eee aor’ 504 From the white-line wood engraving by T. Cole. After Eaton’s activity. pen drawing for The Century Magazine. © The Century Co. 292 THE PAGEANT OF AMERICA for The Legend of St. Gwendoline, New York, 1867 A HELIOTYPE In 1874 there were reproduced by the new process of heliotype (by which the negative was transferred to and printed frém a gelatin plate) Winslow Homer’s vigorous silhouettes for The Courtin’, by James Russell Lowell. This delightful series is doubtless reminiscent of the shadow plays which were a favorite diversion of the moment, and the book is at once unique 4 s 4 S: when the A\mget of the dake wish NS ANt last shall find you by the river-brink, : Pts offering his Gp. invite your Soul < forth U6 your Line ts quatt—youshall marihyteket i } 507 From Vedder’s illustration of quatrain XLIX for The Rubdiyat of Omar Khayyaém, Boston, 1884; heliotype re- production 505 From the photographic reproduction of Ehninger’s painting thu s be illustrate d THE BEGINNINGS OF PHOTOGRAPHIC REPRODUCTION Tur idea of utilizing photography for illustration came early to publishers and editors, but the technical means were not available until the early eighteen seventies, and reached perfection only in the early ‘nineties. Meanwhile, photography was used to shorten the labors of the lithographer and wood engraver, and occasionally a book was illustrated with inserted photographs. The best experiment of this sort was the anonymous The Legende of St. Gwendoline, published by the Putnams in 1867. The small and careful designs of John W. Ehninger (1827-99) were regarded as too fine to entrust to the wood engray- ers and were beauti- fully photographed by Addis. It is evident that only a costly book of small circulation could and one of the best efforts 506 From Homer's Zekle crep’ up unbe- re a known for Lowell The Courtin’, Boston, of its times. 1874, heliotype reproduction A VEDDER HELIOTYPE Tue magazines, having their excellent corps of wood en- gravers, were slow in trying the new processes, leaving such experimentation to the book publishers. They tried the in- novations chiefly in publications de luae. Of these by far the most notable is The Rubdiydt of Omar Khéyydm, illustrated by Elihu Vedder and published by Houghton, Mifflin and Company in 1884. Nineteen years earlier, in the Enoch Arden for the same publishers’ predecessors, Vedder had shown a high promise as an imaginative designer which is here superbly fulfilled. In the romantic pessimism of the Persian poet he found a congenial theme. Including the text of the quatrains in his illustrations, he worked after the fashion of a Renaissance scribe, and the book was really a facsimile of a pictured manuscript. From this point of view it is not wholly successful, being printed in too pale an ink. The heliotype process proved to be impracticable save only for limited edi- tions of expensive books, but even so, Vedder’s accompani- ments for Omar remain our highest achievement in purely imaginative illustration, with nothing very close as a second. ILLUSTRATION RESULTS OF THE NEW PROCESSES OruHER publishers experimented with fine illustration in the costly photogravure (intaglio) process. Kenyon Cox’s draw- ings for Rossetti’s The Blessed Damosel were thus reproduced, and Will H. Low’s for Keats’ Lamia. Although the typo- graphical decorations were made by the artists, the resultant books were somewhat hybrid in effect, the intaglio cuts failing to harmonize with the letterpress, and the experiment was not pursued. All our greatest illustrators of the end of the last century drew first for wood engraving and later for process. The ever popular C.S. Reinhart (1844-96) evidently drew with more simplicity and force when he drew for the wood block. Day Dreams, when compared with his illustration of some nine years later, The Kissing Gate, shows the case very clearly. 509 From a process line engraving of Reinhart’s Kissing Gate in Devon for Harper’s Magazine, Jan. 1886 HOWARD PYLE, N.A. Or the reflective illustrators, the greatest seem Howard Pyle, Edwin A. Abbey, Robert Blum and Joseph Pennell. Howard Pyle was as universal as Darley had been, and more pungent. Born at Wilmington, Delaware, in 1853, after slight training at Philadel- phia, Pyle sought his fortune at New York, in 1876. After a few years of increasing success he returned to the peacefulness of his native town. There, aside from his extraordinary personal industry as an illus- trator, he maintained generous activities as a teacher, and had the satisfaction of seeing his pupils do him credit. He wore himself out early, dying in Italy in 1911 in his fifty-ninth year. His work may be most conveniently divided nto [eae 510 From Sulla i! scmmtocts Pyle’s The Choicest Piece 293 508 From Reinhart’s Day Dreams for Scribner's Monthly ee Magazine, Jan. 1877, wood engraving by . Cole. s of Cargo Were Sold at Auction for American history, for which he employed the wash; Howard Pyle, A Chronicle, New York, white-line wood engraving by - * é 5 A. Lindsay. medizval legend, in line; and miscellaneous folklore © Harper & Bros. and saga material in wash or color. His power to make our past live is exemplified in an early illustration of a slave auction. It well represents the vigor and truthfulness of such work as he did for Woodrow Wilson’s History of the American People, for The Spirit of America and for his own book on the buccaneers. THE PAGEANT OF AMERICA 294 “solg 3 JediwvH © “ZO6I Ang ‘awevbn py 8 .4aduny I0y Yowsppop U,dDO 8 a[Aq JO uoTONpoidas 9u0}-j[Vy 94} WoT e1¢ ‘any yoS10; Appear youues ug, ‘ajAq preMoTy 0} [[]e4orey @ SB T107}0q_ “89S oy} Suoje ainseary sty Suryees Jars yoospjoy udp jo UOlPeIYSN][I o1eurerp ATsnopusutesy ay} eyB, ‘poysvoidde uaaa prey ‘ioppeA pue od1ey eT oAvs ‘si0zeIYsN]TI UeolaUTy Joy}O OU SB yons Jomod aaryeuiseun ue papeaaad [4s e[Ag 480q sty 78 ‘IaAQMOFT ‘ssao0ad IO[OO MoU 9} UI 904 yey, &q “ULIBY] S}I OF U9zjO ‘peonpoidor St Pt Jo YONUL pue ‘ol1O;yjO} UvoIIaUTy 04 10 SBSBS OSI0 NO 0} peJOAdp ST YOM oy} JO YON “UOryerassexo 0} o1yoS19Ua sMoIB a[4ys so[hg ‘svat Joye] STY NT SUVGA UWHLVI Sa Ad ‘ulaa Ajio}seur ysour sty ut offgq Moys poout oy} Jo Joumny yurenb oy} ‘syoefq ey} Jo Buryj0ds [nIyNeeq ATpetoodse YY ‘uoTyIsodut0D ouy oy} ‘auty oy} Jo Surppuey snososia pue ajduns sy, ‘sosseooid yeorueyoomojoyd mou oq} Aq weuisyyerp ued 8 0} palayo wopesdy 1938013 oy} Jo oBeyUVApe yoo} Ajasta osTe ‘s[opoul sty JO JopRIVYo dAl}e1009p Ayyetyuesso 2} Sulureyor ce) LG Ba ‘akg ‘sl Jey], ‘lepevoiq pue Joyorl “euro; Sso] ST I JVY} Ose puw ‘s]Nopoom ueULIED ATIve oy} JO YY} UO paseq st o[44s oY} YY} Woes aq [TA YW “0079 sapuo 44 ayy ‘Aseyuey Surureyp so[Agq Wor ([1g *ON) UOrPeAYsNTI oYstIOpRIeYO B “no oye1oqe[a e10UL B UBYy J0}}0q sonpoddar [IM yt asNBdaq ‘asooyo AU a\\ “poyesOoep pure pozeI} Pe ae ea ‘sorg 9 JodIUH © “LEST ‘HIOX MON *Y9019 LopUOAL OUT syooq jo sojdurexo ura ‘aAd JO} UOMVIISNIT] §,9[Aq JO SULABIZUE dUT] SS9D01d 9} WOT I1¢ -lJauly }seq oY} UreUIod Aoy} ssep V@ sy ‘soy WRIT se Joyeuryooqg ® SNOIpt}sey Os Jo oly -elIUIpe sy} UCM syxooq peyeiocop =pue poyesy “sn AyyysTap esoyy pue ‘pasuojeq Joqy1IM oH Pee ot esp jo uoryesoues oy} yo Aol oyy Apsn{ oram asoyy ajdoag buno x s.sadun Fy Uy ‘myyy sury pue pooxy uIqoy JO spuases_ oy} JO SUOISIOA UMO STY IOF opeUl sy YIM ssutmeIp aul] oY} Ul poysmMsurystp a10UL UdAd sUIIIS AIAG INIMVUd ANIT @IAd V “UoyOy 03 ROH 4I8]q S19 S940} Qorw|E 13388 gg « « oS - = eo ~~ = 24 bead gall bas ae ah ee el oS) A Ee ie a se ln il eel ee ae © We > « - . : : f , . 295 ILLUSTRATION "SSI ‘shuos PIO JO} UOMwIUSNITI §S,Asqqy JO ZuTAviSuS ou] ss9001d 94} WOT FIG d1NdOsS 8! uorpisod sty s1oyerysny yt ueo -1JaULY Jo [Bold] Jsour oy} SY *FYSIsut [NFYYNOA Jo satovorep urezJ90 uodn pojsal yey} UlOA B poysneyxe Ajyuoredde pey off ‘peuises Wt UY} ssay Useq eAey ABUT UOT}eYSNI[ UedIOUTY 0} sso] oy} ‘Burzured yeinul pue [eoIIOYsTY UI JOOIVO SNOTI{sN][I puke MoU B oyxeUI 0 puLpsuy 0} JUOM oY MAYA “Uod oY} YIM YIOM sty Jo ULeYO IeIfNoed ayy Jo SuryZeUIOs poyory, ysnaq ay} Jo asn a[qv SABATR STY O[IYM ‘SoMIOY} PWoId Ss JsI}eUIeIp ay} 07 ayenbapeul UIzjO SBA yUOTeY gyjues sty yng = “SuLMeIp-ysea jo poyyour persoyord Aqiny ayy moun wood HAD aus, k904¥ WOAFe BUTATIIUS POOM ONY WOLT ETS essa pjnoys oy yey} [emyeu ‘greadsayeys ayeyepun plnoys sy yey} sqVyAcul sea 4 ‘-yuourour Addey sty} Jo YIOM oy} pessedins soaou Aaqqy ‘ajo 24} UQ ‘“Yorvesel sno1w0qry{ 4souI 94} WO poseq Ysnoy} UOT} -estaoidunt sev Asva se ‘ssouzyg pue soevis o}euTUINsUOD jo Suimerp ued sea oiazy ‘wand -uoy 03 sdoozy ayy $s yyIUIspjoy ut ‘shuog pig ut ‘yortaz] ’ fo swaog oy} Ul puey sty SuLMoYs ‘soumsyy ysysuge pro onApr jo JoyesN]]t [eopr ue jos UI] DYVUI OF WOOS SBA ATACY SANA HSITONG-C10O S.ACHAV ma Ny ("G9-F9L ‘SON 998) ‘opA}s pedopasp siq ul uey} o7eI0 -Qe]2 dIOU SI poyyoUL oy} Inq ‘(SI¢ ‘ON) JuawmvT suoovaq PIO 94 Se uoryexjsnyt Ayre ue YONs Ul UMOIS-[[NyJ wy puy aM AjaJOUl UOTJUIAUI UT *oUINYsoo popoou & JOF UOTPVAYSNTI ue Jo ao11d ay} Aed pynom AyraA0d ut pure ysed sty porpnys ofy *Asqood soz ApoSre] suoryesysny Surmseyo snosouNU Ut Jas} poounou “uv yuo]e} URIenbryue oyeorpep sty ‘s.4edunzT YM Arospnap jo suvak Moy B JoYFY ‘JomosseU osje pure ‘o[Ag preMoy ‘puotsy sty Jo yey} UeY} opIsINbxa oIOUI SBM UIDA S AdadY “VY NIMAY ‘VU “WN ‘AGGGV NILSOV NIMC 296 THE PAGEANT OF AMERICA ROBERT FREDERICK BLUM, N.A. In a few Japanese subjects Robert F. Blum fairly rivals Abbey in charm of sentiment and in delicacy of workmanship. Every touch of the pen seems a caress, and withal the essential forms are learnedly and solidly constructed. Blum apparently re- garded illustration merely as a stepping-stone to figure painting and mural decoration. It is possible that the future will value most highly those illus- trations of which he thought rather little himself. 515 From the process line engraving of Blum’s The Ameya for Scribner’s Magazine, January 1891 BLUM’S JOE JEFFERSON Buu was only casually an illustrator, but his pen drawing was of such consummate quality as to make his scanty work of the first importance. Here he learned much from Fortuny. The line is short and brittle, with twinkling effect and magical implication of atmosphere. One sees the brilliancy and picturesqueness of his method in the famous pen drawing of the great comedian Joe Jefferson as Bob Acres. It would be hard to imagine anything more completely alive. (See also Nos. 171, 223.) 516 From the process line engraving of Blum’s Mr. Jefferson as ‘*‘Bob Acres” in The Rivals tor Scribner’s Magazine, December 1880 PENNELL AS ILLUSTRATOR JOSEPH PENNELL developed under much 517 From the process line engraving of Pennell Wacken Cathedral from the the same influences as Blum, mastering Southeast for The Century Magazine, July 1889. © The Century Co. early the staccato pen drawing of Fortuny and Rico — the line that conveys with truth of form, truth of atmosphere. It was an ideal equipment for a sketcher of architectural sites, and Pennell soon made himself the leading illustrator of books of European travel, a position which he held through forty years of resourceful and varied endeavor until his death. Italy, France and England were his favorite sketching-grounds. His authors included Mrs. Schuyler Van Rensselaer, Henry James, W. D. Howells, Maurice Hewlett and his own talented wife. As the most universal craftsman of our times, Pennell essayed with distinction many mediums, the pen-line, chalk, monochrome wash and water color, but he seems at his best in those light webs and assemblages of dots with which his pen magically brings a noble building and its surroundings into being. Besides his European sketches Pennell was peculiarly happy in his representations of the spirit and form of the modern age of power and machinery. These sketches are a not unimportant part of the record of twentieth-century America. (See Nos. 437-38.) ILLUSTRATION 297 PENNELL’S EARLIER STYLE PENNELL’s wash drawing, a beautiful early illustra- tion showing a distant view of Windsor Castle, is from one of Mrs. Pen- nell’s first serials, The Stream of Pleasure. It is among his most delightful creations. In later years Pennell’s illustration, now largely secondary to his work in etching and lith- ography, assumed a more grandiose form. Such books as Temples of Greece and The Wonder of Work represent this phase. It is immensely skillful and possibly less attractive than the intimate pen ™& SSE REE RT a Soe 5 f 518 From Pennell’s Rainbow on the Thames for The Century Magazine, Aug. 1889, studies of his youth and white-line wood engraving by H. E. Sylvester. © The Century Co. prime. He wrote many useful books on all phases of modern graphic art and was a pungent and erratic critic. He gave himself unsparingly to teaching and arranging exhibitions, and probably paid for such self- sacrificing activities in a too early end. Pos WILLIAM T. SMEDLEY, N.A., S.A.A. Ovr four greatest illustrators, it will be noted, all worked practically outside of the illustrator’s normal task, that of depicting the social life of his own time and nation. This field was, however, ably cultivated by men who, without being precisely great technicians, were acute and sym- pathetic observers, and sufficiently gifted on the artistic side. Of the period dominated in fiction by W. D. Howells, W. T. Smedley was perhaps the most faithful illustrator. No one of his day created a greater gallery of nice unpretentious Americans, and his sense of the average social situation was inerrant. His was a quiet, unambitious, at times subhumorous art, but singularly complete within its elected frontiers. It is well represented by The Golden House. Smedley was born in Chester County, Pennsylvania, in 1858, trained at the Pennsyl- vania Academy and with Laurens at Paris, and died in New York in 1920. The same qualities that made him a resourceful inventor of types in illustration made him also a sterling portraitist. To run through a series of Smedley’s illustrations is to view again the round of genteel life in the eighteen nineties, that age a little more than a quarter of a century ago when industrialism had destroyed much of the peculiar charm of the civilization which preceded the Civil War but had not yet brought about the crystal- izati : ime when most of the abler 519 From the half-tone reproduction otf Smedley’s wash dra’ ization of a new culture In a time e ost of t for The Golden House in Harper’s Magazine, Oct. 1894. 1 i n ar is was an nomal 3 Harper & Bros. men were drawn into business an artist a y THE PAGEANT OF AMERICA 298 f "G68T ‘sbuifivg sty pup souog Su Rete Wet ENE Sh) eee (‘sojdurexe SuoMeA JO} TTT ‘TOA Sil Bi ay § sol = uoTjonpoidel 9u0%j-jjey aq} ae ha 996) *‘porvoddesip Ajos1e] MOU sey ; : - : peeks yey} odd} @ Jo OF] [BINT UBOTIOUTY Burkeajiod ut ysoq sIy ye SBM OFT ‘JJoB Jo ouresd poonposzur AyTMou oy} jo sdowumny oy} Ayqestumpe yysneo ose ysoiq ‘diysueuisyeip oy} jo oo10y ond oy} ozijeer 07 pred ay} yy Aoq yoriq oy} jo omsy aq} Apnys 0 Ajuo sey 9uQ *poo}s -Japun ATIpvar pue s[qIssaooe OS ST ql Joy ‘poyeumrsoropun ATqeytAout sI y10oM Yong ‘drysuvuryIoM pue uordeouod jo ramod Aves @ IOF YS9q sty ye oyinb ysorg smoys ‘snway apuyy YOod peaoj-yonur yey} Woy ‘HOIYAISNI[! OYJ, “WOISTA yerues pue oins AI9A B UO 4seI YOM syoyo anbsejois usyjo pue peoiq ul sTeop oF{ ‘UN, sty Jo ystiouny orydess ysoq oy} sdeysod st pue seam ‘[¢gT Ul erydppryiqg 7 W10g seM OYA ‘104 -B1}SNI[I YYINe-jpes B “LSOUT “_ “V LSOun LIACHNd WOALaV ‘uusIfeuotssojoid Suljio}s sty spueul -U109 107BI}SNIII UROLIOUTY SULATT ON, ‘QOUI[[IOX9 WAA STY JO puv 4X9} B Jo soryyiqissod fetsozo1d oy} jo dseis punos sty jo ssnvoeq JOyeIYsNTII Jo odd} YsIy @ seM oY “JURTTTIq ueqy quayodui0d Joye SVM oY ULUIsYeIp B SB IY AA ‘“UWOTIJUT}SIp STY SEM ssoUSNOLIas Jo pury efqrxeyp AroA YW “MOsTPINOOPT Leg od1005 pue JajstA\ UOMG “BULAIT UOYSUIYSE AA SB JUaIOYIP SB sIo}PIM 07 ATIpeor FfosuTy poydepe oFF “FSG Ul “YIOX MON ‘olepIOAy qe pelp oF “YrunyL ¥ Ze] YIM pue fooyog Awpvoy jeucryeN ey} ye poured} pur ‘yIoX MON ye usog sea oFF *‘yUaprtout Arerodurayu0d Jo yAos Aue oxUT ATIpwed JpesuATTy BuI}}Y ‘o[IPVss9A oO SVM ynq ‘A}OVIOA sINWIp S Ad[poUAG JO YONU poleys UATITY *[ “V UAT SOLLVNSI YWOHLYV $,dauqLlg JO AsoqVIn0d ‘suog sJouqIog sepVqTD © Ul auaeay 27127 2%,f JO} SUIMGIP YSBA S,Jo][oM JO WOPYONpoIdel eu0}4-j[vy 2 ane = aurzo60 WT "S061 ‘“Sny ‘auizpbnyy s.LaUuqLlos q} Wot OZ¢ Le thy ee. ag Sere a ! a ey PPV DIO IR CB ny bad C4 ORAS TL ILLUSTRATION 899 FREDERICK REMINGTON, A.N.A. In sharp contrast to these gentle social chroniclers is Frederick Remington, graphic eulogist of the cowboy and the bad man. Born in Canton, New York, in 1861, after a year at the Yale Art school he was driven West for his health. There he lived the life of the ranch and cattle range. With rare knowledge and gusto he revealed it in his sketches. Soon he became a favorite of the magazines, making many of his illustrations for the serial publication of Theodore Roosevelt’s books on the West. Remington also made fine models for bronze statuettes of the plains horsemen. The historical value of his work can hardly be over- estimated. He caught the spirit and } ~ _Remnuglan _ portrayed the aspect of the rough and ase « or e 522 From the process line engraving Dissolute Cow-punchers for The Century vigorous men of the Cow Country, Magazine, Oct. 1888. © The Century Co. the last and one of the most distinctive of American frontiers. He also did some illustrations of historical episodes. On the purely artistic side possibly Remington tried to tell too much and would have gained from a more economical method. He returned to the East very famous, but was granted only a few years in _ which to enjoy his prosperity, dying at Ridgefield, Connecticut, in 1909. The Remington Memorial Museum, containing his Indian collection and many of his pictures and sculptures, was dedicated at Ogdensburg, New York, in 1923. (See also Vols. I and II.) CHARLES DANA GIBSON, A.N.A. Waite Remington was doing the man’s world of the Western plains, his younger friend, Charles Dana Gibson, was shrewdly studying the resorts of fashion. Gibson had the born illustrator’s gift of imposing his types. Those lithe, physically and morally well-groomed young men and women dominated the American eighteen nineties, and created their emulators in real life. With the eminently aristocratic idealism of the novels and short stories of his friend Richard Harding Davis, Gibson’s gallant sketches were in predestined accord, and the partnership produced some of the best work of both. It is clear that these graphic and literary creations, being almost in- credibly well set up, are an easy mark for the professional rowdyism of Scott Fitzgerald’s flappers and their sad young men. But in the long run any generation of youth might sensibly prefer to be commemorated by Gibson. He was born at Roxbury, Massachusetts, in 1867, and educated at the Art Students’ League. He soon passed from the illustration of fiction to social caricature of an effective sort for Ife, which he - Si _ 523 From the process line engraving of Gibson's Gy ee ae The Princess i eee ae, 189 © Baryon © Bro. was ultimately to edit and control. Cheap imi- tations of his manner by far less thoughtful illustrators have unduly diminished his vogue. In art there ~ seems to be a kind of Gresham’s Law by which the debased currency drives out the good. (See Nos. 552-53.) XII—20 300 THE PAGEANT OF AMERICA Arora 524 From the half-tone reproduction of Clark’s illustration for A Lover of Music in Scribner's Magazine, April 1899. © Charles Scribner’s Sons, courtesy of Scribner's Magazine WALTER APPLETON CLARK Towarp the end of the century our fiction tended to overflow its traditional genteel barriers. Even earlier Miss Murfree’s Tennessee mountain novels had won favor, and soon there followed the New England stories of Mary Wilkins and Alice Brown, James Lane Allen’s Kentucky idyls, and Henry van Dyke’s studies of the Canadian habitant. All this called for a new sort of illustrator, one who had explored sympathetically our humble life. Among the best of the new type was Walter Appleton Clark. His illustrations recall some- thing of the seriousness and simplicity of the early Winslow Homers, if not their power. His talent was great and would undoubtedly have broadened with maturity. But Clark’s span of life was tragically short. Born at Worcester, Massachusetts, in 1876, and a pupil of Mowbray and Chase, he had only passed his brilliant pupilage when he died in 1906. F. WALTER TAYLOR From this point on indeed there seems to rule an un- happy destiny by which good illustrators either quit the art or die young. F. Walter Taylor belonged to the latter class. He was born at Philadelphia in 1874, studied at the Pennsylvania Academy and independ- ently abroad, dying in 1921. One of his best books is The Iron Woman by Margaret Deland. For her old-time tales her publishers usually called on Howard Pyle. For a modern novel of a unique type they wisely employed a new talent, and, as the illustration shows, Taylor acquitted himself ably of his task. 525 From the half-tone reproduction of Taylor’s illustration for Delan' The Iron Woman, New York. 1911. © Harper & Bros. J ‘getty ep: Was —— 1 iin Sis ip Bite 2h a = IULZDOD JY $.LaUQLLOS’ JO S A891.1N09 ‘SUOY § JOUQIING SeTIVYO © ‘6881 IO BUIZDOD I 8 .L9UQLLIG' IOJ Laa2QT oq wal,vH 3Y2 UO RopEnIp Joised s,ulIeny Jo1e 9U0I-J[ey qoqoo au) WOT Leg ILLUSTRATION dq} JO YstUy Snorps} puke prepueys oy} Tae peyprer sey oy ‘repnoryred uy “AW TIqIxey 19ye0I3 YY ynq ‘JaTJaxy pue Aoppoutg Jo ule orjsouLop oy} soNUTyUOS oT ‘oostouvsg uvg ut Auepeoy surydoxy a4} JO JUspNys B SVM pUP “ORBIT Ul “UOsoIGQ ‘puepsoOg 7e UIOg sem YSIaTeYyY “ove, ayy Jo AyIsuazut oY} WySneo A]qvitupe oy ‘Yysrepey AruoPT sem JoyeysnqL stp *Aouepusy Mou oy} poutol syjaMoqy "(WRITE [20}U98-19A0 oy] UdAe ‘Uorp}sSI0dns [eIoULAOId Jo afe} OTYSBURY B “POH poomiayyaT 2Y J, NT HOWMTVa MOTULVd AUNGH ‘doysyiom onuesis e sv jou pue ‘apoeyoods v se — Ayyinbuesy ut aeye wo A719 9Y} 99s 07 podiojord sey oy ynq ‘setyIO UvoTIAUTW UJOpouT INO Jo ssouenbseimzord oT} pedseis Ajiea oy qPouusg YUAA ‘“Surgured yernur 03 yuayey saryesovep Apoyeorep pue yuoorea sty peyosep Aperyo sey uliony savad aye] JQ “s}UOIy Joye AYO Jo VAILYD oY} JO} OSUOS ULTIOTISTY AA Ajarey B sey off ‘sluvg ye susie] “g ‘f pue yueysu0D ururefueg YW perpnys pue ‘g9gT UT ‘LINOSSIP ‘SMOT “4g Ul UIOg sem FY ‘sou0 SuIztuouLIeYy May e ATUO SurAojduns ‘uoresostp YY UOIYBAOUUL VY} pasn sFT ‘UlIgNy sone st siseu0Id Vy} Jo sUGQ *pouoTyueU oq pseu s}zudU0dxe peysinsuystp siour syt yo may @ ATUO yey} Aep-0} WOUrUIOD Os SI POYJOUI SJ, 20 HutmEsp UosesO Bem. Fo woNORpOATOR ouOH-ATeU oa) HOLE OLE ‘apesiodns 0} uszeery, Ady} yore suoy yey Avid oy uvy;\aovy odAy on Pete vi aes bot 0 eek a Uy snonisuooUul ApPAtyeI009p 310UL day ut surses puoXog sp4om tpiLAt ae ye so uene pe 01S ADT NE UIA BJIM S}ND VSoy} [IY ‘ou UvYyy i & Suryoye} Joyyer st pue sea Suryurid Jo[OO yenyoR oy} OF ‘9}eUNyI0F AToITyUA you sBeM sIyy, ‘“yoro jo ssoidiayy42] 9} PepBAUL UOOS 7 ‘syood sof syoxorl pUuv soUIZeSeUI JO SUDISOp IQA0D JOF Ajesiey sig ye pes) *peaoidunt yonut SBM Yoo|q ou0}-FeYy sy} wosy Suryutad Jojoo Amjzuse yussoid oy} Ul ATUVA “TVIN “VN'V ‘NIYVGOD SATOL “UOI}I PRI} 9ATYLU IMO UI sIO}VIYSNTI quayodui0o Ayjei9ues pure oI}esI9A ySeT ay} JO suo SI OFF “pylom Aesop Aue ysouye ut Ajisve SuIAOU Jo pue 3X9} sty yy Ayyedurds jo 4719 s.107eIysNqII ani} oy} sey Ysoey “woryeaysnqL mo ul as[qeAsesqo ssousnbsainqzoid pue wWopeedj oy} YM suIMIpour Jaq30 pue uodero surkojduie “Sutmerp ysea 302 THE PAGEANT OF AMERICA z MAXFIELD PARRISH, N.A. Howarp Py ez and his pupils were the artists who designed most ably for color process. Among them Max- field Parrish has been most popular. He was born at Philadelphia in 1870, his father was Stephen Parrish, the — etcher. His very decorative art — grows out of the medizval phase of his master, Howard Pyle. Parrish, however, lacks the various and spe- cific quality of the born illustrator, hence is at his best with books which have no realistic reference. In Ken- neth Grahame’s Dream Days, Parrish found a fantasia after his own heart, and his illustrations for it show the artist in his most amiable mood; and — in his illustrations for The Arabian Nights’ Entertainments he has con- veyed the exotic imagery of oriental unreality. He has alsoillustrated The Knickerbocker History of New York — and Edith Wharton’s Italian Villas. His gift as a decorator has naturally — led him occasionally intomural paint- ing. Parrish has been skillful in— designing for the color processes, — Stee TRA hg SS ee ee Cg ee es ee 528 From the color half-tone after Parrish’s painting The Walls were as of Jasper from the block maker and the printer. for Grahame, Dream Days, New York, 1898. © Dodd Mead & Co. ELIZABETH SHIPPEN GREEN [ELLIOTT] Among the disciples of Howard Pyle who excelled in color illus- tration were three women, Violet Oakley, who has developed as a mural painter (No. 176), Jessie Willcox Smith and Elizabeth Shippen Green [Elliott]. All shared the perceptiveness and * seriousness of their master with much of his directness of ap- proach. We may represent a very agreeable class of illustra- tion which was largely for or about childhood by one of Mrs. Elliott’s early magazine plates, regretting that a fuller representation of this sort of work is forbidden by consider- Qjemseeeugemem ations of space. 529 From the color half-tone after Elizabeth Shippen Green’s drawing for 7'he Real Birthday 3 ‘solg M JadIeH © ‘IIGI “Sny ‘awensopy sladivy uy ny aOPIDO 94, fo ” *Souat} I _ AlDYNINY $ uvWoM 94, 10} SuLMVBip ued §,33B[J JO SUIACISUA OUT] Ssad0Id OY} WOT Tee JHSUISAOUT ges hi Ajaand See ie aseyd ho | se syuasoidar Pes as fy oHe4 Se eae oY} WOI} [BATAINS 9[qe}IpoIo B st YIOM Yong -assod s Blreys e oyUT poyeauoo ATUSppns } 14 yany @ syordap yor yno oy} Aq poquasaidar [eM st oFY ‘slueg pure uopuoT Ul pu onsveyT SyUopNyig WV oy} Ye pouresy pur “4/ST Ul “YIOK MeN ‘“IoOURP WeY]eg 78 UI0g SVM BIRLA “aULZDOD I $ ,LaUGLLIG’ JO ASOL.INOD ‘SUOG 8,IUqIING sTTeYO © “FOGI ‘Sny ‘aupensv pr ‘ssauanbsa anqoid $,augiwog Ul DINO TA IOY SUIMVIP YSvA $,A4S[IYO JO uoPoNpoidal ouo}-jpey oy WoT OSG 30 pues IOSIA sq jo yonur ‘1ajoe -Ieyd jo osuas SNOLIvA puUe KA i = “ Usd = S WOSqI+) ; yNOyyIM ‘But -pueulmioos ‘ueUl “S}feio 19439q @ st ‘ppoy Ayoro -OS 9} UI [BAIL prp s AystyD ‘OVI AWAWOD “INO. SaNVE DOV IA AUWHNOD “LNOW SHINVE ILLUSTRATION ‘Azoysty Aue ut UOTSsIMMO sTYy }UH -iod 0} 9482} ued -LIOULY UTe}100 B jo o1jyeurojduris 00} SI onZOA SIFT “pouredy-Jfes st pue “g/gT ul ‘oryg ‘AyuNo|D uweSIoP ul uIOG sem OFT *AvOOp sz ysorre 0} Ayy[eyUoMT}UESs YYLM UOT}IPeI} Jo0}UaS ey} pewjequis AjUoIONINs sey ‘soe Jo osuas ZuLAes Joy SuryeuruMys oppM [mB Wosqiy oy} Jo ssouryead oy} Surueyue Aq ‘Ast To[pUeyD prVMOF{ sour} oy} YA ostaro01dur0d jo yI0s v yussoida. s1oyeIysnqTt re~ndod AIDA OM} JO BUQ “UOTyeIysNTT! ostTRUINOl Jo yA0s JosIeOD oY} YT Ajareyd st Aep aH, ALSIYHO YUHIGNVHO GYUVMOH 304 THE PAGEANT OF AMERICA 532 From Glackens’ original crayon drawing Essex Street, New York, in the possession of the artist WILLIAM J. GLACKENS, A.N.A., 5.A.A. A postscript on the printed pictures that still count artistically cannot be a coherent one. It concerns chiefly the work of painters of talent who have broken with the old native tradition and have only incidentally been illustrators. Most of them derive from the powerful and summary tradition of Charles Keene, Daumier and Fora. As splendid sketches, their de- signs have offended against the habit of neatness and finish, and have repelled the public, to the public’s distinct loss. Prominent among these great unwanted illustrators is John Sloan, whose fine realistic designs are so well repre- sented under painting (No. 248) and graphic arts (Nos. 455, 555) that we need not repeat them here. The drawing by W. J. Glackens here reproduced is of the late eighteen nineties and leaves one marveling how an illustrator of this geniality and force was ever permitted to es- cape into painting. For the artist this may have been a good fortune; it was clearly a misfortune for the art of the printed picture among us. GEORGE BENJAMIN LUKS Tue racy and powerful talent of George B. Luks found an early outlet in political and social caricature; but the artist found it easier to disagree than to agree with his editors, and his subsequent success as a painter has made illus- tration only incidental in his work. In the international polo matches of 1914 Luks found a theme that lured him back. With the most admirable power and economy, he has found in scratches and blots of ink symbols for the onrush and even the character of struggling horses and men. The layman possibly may not realize how much the detail in work of this sort must be sacrificed to express the main impressions of motion and energy, and he may resent a sparseness of indications which an artist will find highly intelligent and expressive. But Luks has never bothered about the layman. (See Nos. 244-245.) 533 From the process line engraving of Luks’ pen and ink drawing in Vanity Fair, July 1914, courtesy of the publishers (eo=:lUN!«, ILLUSTRATION 305 A JOURNAL OF QUIET = ADVENTUREINALASKA BY ROCKWELL KENT 534 From the process line engraving after Kent’s design for the book jacket of his Wilderness, New York, 1920. © G. P. Putnam’s Sons ROCKWELL KENT In contrast with the swift gusto of Glackens and Luks is the pondered design of Rockwell Kent. For the decoration of his books, Wilderness and Voyaging Southward, etc., he has renewed with greater austerity the heavy and decorative blacks of the old wood engravers, in a type of symbolic design quite his own. The design for the jacket of his first book well represents the largeness and simplicity of his style. “Essentials only ought to go into painting,” Kent insists. “I can’t trust my judgment; it’s only what remains in memory that I paint. ... I don’t want petty self-expression; I want the elemental, infinite thing; I want to paint the rhythm of eternity,” and in his Journal of Quiet Adventure he gives an insight into his approach. As a return to a typographically appropriate sort of illustration, Kent’s books are welcome. He is well represented by the end-papers within the covers of The Pageant of America. (See also Nos. 262, 471, 557.) There are other young designers who practice illustration of an informal sort very ably, but few of them have made any popular impression, while the youthfulness of most excludes them under the principle that no prudent historian tries to be absolutely contemporary. We leave American illustration in the paradoxical condition that with a daily deluge of printed pictures our best talent is unappreciated and virtually unem- ployed. Since we cannot hope that the flood of bad illustration will cease, we are driven to the hope that talent may arise which shall be able to cope with what to-day seem impossible conditions. Meanwhile, fine illustration will continue to be produced for the trained minority that wants it enough to support it. It remains only to treat very briefly the chapter on social and political caricature. CHAPTER XXII SOCIAL AND POLITICAL CARICATURE INCE political and social caricature is freely represented in other volumes of this S series (Vols. VIII and IX) and since little of it has artistic merit, our treatment of the subject here should evidently be summary. Political caricature makes its appearance in America at the time of the Stamp Act and the Revolutionary War, but with negligible exceptions the pictorial broadsides in favor of the colonies were made in ~ London. The fight against the Federalists elicited from both parties a bitter and un- worthy type of caricature centering in the personalities of the period. Contemptible equally as art and as sentiment, it need not detain us. The War of 1812 arose in that confusion of counsels which is usually favorable to the — caricaturist, but no one was present to profit by the occasion except the Englishman, ~ William Charles, who came over versed in the gross methods of Gillray. His colored sheets are badly disfigured with inscriptions (see Vol. VIII) but he exulted over our naval victories and covered the British King and the New England pacifists with a coarse — mockery that won him favor. Little caricature of note was inspired by the Mexican and the Civil War, and that — little was a side issue of those indefatigable color-lithographers, Currier and Ives. Among ~ the scores of patriotic broadsides which they circulated, a handful of well-conceived and well-drawn sheets may be chosen — a pitifully small gleaning when one considers that such issues as slavery and secession were the topics. Before the end of the Civil War caricature was passing into the hands of the new weeklies, with Harper’s always in the lead. Thomas Nast, in the last years of the Civil War, inaugurated for Harper's Weekly a more powerful and thoughtful sort of political caricature which dominated our American school for a generation. Successively he attacked with reiterated, telling pen strokes the Democratic defeatists of 1864, the regiment of idealist fanatics that gathered in support of Horace Greeley’s candidacy in 1872, the Tweed Ring defiantly bloated with the plunder of New York City, and James G. Blaine with his public nickname of “the plumed Knight” and his private background of official venality. Such were Nast’s objectives; he stormed them all successfully. He was not merely our leading political caricaturist, but easily our greatest satirist, our literature never having produced his equal. Despite his Bavarian origin, Nast is in the best English tradition. The German type of caricature was introduced by the Viennese, Joseph Keppler, who in 1876 founded Puck and soon availed himself of color-lithography for its main cartoons. Puck was so discomforting a foe for the Republicans that they established a similar sheet, Judge. This had the disadvantage, from the point of view of political caricature, of being on the defensive, and it eventually turned over to social caricature. Puck and Judge moved pictorial humor from the private library to the railway train and the barber shop. Follow- 306 — Sh Ah eile EE aie = ite cases ee eee ee ee eee ee) es Pee eee i eee |. ee ee ee SOCIAL AND POLITICAL CARICATURE 307 ing Keppler’s German tradition, they cultivated a drollery of a quaint and genial and eminently popular ‘humor, dealing in democratic fashion with poor folks. Caricature in the British tradition had done that, but had shown the poor man as seen by the pros- perous man. ‘To show the poor man as he.sees himself was Joseph Keppler’s innovation, and a momentous one, for it established the tradition of social caricature which was to rule in the comic supplement of the Sunday newspapers. Toward the end of the century political caricature passed to the daily newspapers and for some fifteen years was largely concerned in one way or another with the agitation against the Trusts. Homer C. Davenport and F. B. Opper are the leading figures. The tradition remains that of the vigorous pen-draftsmanship of the English school. Next to Nast’s caricature, this is the most important we have produced, though such short- lived radical weeklies as the Verdict and the Masses maintained a much higher artistic level and introduced among us the brevity and seriousness of French caricature. Social caricature of a fashionable type was occasionally presented in the general weeklies. It found its proper organ in Life, and in the early eighteen nineties its most characteristic artist was Charles Dana Gibson. Its tradition in the main is that of London Punch. Of recent years, caricature of the more summary Continental fashion has been making its way, especially in those monthlies which, like Vanity Fair, exploit the ways of the rich for the edification of the poor rich. Reviewing the course of graphic art in America, it is clear that illustration alone has been the popular branch and clear, too, that, after its tentative beginnings, illustra- tion has very well done its work of mirroring its times. At the beginning of the second quarter of the twentieth century we find the art in confusion and at alow ebb. The causes of this are the enormous increase of the population and its growing diversity, the passing of illustration into the hands of the dailies and nation-wide weeklies which must set their standards low, while they impose a kind of quantity production upon an art that needs much study and reflection. Illustration, like so many other phases of American life, has been profoundly affected by the changed economic foundation of modern America. Quantity production, speed production, a feverish hurry that permeates all social groups, the aversion of the average American for leisurely contemplation, are all factors to which the artist must adjust himself. To sell his product he must rely upon the sure appeal of sentimentality, or upon a creation so striking that he who rushes from page to page of the news sheet or the popular magazine will pause for a moment. The very mixed character of his great public is not the least of his difficulties. He must please men and women of many occupations, many races and with diverse educational attainments. Only a prophet could tell if any improve- ment is in sight. Plainly the genteel school, that of the eighteen nineties, is on its last legs. Hoping for a democratic solution of a democratic predicament, I sometimes feel that the improvement may come through the illustration that is most alive in the sense of being wanted and rewarded — the illustration of the newspaper and of the periodical advertising sheet. It is possible that education will give the more favored newspaper illustrator of the future a better trained public, while he may develop technical resources to offset journalistic hurry and wretched printing. 308 -THE PAGEANT OF AMERICA tp AR A TAD & Loading out Hands four round Drun the muddle Right and tft Miter 535 From the etching Dottator et Lineator Loquitur in the Port Folio, Aug. 1817 EARLY SOCIAL CARICATURE AT all times Americans have loved a joke, and the most persistent strain in our social caricature is that of quaint pictorial drollery. Thus in the Port Folio for 1817 a nameless humorist hits off schematically the ardors and humors of the social dance, anticipating methods familiar to-day in the comic strip. The visual joke is spiritedly told. MARKS AND REMARKS Six years later, in 1823, the Port Folio offers the prologue to a fight in a style so English that the youthful John Quidor (No. 62) seems a likely guess for the artist. It is drawn with a raciness not so common at the time. AN EARLY DARLEY CARICATURE F. O. C. Darury, most universal of our early illustra- tors, naturally turned his hand now and then to caricature. We find him in young Donald G. Mit- : chell’s Lorgnette, 536 —- From the Port Folio, XV, 1823, etching with line engraving gently __ satirizing New York’s excessive lion-worship of the Hungarian refugees of the revolution of 1848. Incidentally, this is near the head of a long line of caricature dealing with the visiting or immigrant foreigner. In due course the negro, the German, the Irishman, THE HUNGARIANS. and the Jew were to receive similar attention from our carica- turists. Oddly the immigrants of Latin race have been largely 537 From Darley’s The Hungartans for Mitchell, Lor- exempt from such raillery. (See also Nos. 409, 491-94.) in York, 1850, wood engraving by Jocelyn and + Urce: fon: Bt cig ai nT SOCIAL AND POLITICAL CARICATURE 309 THOMAS WORTH _ {iii WAMU Hs Notuina changed much in our social caricature until after 1880. The tradition is on the whole English, allowances being made for the swifter and more explosive character of the American joke. Such monthliesas Harper’s and Scribner's regularly had a humorous depart- ment at the end; so did such weeklies as Frank Leslie's and Harper’s. Their contributors were shrewd observers of the American scene, but one feels that technically they THE BALL SEASON. ever kept their eyes on Youne Iiapy. “Oh, Horrors! We can never Ride in such a Disgusting Conveyance!” P: ra te ’ ‘. var : ing.” Lon don Pune h, an d the ROPRIETOR oF Coacu. ‘Well, Mum, yer see that’s the Worse of being Born to have’ the Best of Every Thing. . : 53 E é 7’s Weekly, F Graphic. When in 1876 8 From Worth’s caricature, for Harper’s Weekly, Feb. 20, 1869, engraving on wood the Austrian Joseph Keppler founded Puck, he inaugurated that broader pictorial humor which twenty years later was to become the staple of the Sunday supplement. Its roots are more German than English. Nothing in this period need long delay us. We have already seen the sterling humorist Augustus Hoppin on a Yankee theme (No. 415). Of New York life after the Civil War, Thomas Worth was one of the ablest chroniclers. In The Ball Season one senses something of the power and directness but not the economy of the great English hu- morist, Charles Keene. Worth explored low life as well as high, and is perhaps at his best when, as in the present in- stance, the two meet. A collection of his illustrations would constitute a very com- plete and faithful social history of New York during the “Black Walnut Era.” M. A. WOOLF M. A. Woo rF specialized on the rich theme of the Irish with notable success. His touch is drastic, and, except for what now seems overelaboration in his pen drawing, his + Sis baat INT pictures would fit neatly into a Sunday i \;. wl } newspaper of to-day. Woolf capitalized | i an immigrant type that was conspicuous ee in the middle years of the nineteenth cen- tury. The Irish had begun coming in large numbers in the late “forties and early fifties. Together with their fellow immi- grants, the Germans, they contributed a \ IW picturesque element to mid-century Amer- ——— ican life, which our illustrators were not A PROUD MOTHER. ° “ Arrah, that Child’s a thrue Mulligan. He laves his Book aud goes for the Jimmy-John as slow to deal with, often too harshly ; nat’ral as a Duck goes for the Wather.” 539 From Woolf’s caricature for Harper's Weekly, Feb. 7, 1864, engraving on wood Wy ta \ \ \ YN 310 THE PAGEANT OF AMERICA Sa elles oases gh At! ck 540 From Church's caricature for Harper’s Weekly, June 21, 1873, engraving on wood FREDERICK STUART CHURCH, N.A., S.A.A. Tue fantastic painter, F. S. Church, in illustration cultivated charmingly a realm in which drollery and poetry meet. His whimsically delicate vein is unique. One might call him a Lewis Carroll of illustration. Thoroughly characteristic is the scene in which the mosquitos organize and sharpen up their bills to martial music for their summer campaign. The conceit touches hands at one end with the drollery with which we began our survey (No. 535) and at the other with the ever-popular Krazy Kat. (See also No. 96.) CURRIER & IVES Untit Thomas Nast’s appearance in the middle of the Civil War, journalistic caricature plays little part in our politics. The coarsely colored lithograph which could be pinned or hung in places of public resort and was sure to catch the eye was preferred. It was, in- deed, a device well adapted to the small cities of the time, where many people lingered before relatively few shop windows, and a barber shop or a barroom might minister to a considerable part of the male population of a village. Chief makers of these colored cartoons were Currier & Ives, lithographers of New York, general purveyors of the cheaper sort of colored framing prints. Their political caricatures have been traced from 1856 to 1872. Most of them are poor enough as art, but many are effective topically and all are interesting as continuing the drastic English tradition. Usually they are heavily burdened with explanatory inscriptions. The publishers were con- sistently anti-democratic and anti-abolitionist — a position which offered some embarrassments. One of the really charming sheets is that of the presidential candidate Buchanan as a tailor deftly turning his coat for the nomination. We see him in a later sheet ne se (Vol. VIII, No. 741) uneasy behind one of the guns _ ASERVICEABLE GARMENT of Sumter beseeching Governor Pickens not to fire L OR AENERIE OF A SRO EER BE eae ; ; 541 From a Currier & Ives lithograph, about 1856, until he himself gets out of office. in possession of the publishers ? SOCIAL AND POLITICAL CARICATURE 311 a 3 T have pertect confidence % rs ta MP Beeretts ability . Awe SAMS peak se lity to You must daael did Creel gel somvbods ta $ grevoun buaxt Lae sae You'd better br carcliuling ee, % Juecver could have yor ug fricna, tart vou danttinbl - ere Quine urn Mints =e Shas did beliare 1 wats Dhere ts nothing a ' teke having the Constitution te 4 : ; [ } teytve usstrength ; ‘ along tine, bit can yet \¥ tuput up this Bell | we muscle enuuyhleyct asttide sucrexelidl{c. ie this bur fitirly on fae iL vae da voull be as handle evigyled as fam lve been practistn aN cree é 5 “c yaarter 1 ean - aes " bavi th part THE POLITICAL GYMNASIUM. : > e 9 w e " 542 From a Currier & Ives lithograph, 1860, in the Library of Congress, Washington L : 4 « CIVIL WAR CARTOONS Linco. at this time is depicted as an uncouth railsplitter working for the negro. One cartoon shows him carried on his rail to the lunatic asylum, joyously followed by a very composite majority in which every sort of eccentric and fanatic is duly marked by his label. However, Currier & Ives were good Unionists, and their cartoons of the Confederate states madly chasing the “Secession Movement” over a cliff with breakers, duly labeled as such below, is one of the great prophetic posters and most spiritedly executed. Most of this work isanonymous. The political cartoonist as a personal force has not yet made his appearance. This interesting series ends in good-natured mockery of that most caricatured of presidential candidates, Horace Greeley. Go wt boys! Wellsoon \| Down with the Trion! ‘ S=a hy taste the sweets of secession) | Mississippi repudtates her bonds ceeROE : : f Sune Ay hy, nan ees We go thewhole hog.Old Hickory Bas) S ‘ ~ 3 ca > ts dead, and now well have tt. ts, 7 =e : 5 sion y We go it birnd, ~ Ser en Mey * A Cotton ts hing’! “ <> ; : , Ve : 4 2 San Ae saad THE SECESSION MOVEMENT. 543 From a Currier & Ives lithograph, about 1861, in the Library of Congress, Washington 312 544 From Nast’s cartoon A Group of Vultures. . THE PAGEANT OF AMERICA . “Let us Prey” for Harper’s Weekly, Sept. 23, 1871, engraving on wood THOMAS NAST PRoBABLY no political caricaturist anywhere has equaled Thomas Nast in swaying public opinion. From the defeat of Seymour by Grant in 1868 to that of Blaine by Cleveland in 1884, an astute sportsman could have known where not to lay his bet by simply asking whom Nast was attacking. His success was in the truest sense moral. He believed pro- foundly in his causes. He was only a fair draftsman, but his pen conveyed his scorn and indignation so that it became by an inevitable contagion everyman’s sentiment. At the height of the Anti-Tammany campaign, the spoilsmen threatened his life and offered him half a million dollars to drop caricature and live abroad. His power was both moral and intellectual. His symbols spoke the whole of a situa- tion. Many have passed into the standard pictography of our caricature — the ‘‘Full Dinner Pail,” the “Tammany Tiger,’ the ‘‘ Republican Elephant,” the “ Democratic Don- key.” Thomas Nast was born at Landau, Germany, in 1840 and was brought to New York at six years of age. At fifteen, having had a few lessons at the National Academy school, he became a professional illustrator for Frank Leslie’s. At twenty he was sharing the hardships of Garibaldi’s last campaign and sending back his sketches to the New York Illustrated News. In 1862 he joined Harper’s Weekly; and though he had not achieved his ultimate skill, he fought effectually for the Union and victory, and poured contempt upon the Northern defeatists. Nast’s apogee was the overthrowing of the Tweed Ring that was cynically plundering New York. They depended on an easy popularity, and he made them hateful and contemptible. They even professed a préelection virtue, only to draw from Nast the tremendous cartoon A Group of Vultures. Nothing could have driven home more forcibly the uncleanness of the gang. . NAST’S BATTLE WITH TWEED On the eve of the critical elec- tion of 1871, Nast drew what is perhaps the greatest of all political cartoons, The Tam- many Tiger Loose, showing the beast about to tear the Re- public to shreds under the com- placent eye of “Emperor” Tweed. Thousands who saw it grimly decided to cage the Tiger, and they did so. Tweed and his associates fled the country, but not the pencil of Thomas Nast. Four years later, one of Nast’s cartoons was the occasion of William M. Tweed’s identification in Spain and of his delivery to the United States actually to wear the 545 From Nast’ THE TAMMANY TIGER LOOSE—* What ave vou going to do about it?” s cartoon The Tammany Tiger Loose — ‘‘What are you going to do about it? ’’ tor Harper’s Weekly, Nov. 11, 1871, engraving on wood striped clothes of a convict in which the artist had so often prophetically depicted the boss. In Nast’s case the work of art was emphatically an act — often a formidably effective one. ry te é 3 a ; SOCIAL AND POLITICAL CARICATURE 313 : THE CLOSE OF NAST’S CAREER Tue rest of Nast’s career is in a sense an aftermath of the Tammany campaign. He lacked causes of equal appeal. His imagination was still vivid, and his car- toon of our skeleton army, hobbled with political red tape, but with bayonet at the ready against the Indians, must be regarded as one of the great cartoons of the last century, so vivid, simple and just is the imagery. It actually helped to shame Congress into a more reasonable policy, and was the occasion of a tribute by army and navy officers to the artist. Nast was still to fight with the Independent Republicans against Blaine. Indeed, without Nast in opposition it is possible that Blaine would have been elected. At forty-eight Nast was finished and soon forgotten. He needed persons to attack, and the times provided only causes. Indeed, the importance of political cari- cature was passing. Parties were more scrupulous about their candidates, issues were rather of expedi- _ency than of morality. The stern joy of battle in which Nast had thriven was absent. He accepted a : a novel obscurity with philosophical resignation. icdnsgcetashd aca nauou'ec partner wee wih President Roosevelt found him a consulate at Guya- 546 From Nast’s cartoon for Harper's Weekly, Aug. 8, 1874, quil, Ecuador, where he died in 1902. baer Pee: a ee ae eee Te Pe Re a Ee PUCK CARTOONS Nast’s contemporaries and immediate successors need not long detain us. Perhaps the most influential was Joseph Keppler, for twenty years editor of Puck. He was born in Vienna in 1838 and died in New York in 1894. By introducing color into caricature he set a durable precedent. On the whole, his editorial conduct of Puck was more important than his cartoons. He favored, against the neat and aristocratic caricature of London Punch, the rougher and more summary methods of Kladderadatsch and Fliegende Blatter, and also a broader and more popular humor. One may say that the modern comic strip in the dailies grows out of the tradition of Puck and its Republican rival Judge. Keppler’s cartoon on the Star Route plotters very well represents a certain subtlety in his methods. It seems a little infantile and obvious until one grasps the apostolic succession of public plunder exhibited on the platform and the expressive drawing of the dangling stuffed legs. For Puck, Bernard Gillam invented the symbol most cruelly damaging to Blaine —the “Tattooed Man,” — embroidering progres- sively upon the theme after the fashion of Nast. In the field of popular humor Puck’s best artist was F. B. Opper, one of whose amusing cartoons we are about to see. He was soon drawn out of a field in which he excelled into political caricature. i 547 From Keppler’s cartoon Uncle Sam's Great Moral and Political Show for Puck, Nov. 23, 1881, lithograph in color ici inl 314 THE PAGEANT OF AMERICA ey by Ca Peter PSR aE PEL niy Friese, % this AGmunutragan dragging ae? 1 anawer. toward the hideous and feighttal guif of rail abd thee & 548 From Opper’s cartoon The County Fair Orator, etc., for Puck, Oct. 3, 1888, lithograph in color F. B. OPPER Berore the end of the century political caricature had passed into the hands of the dailies. The sole topic that still seems important was the fight against the trusts, involving W. J. Bryan’s repeated candidacies and, partially, Theodore Roosevelt’s. The issue was too unclear to serve a sincere caricaturist well, for the Demo- cratic party was never as a whole anticapitalistic, while the Progressive Republicans, at least ostensibly, were so. Nor was such a paper as the New York Journal really anticapitalistic either. Despite this atmos- phere of ambiguity and make-believe, such men as Homer C. Davenport and F. B. Opper made good play against the magnate and the trust. : Opper had been an admirable comic draftsman for Puck, and he carried some of his old methods to his new task. His theme was always the common people being outwitted by the Trusts. For his “common peepul” he invented a very engaging type — a little rotund, amiable, gullible man, trustfully accepting every — suggestion to his own disadvantage. It was very good fun, but it was poor political caricature. The average American does not recognize himself as a gull, and has small sympathy with the class. Opper’s personifica- tion of ‘The Interests” was that of a clever and genial confidence man. oe ae HOMER C. DAVENPORT Homer C. Davenport was nearer the great tradition of caricature when he depicted the trusts as a hairy troglodyte giant threatening the common man with despoilment or torture. The symbol did its work of making people hate the trusts, but, unlike Nast’s symbols, Davenport’s had the dis- advantage of being only half thought and really false. No in- telligent radical hated the trusts for their brute force; he hated them for their selfish cunning. Davenport’s hideous and hateful giant had nothing of this. What was really wanted was a symbol for a very powerful cunning, and the easy-going sportsman, Homer Davenport, was incapable of creating it. His energy . and gusto are well shown in the cartoon which represents the first | 11] i eeepc it J. P. Morgan superintending the removal of the statue of Wash- 1 eames | ington from the Subtreasury steps to make place for the statue of the Republican boss Hanna. It is in a rich and joyous vein hil | {' ft}, | gt -- (Wg “) of burlesque, but as a political argument it was unbelievable. Mr. Davenport and his public knew that a banker as such was not a bad American, and also that Washington was a capitalist. In short, the antitrust campaign lacked lucidity and sincerity at all points, and the caricature it evoked, while very able, lacked that essential truthfulness which alone keeps caricature alive after its immediate occasion has passed. Davenport was born in Oregon in 1867, and before he died in 1912, only forty-five years old, he had seen American political caricature virtually Wall Sects New Guten disappear. His summary and powerful methods of pen drawing, 54y From Davenport's cartoon Wall Street's New j i 7 Yapyom ,Dayenport’s, cartoon Wall Street's New however, have been a valuable legacy to the social caricaturists. New York Public Library, after his pen-and-ink drawing 315 SOCIAL AND POLITICAL CARICATURE ‘op AinqueDd eqL © jSYV2ddvV UAVAd AHL— ere: |! shed eS A ieee? et \ “ANO ANV N@LHOMWA OL ONIHSIM LON ‘AYNANOL SIH NO SLUYVLIS AWWOL *qua[e} o[qeiIMIpe Ue ‘UOSUIgOY UBUIpIvog sny], ‘190180 oY} 0} S}sTUOO}IVO [BoIZTOd poyfIs ploy 0} pueuep qualoyNs OU st sJay} ‘[eoues UT “1o}e] MevIp [[eys oa Yory uodn ‘sassppy ayy, ‘WeS10 [eorpes poAr]-AoYs yey} ur Ajqejou ‘omyeorseo peorptfod aAtqdeYe Jo Joyo eB useq UY} pue MOT sey oJoy} ‘yIodueARC DONIS ‘SSUIMBIP YUI-puB-ued STy JOY ‘96ST “Gar ‘SDIOYIIN “IS' JO] suaddny Wy) payadxraun ay? S} JJ UOYBAISN]T] §,e[qWoy WOT —NAHA SAYOLS YVAG ONITHYHL V NI GQaLSHYALNI AIdHId ANY SAOT NMOUM AILLIT AHL Lad ec LI OL SNAddVH ONIHLON LVHL 3aS ANV ‘SANOf ‘MIN OL SIH.L UHAITAG OL NOA LNVM 1 SAWINOL SON, NOSNIGOU NVNGYVOd Tg¢ ‘roumny o1seu jo Ayjeedsa pue jeans jo Joyorduoyzut yuaTpeoxa ue st ajquiey “AP -183[NA pue ssouzep [ensn sp ynoyyta drys o1rm09 Sutpuedunt oy} Jo sarztyenb poos ay} [Te sMoys ay sDpoyor.Ay “7g JOF AdOT[oIp optucant yusT[aoxe sty UT *(L19 “ON ‘TX JOA) uury hisaqajyyonyy fo sainquaapp ay], pue wqny suoy aug peyerysnqyi pue [OST UI ‘erusIO;ITeD ‘opUIUIeIORG UI UIOg SVM a[qUIDY +~“JOWNY O1soU IO} pourey ‘sTQuINy “AA “pure ‘ (,.dry9,,) MTP “M ‘dA ‘s19d0% "VM — S107 B1]SN]II o[qepreae dy} Jo ysour paystque ATyduroad yy *4S9]}Ues oy JO o19M JIIYeS pue JOUNY ST “4903s UBSLIOULY PO JO FJOJa_Ues yoqe pue soy ‘Aq opeuUl sVM PI yeYZ SVM afvT Jo UOT} -B}IUNT] pue uoTpuNsip sayy, *edAy ueedoang pue usepour B Jo aamyzeoLIed Ul ped] OF SBM ‘SOPNPSSIOIA [VIOPIps sNOWeA Joye “Yorya “uv fpun 4 jo Surpunoy oy} OOGT Ul pue ‘10¥e] sivof ua} ynoqe yuouIe]ddns ormo0. Aepung sy} Jo yuoudopaaap oy} ‘egeT ul afvT Jo Sutpunoy ay} orev ‘odueyp Jo ysva] YB JO ‘souvApe Jo syIvUIpURy oy], *£INYUO ]SP] IY} JO Pua aq} YB SoUlZ -eseu oy} pre Aq poorjoesd Aye -Joued sea yy ‘sydevasojoyd woyy uorensnyt deayo o} Ayfenpess Sspprd Mou ose Ft Ysnoy} ‘opty SNOIOSIA B PBI] 0} PonNuI}ZUOD sey amyeolres yeroos ‘Suruem ATureyd SI oanyeores yeorjod wITHAA TaN WOSGNIM CGUVMdaA — WHOLVOIaVD TVIOOS SUIMBIP YU]-puv-ued sTy JojJB ‘TIGT ‘2 vung ‘awngi4,, YIOAK MON 9} JO} uv 260g aYf U00JIVD F,WOSUIqOY WoT oEe OF be DuryBie > sete 99> Yep ane ie satiy QO EI t: "9LET Ul “eI}OOG BAON, “JosIaTIOG ye usoq sem uosutqoy *AjO01d -10a1 Yliey jo spuorsy ueorpqndeyy ay} Aq S19}0A vy} e1OJaq popsuep Buloq 9}0A JOULIey oY} Ss}Uasod -daiqy ‘unpy abog ayy, w00ys1v9 oy} ur savodde yonoz sty jo gouese[e [njzomod ayy, “Suryured OUI UO pue dUNgLL, PATPEAIBSMOD aq} 0} sasspyy ay, wWosy passed > 49 Sy eee we xi-—2Z1 316 THE PAGEANT OF AMERICA GIBSON’S MANNER Lirz developed many commentators and satirists on contemporary American society — Amos P. Mitchell, F. G. Atwood, Gray Parker, Henry W. McVickar; but C5 ig \ \ Charles Dana Gibson (No. 523) so dominates this class diy / i; ps that the survey may properly be limited to him. He is 1), SN an alert and picturesque draftsman, with a sort of patri- cian gallantry both in his technique and point of view. His always fine sense of situation is suggested in the cartoon Botany in the Bowery, though a carping critic might complain that the little girl’s face and shoes are not of a piece. Aside from the invention of the “Gibson girl” and man, creations which made for a gilt-edged sort of righteousness more powerfully than many con- temporary sermons, Gibson was also an admirable in- ventor of middle-aged types. In several series, of which The Education of Mr. Pipp is best known, he uses these older folk as an effective foil to his supernal young men and maidens. Take the plate in which Mr. Pipp’s educa- tion pauses at grandfatherhood: how admirably it sug- gests an entire social stratum! It is easy to deride Gibson for his invariable elegance, but his representative value ; BOTANY IN THE BOWERY is incontestable. He is the perfect celebrant of the young See er WO Sees generation that impartially adored Richard Harding ae Davis, Rudyard Kipling and Robert Louis Stevenson, 552 From Gibson, New Cartoons, New York, 1916, after whose young women founded the college settlements and ab aiken Gulab spans ene oo | whose young men enlisted for the Cuban War. In his own sense Gibson was a true historian of his times; and if those times are now out, of favor, they may look better to the future historian than they do to the youth of to-day. \\ Whi NW [iivtea y i nm CHT es het 4 | 553 From The Education of Mr. Pipp, after Gibson’s pen-and-ink drawing. © Life Publishing Company SOCIAL AND POLITICAL CARICATURE | 317 OLIVER HERFORD ie EMGESS EES Tue social importance of the comic strip is doubtless great, but its tedious and vulgar reiterations have nothing to do with art as the word has always been understood. It may rather be considered as a preventive of real social caricature, since it condemns excellent talents to its ritual of false em- phasis. From this point on there is little to arrest us. But Oliver Herford, developed with Life, has found his own very distinguished vein of poetic drollery in his alphabets of Animals and Celebrities. He has a decorative sense ordinarily denied to the illustrator, and his albums are per- haps our most satisfactory illustrated books of this century before the appearance of Rockwell Kent’s. SS TAD J ee ~CS x eo cS a Cres i EDS STN CL SB) F/B OSG o 554 From Herford, illustration for An Alphabet of Celebrities, Boston, 1900, courtesy of Small Maynard & Company, Boston JOHN SLOAN A LITTLE before the World War, a new and more drastic illustration based on current French practice and on that of the Modernist German weekly, Jugend, began to assert, itself. Oddly enough, it was promoted by Vanity Fair, addressed to that considerable public which aspires to gentility, and by The Masses, addressed to a public com- mitted to the extermination of all gentility. This suggests that, both being outsiders, there may be a closer sympathy between the social climber and the radical than is usually imagined. The Masses, during its short life, was by far the ablest illustrated magazine in America. We reproduce a cover design by John Sloan which is amazing for its vitality, and may be regarded as an effective rebuke to the beauty-parlor girl on the cover of capitalistic maga- aul zines. (See Nos. 248, 455.) 555 _ From Sloan’s cover design At the Top of the Swing for ARTHUR YOUNG The Masses, May 1913, half-tone in color after his crayon drawing SP a pee Tue mainstay of The Masses was Art Young, whose : powerful and highly inventive caricatures awakened sympathy for the life of the poor by simply revealing 5. it with emphasis. Arthur Young was born in Stephenson County, Illinois, in 1866, and trained at Paris _ at Julian’s and with Bouguereau. Dur- 7 ing this period of supervised work he z was forced, more or less, to accept the q media of conventional forms, which he dis- 73 carded quickly. His style is his own, immensely forceful and economical of means. This, and his keen sense for sig- nificant humor, make him easily our great- est caricaturist. His irresistibly comic vein could not be better represented than by our illustration. What makes his art great is its concentration both as thinking Si i a A ks en A el i i SN and as execution. He is at once very |. ae tneee een eee Seine 1 4d i ict] 1 : “There you go! You're tired! Here I be a-standin’ over a hot stove lay, an’ you're serious and irresistibly droll, having that ee ee most precious gift of the illustrator, a 556 From Young’s A Bye oo Sewer a ane Masses, May 1913, > 2 after his crayon drawin spontaneous sense for a situation. M4 : 318 THE PAGEANT OF AMERICA From a wood engraving Filling the Treasure Chest by Rockwell Kent for an advertisement of Marcus & Company. 1926, reproduced by permission ART AND THE ADVERTISER Looxk1ne into the future, there seems to be hope in the advertising pages of the magazines. Already the artistic interest of the average periodical shifts toward the advertising part. The illustrators for the letterpress may and do work by stale formulas; the designer of advertising cuts must think about his subject and is exposed to severe and well-informed criticism. Rather than express this hope too strongly, let me illustrate it from an especially fine design for advertising by Rockwell Kent which comes to hand just as I finish this long and deeply engrossing task. It surely suggests that there need be no derogation when dis- tinguishing talent lends itself to utilitarian ends. And it also suggests that in the imaginative interpretation of great business the illustrator may find new themes as suggestive esthetically as they are American. 558 From the cartoon Printemps in One Hundred Cartoons by Cesare, Boston, 1916. © Small, Maynard & Company OSCAR CESARE Tue caricature of the Great War falls beyond our limit. It is too early justly to appraise it. 1 choose, however, Cesare’s Printemps which is remarkable alike for its imaginative power and as an example of caricature of general ideas. Cesare is never more commanding than when he passes be- yond chieftains and statesmen and attacks war itself. This grimmest of many grim sheets needs no comment of any sort. It is a consummate example of political caricature at its best. It shows a decline in the demand for political cari- cature when the highly intellectualized creations of a Cesare are within a decade of their creation more or less unavailable, while painters who have in a high degree the temperament for political cartoonists, men like Boardman Robinson, W. J. Glackens, George Luks, John Sloan, Guy Du Bois and Arthur Young, are in other pursuits. Perhaps it is all a matter of the lack of salient evil personalities in our public life. If we have bad men, they are little men. A caricaturist must have his villain, as a Frenchman must have his traitor. One cannot imagine a Daumier without his Louis-Philippe, or a Thomas Nast without his Tweed. Perhaps then we shall not again have great caricature until we once more have great villains — unless indeed there be a future in that caricature of general ideas which Cesare has so ably exemplified. ‘ 7. ee “ ~ CHAPTER XXIII MUSICAL ART IN AMERICA HE history of the rise and progress of musical art in the United States must be a story of assimilation rather than creation. The American people have no his- torical background, no foundation of homogeneous racial elements and geo- graphical environment on which a folk-music could be reared, no congeniality of thought, no original technical exploration and no inventions in forms or styles. The colonists brought their music with them; in later years the immigrants have done the same thing. In the beginning men were confronted by too many stern necessities to think of music as anything but an item in a religious service or a means of relaxation. When the art spirit in the young country began to find room to spread wings, it discovered its first freedom naturally in the realm of the written word. Music in the dawn of American statehood was subservient to the church, and psalm and hymn tunes exercised their sedate charms in companionship with tawdry secular texts. Concerts were given in the eighteenth cen- tury, but airs from Handel’s sacred oratorios, and violin solos of a rather primitive character figure prominently in the programs. In studying the programs of musical performance from the early years of our history to the contemporaneous period we are forced to the conclusion that our musical activity has been overwhelmingly assimilative and not creative. The features of our art naturally show a compound and sometimes confusing physiognomy of the races from which we are derived. But since systematic musical development was more mature and more easily accessible to us in Germany than elsewhere, we inevitably came under the influence of Teutonic form and style when we made our first adventure in the art of composition. This first masked and subsequently molded our impulses, a fact that helps to show why our real musical history is practically contemporaneous. Karl Bergmann, who stamped his individuality, German though it was, on the Philharmonic Society of New York, began his labors as conductor in 1866, and Leopold Damrosch, another German, founded the Symphony Society in 1878. American compositions were American only in the sense that they were made here. The teachings of European conservatories influenced our com- posers to embody their thoughts in the classic forms. It was imperative that the aspiring American musician should be able to write a good fugue and display an authoritative mastery of the sonata form. The receptive capacity of the people is still far ahead of the productive power of the composers. The melodic and harmonic idioms and the artistic objectives of the Modernists are wholly foreign to the natural musical inclinations of the American people; neverthe- less, such compositions as Stravinsky’s Le Chant du Rossignol and Le Sacre du Printemps command more consideration than music whose elements were selected from materials grown or at least domesticated in the United States. The factitious excitement aroused by every new departure in European musical art is only one more proof that the development of the art in this country has not yet found any definite line of progress. One can merely conjecture as to the probabilities of the direction which such a line may take. We have established a school of fiction which breathes the spirit of our national life, although its technique and its methods rest on European foundations. It may be that we shall rear our national school of music in a similar manner. 319 320 Phalm. LXVIII. 1. Tothe mayfter of the manfik, a palm == a fong,of David. 2. ¥ ErGodarife, lethisenemies p= ——f==-==ssh=3 S=—— be fcartered:& they that hare, Ree ae — — him,flee from his face. waxe melted, at face of fyre: from face of God, {@ 3. As imokeisdriven-away, fodrive #9=j=5== 53 thou then: away :as wax is melted,at the = S=— ————————— face of fyrc:/olet the wicked perith, frO persfh the wicked. the face of God. 4. And let the juft-men joyfid be, _fhew they forth gladfomne, _ 4. And let the jult rejoyce, lecthem 2 thew-gladfomnes, before the face of before the face of God; and let them joy Wah chearfulnes: God; & let them joy with rejoycing, : : es eee $. Sing yse to God,unto his name : Sing ye to God, fing-pfalm zo his , : AB Soheg Se eS ‘or him that Sing-pfalin: prepare the way, rideth in the deferts, in Jah hismame;ée fr "ve rata latent thew-gladnes before his face dootb ride, in bas name fab: ew-giaanes ‘ end gladnes {have before bes face. 6. Heis afather of thefatherlefs,and ¢, Farber of fatberlef, ajudge of the widowes:everGod, ip the and Wwidowes judge: even God, Withes manfion of his holynes. his boly manfion is. 7. God feats the de(slace, in how/e; brings forth thefe that are bound in chaynes: but the rebellious, dyvel in a barren-ground. & O God, beforethy peoples fnce, When forth thou rsadeft-Wway: whenin the defert-voildernes, thou marched/t-on Sela. 9- Theearth did quake, heav'ns allo did . at face of God, de (full: Sinaé it felf, at face of God, 7. God feateth,the folitarie,in howle; bringeth-forth thofe that are bound ia chaynes : but the rebellious,dwel wa drie-land. 8. O God;when thou wenteft-forth, before thy people:whé thou marchedft, in the wildernes Selah. 9. The eatth quaked,alfo the heavens dropped,atthe face of God:Sinai it felf, at the face of God; the God of Ifrael. 10. Arayn of liberalities, thou didft the God of H{rael. fhake-out 8 God:thine inheritance whé 10. eran of iberalities, i Wes wearicd, thou did confirm it. 6 Gadibou didff omt-fheds thine heritage, thow didft confirm, when is Was Wearieds ux, Thy > § a. Thy _ From The Psalter prepared by Henry Ainsworth, Amsterdam, 1612, in the Dexter Collection, Yale University Library, New Haven EARLY CONCERT LIFE IN AMERICA BENJAMIN FRANKLIN asserted in his autobiography that “Our People, having no public amusements to divert their attention from study, became better acquainted with books.” But in 1724 Philadelphia was permitted to see a rope-dancer, “Punch and Joan his. Wife,” a “Magic Lan- thorn” exhibi- tion, a “‘Cam- 559 WRITTEN by Mr. G47 oe : wel ‘Tonbich sued Cee ee DVERTURE SCORE: | - And the MUSICK to cach SONG, > Friendship.’ setebaciny cote op */ -MDCCLXY. Pace i 64. 561 Title-page of John Gay’s The Beggar's Opera, London, 1728, performed in America 1750-51, from the 1765 edition in the Library of Congress, Washington THE PAGEANT OF AMERICA THE PILGRIMS AND THEIR PSALMS PROFESSOR WALDO SELDEN Pratt’s The Music of the Pilgrims gives us authoritative information about the psalter brought to Plymouth. It was that of Henry Ainsworth, published in Amsterdam in 1612. The melodies include some showing a syncopation similar to that now used in popular music, but it would be the highest extravagance of conjecture that could trace any connection between the two. Pro- fessor Pratt’s conclusion that the music had a certain vivacity and that the Pilgrim band contained not a few tolerable singers directs us toward one reason why secular words easily led some of these good psalm tunes astray in the course of time. CONCERT or CHURCH MUSIC, ILL be performed at Mr. Burns's Room, on Tuefday the oth of January, 1770. For the Benefit of Mr. TUCKEY. Firt Port, Some {eleé&t infrumental Pieces, chofen by the Gentlemen who are performers : Particolarly a Cone Caaroom the French Horn. By a Gentlemam juft are rived from Dublin. secoad Part. A SACRED ORATORIO, om the Prophecies concerning Ca ktsT, and hie Coming 3 being an Extra& from the late Mr Hanpat's GraanoOnaronio, stalled the Messran, coufifling of the Overture, and &acen ether Pieces, viz. Airs, Recitative: and Chorufes. Never performed in America. The Words of the Ont rons will be delivered gratis (00 the Ladies and Genticmen) who are fed te paitionize and encourage this Conc gat, Oc may be purchaied of dds, Tmtey, by ochers for Gx Pence. Ayit is impr dible thy a Performance of this Sort can be varted on wrhour the kiad Affiauce of Gentleman, who are Levers ct Music and Performers on Inflruments y Bir, Texts will always gratefully aknowledge the Favous of the Ne eda eho aflt Lim. f ‘ C K ET Sto be had of Ma. Ti at cight Sdilli Gach. Lo begin paccucly as 6 apse! ce ete Announcement of a performance of Handel’s Messiah, from The New York Journal, Jan. 4, 1770 560 era Obscura and Microscope” and a musical clock with man and woman appearing as mountebanks; and in 1731 the Society of An- cient Britons celebrated St. David’s Day with “Musick, Mirth and — All of which we learn from Professor Robert Ruther- ford Drummond’s Early German Music in Philadelphia. The most exhaustive studies of our early musical activities are those made by Oscar G. Sonneck. In his Early Concert Life in America and his bibliography called Early Secular American Music, he has furnished the historian with material of priceless value. His collec- tion of programs of concerts, however, in New York, Charleston and other cities will satisfy us that music had no close relation to the life of the country. The airs of Handel and the symphonies of Stamitz and Haydn were not unheard, but the entertainments were manifestly planned without any artistic design and merely for diversion. It is equally beyond question that the colonists both North and South regarded music as a profession for persons beneath the rank of gentleman. a pe OT ee Tee ee ‘MUSICAL ART IN AMERICA 321 THE ARISTOCRACY AND MUSIC Tue southern aristocracy practiced music, it is true, and the men could sing or play a little, but for them music was merely one of the several social graces. It seems, therefore, that it would be a waste of space to record the doings of the early concert givers. Their music was not American and their entertainments were arranged much as similar entertainments had been in London. There was probably a deeper musical life among the Moravians who settled in and around Bethlehem, Pennsylvania, where Haydn’s quartets were performed at least fifteen years before the composer’s death. But that musical life was exotic. It was Teutonic, not American, and apparently wrought no influence outside of its own neighborhood. MUSIC OF THE LATE EIGHTEENTH CENTURY Tue War of Independence naturally checked any possible progress which musical art might have made in the later years of the eighteenth century. Yet it was at this period that the first real American music was made. Francis Hopkinson, the dis- tinguished lawyer and publicist, and James Lyon divide the honor of heading the list of American composers. The former wrote The Temple of Minerva, performed in 1781, and a collec- tion of eight songs published in 1788. O. G. Sonneck in his mon- CIS 562 Scene drawn by Francis Hayman for The Beggar's Opera, from the 1765 edition in the Library of Congress, Washington ograph on Hopkinson found his harmony faulty and his melody unoriginal, but felt that the songs had some grace and treated the texts respectfully. Lyon, a Presbyterian clergyman, was born at Newark, New Jersey, ’ 4ymn G Myre er “a Y. ta tat [ae OAS TSR u 563 A song from the Urania collection by James Lyon, Philadelphia, 1762, in the New York Public Library LOWELL MASON Lowre.tt Mason was born in Medfield, Massachusetts, in 1792 and died in Orange, New Jersey, in 1872. At twenty-nine he ar- ranged a collection of church music for the Handel and Haydn Society of Boston and was presently appointed to take “general charge of music in the churches” of the city. As a teacher he adopted the Pestalozzian method and gave a powerful impetus to the growth of vocal music in New England. He established the Boston Academy of Music in 1832. His published works fill more than fifty volumes. It is doubtful, however, that he has any influence on present-day art. in 1735. He is noteworthy for writing the graduation ode in 1759 at Princeton and for editing the tune-book Urania which contains some original pieces. He received his Master’s degree at Princeton in 1762 and furnished for the commence- ment another composition. He wrote some other pieces, of which Sonneck re- gards his Hymn to Friendship as the best. He died at Machias, Maine, in 1794. 564 Lowell Mason, 1792-1872, from a photo- graph in the Harvard College Library, Cambridge 322 eReREBAS LI THE Continental Warmony, oe CONTAINING, A Number of ANTHEMS, FUGES, and CHORUSSES, in feveral Parrs. NEVER BEFORE PUBLISHED composeD BY WILLIAM BILLINGS, ——_—- THE PAGEANT OF AMERICA WILLIAM BILLINGS In 1746 was born William Bill- ings, a native of Boston, a tanner and subsequently a teacher by trade, a prolific writer of psalms and a vigorous singer. He was the earliest American composer and he turned out a few tunes which became a part of the com- mon stock of the people. His compositions were not marked by high technical ability, but they were spirited and animated. Billings published, among other tune-books, the New England Psalm Singer, Boston, 1770. Autor of various Musio Boors, Pialia lazavii. 7. As well the Singersas the sapere en inftruments thsi be there. Pialm Ixviu. 25. The Siagers went before, the Players on inftraments followed after, amongft them were the Damfels. Luke zat. 40. I tell you that if thefe fhould hold thou peace, the itones would immediately cry out. Kev, xix. 3. And again they feid Alleluia. Come let us fing uote the Lord, Frameatt to weft his praife proclaim, : ‘ Fram pole fo pete extol his fame, And praile his name with one accerd, In th.s defign one chorus raile 5 fy fall echo.back his proife. Wublithed according to A& of Congrefs. PRINTED, Uymgeqbaly, tt BOSTON, sy ISAIAH SFHOMAS and EBENEZER T. ANDREWS, Sold at thelr Brokfore, No. 45. Newbury Street, by (aid Thomas in Woncustsn 5 aniby tne Boorsactans in Bosrom, and elfewhengens794- 2 We et ats Fa ty dirt he'd Badly? Faas Stet rgS wh as bed CoH oF DET eee byt thet tbete op yecpemitiesrinneinissneteneiin DERES tt th 444 Gobohonote 565 Title-page from a collection of vocal music by William Billings, Boston, 1794, in the New York Public Library EARLY AMERICAN MUSICAL SOCIETIES Ir is almost fruitless to make a search of the scanty records of the early musical societies. There was an Orpheus Society in Charleston in 1772 and there were similar organizations in Fredericksburg, Virginia, Baltimore and Philadelphia in the later years of the eighteenth century. There were concerts in New York at least as far back as 1736 and the name of the Harmonic Society appears in advertise- ments of 1773. The Euterpean Society was perhaps the most important, but its claims to greatness have been undermined by the unearthing of a contemporary criti- cism declaring that the organization was composed of amateurs who met several times in a season and practiced instrumental music and subsequently gave a concert followed by a ball. The critic asserted that the ball was the principal entertainment. In short, the fragmentary details of American musical life, gathered with Herculean labor and scholarly judgment by Sonneck and one or two other writers, serve only to strengthen the conviction already ex- pressed that there was no genuine musical life among our people until about the beginning of the nineteenth century, when some of the elements of permanency and system are disclosed in the proceedings of musical organizations. The Euterpean Society had one merit: it was the ancestor of the New York Philharmonic Society, which was founded in 1842 and now proudly wears the title of the oldest orchestra in the nation. New York had a Choral Society and later a Sacred Music Society. The latter performed The Messiah under Uriah C. Hill, one of the founders of the Philharmonic. Before that, the choral bodies had given disjointed pro- grams of ill-assorted solos and choral excerpts. The Plymouth Rock of choral music in America was undoubtedly the poston: Handel and Haydn Society of Boston, founded in 1815. 1 ge ge nm The organization vainly invited Beethoven to compose a work especially for it, but the great master had commis- sions at home promising more speedy returns. 566 The first Triennial Festival of the Handel and Haydn Society in Boston, ye a sketch by W. L. Champney in Frank Leslie's Illustrated Newspaper, May 23, Old Golony Collection ANTHEMS. SELECTED AND PUBLISHED Under the particular Patronage and Direction of the Oro Coroxt Musicay Socisty in Plymouth County, and tbe Baxpev ax Harpw Society in Boston, VOL. L et EO 567 ‘Title-page from the first Collection of Anthems published by the Handel and Haydn Society of Boston in 1818, in the New York Public Library MUSICAL ART IN AMERICA 323 THE CHORAL SOCIETIES OF THE MIDDLE WEST THE importance of choral development in Cincinnati, however, must not be underestimated. Its origin is lost in the obscurity of the early history of the city, ‘ but before 1819 there was ¥ some kind of choral body, from which sprang the > Haydn Society. The Eu- terpean Society, the Epis- copal Singing Society and other similar organizations iS followed. The Creation was ; produced as early as 1853. ays ¢ : : In 1856 was founded the 568 The Cincinnati Opera Festival, ‘yam a sketch by H. F. Farny apes Weekly, Feb, 3, 1883 : Cecilia Society, one of the a most potent musical influences of Cincinnati. The spread of the culture emanating from these various : sources finally caused the formation of the Festival Chorus Society, the bedrock of the famous Cincinnati ° music festivals. This great chorus, founded in 1873, when the festivals began, numbered more than a thou- - sand singers drawn from some thirty-five or more local organizations throughout the nearby Western towns. The large percentage of Germans in the populations of Milwaukee and St. Louis made it inevitable that choral societies would flourish in these cities. St. Louis had choral bodies (not of German origin) as far back as 1840. It is unnecessary to enlarge the list further than to note that the practice of choral music traveled as far as the western coast where San Francisco possessed an oratorio society as early as 1860. What most impresses the observer of the activities of all these choral bodies is the complete want of any revelation of an individually American spirit. It is true that Dudley Buck’s The Light of Asia, 1885, was industriously re- hearsed and _per- formed in many 569 Program of the Sev — By Choral Societies at Philadelphia, June 15, 1857, ‘om a copy in the New York Public Library co} Geans Aubilce Gonrevd, ners ee ACADEMY OF MUSIC. Cie hd ler ard Excouted by all the Singers participating in the festival, and by an Orchestra of, 70 of the Rice babesice Vesiseacks Seve A inven te Conductor: Paor, P, M. WOLSIEFFER, Aven ans one PROGRAMME: . C, M. v, Wesrr, By the Orch entra. . Choral «(tod ix our doughty eastle wall” Lerner. me Sepa pene ee ee executed Singers com! . Chorus : — “(hitues" raat Ast, Executed by the ,,General Singers’ Union of . Tywa: — "The (7. Veal” 4 Orrto, With Instrumental OLS feemey by combi all the Singers . Chorwa— “On the Rhine” Kurkes, Executed by the General ra" Union of New York. 6. Chorns:— *Ihe (ry tu arms” from the Prophet MziznnrEn. With Toutramentul-Accompaniment executed by all the Singers eambined. GOMD PART. + Overture ia Lacener, By the Orchestra. f . Double-Chorus :—- ‘The strife of the Wine-Drinkers and Water-Drinkers” ZoELLNER, Exoouted by all the Singers combined, - . Scene and Chorus from the Upera of “Euryanthe” ,Full well thou knowst ’. M, v, Werner, With Orchestra Accompaniment executed of Philadelphia, by the Singers 4, Chorus: — “The American Patriot” Wotsikrrer. * With Orchestra Accompaniwent by bled. all the Bi: com! 5. Sorenade : — “Why art thou so far" oae Manscunen, * _ Exeouted by the ,,Orpheas," Society tom. G6, Pilgrim's (‘horus from the pera of the “Tann- . hneuser.” — R, Waonzn, With Orchestra Accompaniment by all the Singers combined. cities, but so was Sir Arthur S. Sulli- van’s Golden Leg- end, 1886. The model of the Amer- ican choral society was the festival of the Three Choirs in England, and the music festivals which flourished in this country in the earlier years were faint echoes of those created by the land which never ceased to adore Handel and Mendelssohn. The influence of the British choral fes- enth National Jubilee Concert tival still continues to be felt. FIRST CONCERT. — Josepar FVENING, Mar pint, Quartet and Chorus, MRS. SMITH, MISS CARY, MR. VARLEY, ME. WHITNEY. Full Chorus, Organ and Orchestra, INTERMISSION. Symphony No. 5, C minor, (Op. 67.) - . , Beethoven. Allegro con brio, Andante con moto, Scherzo—Finale. ORCHESTRA, Concert Aria No. 3, Misero! O Sogno = MR. NELSON VARLEY, Chorus—The Heavens are Telling—Creation, « FULL CHORUS. For Description and Words of Masic, seepage 18 570 Program of the first Cincinnati Festival conducted by Theodore Thomas, May 6, 1873, from a copy in the New York Public Library 324 THE PAGEANT OF AMERICA produced the first symphony of Brahms. Dr. Leopold Dam- rosch founded the New York Symphony Society in 1878. This is not to be a history of musical organiza- tions, however, and : 3 we pass to a mere 571 Leopold Pamscaeh: 1832-85, from a zs note about the early Sa ae activities of other orchestral societies. The Boston Orchestra began its brilliant history in 1881 and the Chicago Orchestra ten years later. The Cincinnati Orchestra dates from 1895, that of Pitts- burgh from 1896. The Minneapolis Orchestra was created in 1905, the St. Louis in 1907, the San Francisco in 1911. The famous Philadelphia organization came into existence in 1900. It is not necessary to catalogue all the other orchestras in the country, nor could such a catalogue be complete, since additional orchestras are rapidly appearmg. But one cannot omit mentioning the founding of Harvard University’s famous musical organization, the Pierian Sodality, in 1808. It is now the Harvard Orchestra and performs an important function in influencing the trend of collegiate musical ambitions. Programmes OF THE CONCERTS OF TIIE PHILHARMONIC SOCIETS . FIBST CONCERT ,—First Season. FESTIVAL CONCERT 4T C48STLE GARDEN. DEOBMBER. 7, 1842, PART I. Grand Symphony, in C Miner, . . Brrtnoves. Scena, from the Opera of Oberon, . : a nA Wrser, Overture, Zauberflite, . 2 MADAME orTo. Grand Aria, Op. Faliero, “a Tutto o or Morte,” v a Donizerr. Qui inD Minor, . Hewmev (First time in matepoe.) : Piano-Forte, Violin, Viola, Violoncello, and 1). oils Bass. Messrs, SCLARFENBERG, HILL, DERWORT, BOUCLER & ROSIER. Cones eS Mia 7 request) Pegrem contianed oe seed egy enemy the People’s Symphony Concerts, at which oral explanations of the ee compositions on the program were made by the conductor, Franz Arens. These concerts survived only as long as Arens succeeded in securing O78 te ee ee financial support for them. There was also for several seasons a Russian __¥°* Public Library Symphony Society, which produced numerous works of Russian composers, the majority of them unim- portant. But when all the other orchestras took Russian music as a matter of course into their repertories the mission of the Russian Symphony Society came to anend. It may be deduced, moreover, that New York, with its cumbrous mass of unassimilated nationalities, could not long support a specialized musical institution. The whole musical attitude of the metropolis has for many years lacked concentration and definiteness of view. Certain other cities, which centralize their enthusiasms on some one musical institution and surround its activities with the support of local pride, apparently exhibit keener artistic vision than New York. The metropolis, however, has become a musical clearing house. Performers coming from Europe usually land and begin their tours there. Thousands of aspirants from various parts of our country hasten to New York to make their débuts, hoping to flash through the land the news of metropolitan approval. Meanwhile, the nourishing of the soil in which love for music grows is carried on by the local musical organizations and the musical clubs in a thousand cities and towns. CHAMBER MUSIC Tue development of taste for chamber music had begun on the Eastern seaboard long before Evanston heard the Kreutzer sonata. Haydn’s quartets, as we have noted, were performed in Bethlehem, Pennsylvania, before the composer’s death. But these had little influence beyond the Lehigh valley. In 1843, U. C. Hill formed a quartet in New York, but this was a failure. Theodore Eisfeld (New York) or- ganized in 1851 a successful quartet. It was followed by the chamber-music concerts in- stituted by Karl Bergmann in 1855. In these the outstanding figures were Dr. William Mason, pianist, Theodore Thomas and the violinists Joseph Mosenthal and George Matzka. These concerts lasted until 1866. In Boston at this period was organized the famous old Mendelssohn Quintet, and in 1873 the same city produced the Beethoven Quintet. In 1884, the Kneisel Quartet was created. Later came the Flonzaley Quartet. ve 579 The Kneisel Quartet, organized 1884, from a photograph MUSICAL ART IN AMERICA 327 H. F. Farny in Harper’s Weekly, Dec. 28, 1889 THE DEVELOPMENT OF MUSICAL TASTE In the programs of the orchestras the development of musical taste may to a certain extent be traced. This is more liable to give dependable results in cities not yet brought under the domination of opera. Long devotion to the lyric drama almost blunts the musical perceptions of a community, chiefly by attracting and gaining the clamorous approval of thousands of people who are unfamiliar with the higher forms of orchestral or chamber music. But whereas in the earlier years of the great orches- tras one discerns much discretion in adventures into new fields, in recent seasons the leading organizations have not hesitated to open their gates to the preachers of all the latest doctrines in art. Karl Bergmann, who declared that if people did not like Wagner they must be compelled to hear him until they did, and Theodore Thomas, exciting fears of a Muscovite invasion when he introduced Tschai- kowsky to Steinway Hall, were explorers. In time they were followed by colonists in the new territories. The introduction of series of concerts for young people set another agency at work spreading interest in good music. Walter Damrosch began his symphony concerts for young people in 1897-98 and, in order to accommodate growing audiences, was obliged later to begin another series called Symphony Concerts for Children. In these entertainments explanatory talks play an important part. Other orchestras have followed the example of Dr. Damrosch’s organization and young people’s concerts are given now in several cities. Other influences in the development of public interest in musical art have been the establishment of courses in universities, the devoting of considerable space in daily newspapers to criticism of music and its’ performance, and the printing of numerous books designed to make musical works comprehensible to the general public. Se — 581 Theodore Thomas, 1835-1905, famous conductor for forty years, from a photograph by Max Platz 328 THE PAGEANT OF AMERICA THE NATIONAL FEDERATION OF MUSICAL CLUBS A very powerful instrumentality in furthering the cause of music in the United States and a striking demon- stration of the widespread interest of the people in musical culture is the National Federation of Musical Clubs. The Federation has systematized the work carried on somewhat uncertainly by scattered clubs in the years before the union was formed. It has pre- 3 scribed lines of study and has caused _ the preparation and publication of textbooks adapted to its work. The 582 . Cast of Ralph Lyford’ SFC opera Castle ‘Spiaeeee as first given at Musical Dig est’s oe of the activi- Cincinnati, Apr. 29, 1926, by the National Federation of Musical Clubs ties of the Federation during the decade ending in 1924 revealed a most appreciable improvement of interest and encouragement along — all lines. The larger number of junior and senior clubs now organized has resulted in a growing demand ~ 4 for concerts, a large increase in the size of audiences, and in the prices which they have been willing to pay at the box offices. A campaign of musical propaganda’ and publicity has been carried on in over five hundred newspapers, both to stimulate new interest and to preserve that already aroused. ‘The educational campaign has extended even to the Sunday schools. The Federation is bend- ing its efforts toward the production each year of an American opera with an American cast under an American director. OPERA IN AMERICA Tue history of opera in America and the disposition of the people of the United States toward it mene be made to fill a wee volume. But lyric drama has not become natural- ized. It is still a vis- iting alien, while the native-born opera continues to be almost negligible. Operatic perform- ances of a sporadic and certainly inferior type took place in wine ioss cereale the United States 583 Sones eee popes: by William Dunlap before the middle and Benjamin Carr, from the 1796 edition in i the New York Public Library of the eighteenth ARCHERS, | MOUNT: AINEERS oF SWITZERLAND; : “IN OPERA. IN Tunes ATS, i | ae ghisasuia ax. THE OLD AMERICAN COMPANY, IN NEW-YORK, TO WRIEH Is uRjormED ABRIEF Ua aee ACCOU Fas century. Such pleasures as The Mock Doctor and The Beggar’s Opera were to be had at moderate prices. Pergolesi’s La Serva Padrona, called Mistress and Maid, was produced by a French company in Baltimore in 1790. Many operas in English were performed in New York before 1823; in 1796 or thirty-three years before Rossini’s William Tell, The Archers, or Mountaineers of Switzerland, book by William Dunlap, music by Benjamin Carr, was given. Some histo- rians regard this as the first American opera. 584A Song by Benjamin Garr, sung in The Archers, from the 1801 edition in the New York Public Library a ee Ye a ee Oe ee eee ee ee MUSICAL ART IN AMERICA 329 THE NEW ORLEANS OPERA Tue first operatic institution with promise of permanency was that of New Orleans. After several false starts its fortunes were finally estab- lished by John Davis, who built the Théatre d’Orléans in 1813. It was destroyed by fire four years afterward, but was promptly rebuilt. In this theater opera was performed three times a week by a real opera company, not by the actors who presented spoken dramas on the other nights. The New Be pera House of New 1856, in the N’ Orleans opera had all the characteris- 585° The French O tics of a European institution and was Orleans, built in 1821, from a French print, ew York Public Library at all times from its inception to recent years distinctively a French lyric theater. Its achievements have been noteworthy and it can be said to have taken a position directly related to the musical life of the country at large. ITALIAN OPERA IN NEW YORK Tue introduction of Italian opera into the United States was accomplished by Manuel Garcia in 1825. At the Park Theater, New York, he produced Ros- sini’s Il Barbiere di Seviglia, Mozart’s Don Giovanni and several other works. Lorenzo da Ponte, librettist of Don Giovanni, was living in New York and his efforts resulted in the launching of some other operatic experiments, but the rec- ords tell us that the public was apathetic. 586 The Park Theatre, first home of Italian opera in New York, engraving from a drawing in 1832 by H. Folsette and Da Ponte, however, refused to be beaten in the end got together support for the establishment of an Italian Opera House built at a cost of $150,000 in the downtown district. It was opened on November 18, 1833, just fifty years before the Metropolitan institution it bore one sorrowful resemblance: its first season was a After another unsuccessful season the house became a theater and Italian opera slept in New York for a decade. Then Ferdinand Palmo, a cook, built an opera-house and engaged a company containing some celebrated artists. His season opened in 1844, appropriately with T Puritani, and ended in sackcloth and ashes. Meanwhile, opera in English was frequently given in various theaters and the New Orleans company visited New York. But it was not until the erection of the Astor Place Opera House, opened in 1847, that New York adopted Italian opera as a permanent form of entertainment with persons of social eminence as its chief supporters. Even then the financial story was not encouraging and the new opera house presently became a theater. But the impulse which brought it into being survived and in 1854 the Academy of Music was opened with Max Maretzek as impresario. Of the long record of this once-famous home of Italian opera nothing need be said except that, until it outlived its usefulness, the house was the resort of society and the opera-loving masses. Foreign opera did not become fixed as a part of American life until the industrial revolution of the last half of the nine- teenth century had made us not only a wealthy but a markedly urban people. Opera seemed to follow the growth of the greater cities. Opera House, to which world-famous disastrous failure. 587 Lorenzo da Ponte, 1749-1838, from a portrait in The Music of the Modern World, New York, 1895 330 THE PAGEANT OF AMERICA 588 The Academy of Music, New York, built in 1854, from a photograph in the New York Historical Society THE METROPOLITAN OPERA HOUSE Tur Academy of Music had not enough boxes to hold all the members of the growing set and some of these persons determined that they must have an opera house of their own. They built the Metropolitan Opera House which began its first season in December, 1883, and ended it with a quarter of a million deficit. This emphatic failure of Italian opera in the new temple of the lyric drama led to the introduction of opera in German under the direction first of Leopold Damrosch and after his death of Anton Seidl. The intensely serious German style proved even less acceptable to New York than the Italian and a return to lyric drama in this language and French was effected with favorable results, caused undoubtedly by the assembly of one of the greatest companies ever brought together. In the course of the several seasons directed by Maurice Grau the opera-going public of New York was led to enjoy the masterpieces of French, Italian and German opera and the taste of the music lovers was greatly widened. Grau established the polyglot opera on a permanent basis in New York, but did not live to enjoy the full fruit of his labors. His health broke down in the season of 1902-03 and he was succeeded by Heinrich Conried, who carried on the enterprise on lines only slightly dissimilar to those of his predecessor. His principal achievements were the productions of Parsifal and Salome. Conried was succeeded by Giulio Gatti-Casazza in 1908. Andreas Dippel was associated with the direction for a short period. Operas in Italian, French and German fill the list of Gatti-Casazza’s productions. Like his predecessors, he has experimented with works by American composers, but without much encouragement from the public. In fact, it may be said that while the history of attempts at Amer- ican operas dates back at least to the “forties no native lyric drama remains to take its turn with Rzgoletto, Lucia di Lammermoor and Traviata. Opera in English is given from time to time and there have been some highly meritorious essays in this field. In the ’eighties the American (afterward National) Opera Company gave some very commendable performances under the baton of Theodore Thomas, but the venture could not gain permanency. The Century Opera Company also made a brave struggle in later years, but finally had to succumb. Of Oscar Hammerstein’s vigorous opposition to the Metropolitan with his brilliant seasons at the Manhattan Opera House the history has been admirably told in the late Henry E. Krehbiel’s Chapters of Opera. Hammer- stein’s most important contribution to the public enlightenment should be sought in his productions of pre- viously unknown French works and his engagements of singers trained in the Parisian school. This impresario made a vain attempt to place opera on a permanent footing in Philadelphia. An endeavor to create a Boston opera had also been made, but the institution perished from want of nourishment. 331 MUSICAL ART IN AMERICA POOAIEPUA P pooasopaA © *ppiom oy} Ut oanzeseqyy Aue UO. ydvisojoyd & wo ‘oIsnul avindod jo Jesodm09 “FZ6I-69ST ‘310GIH JOIA O69 aye} aq ABUT OZZOIQT] BY} JO JUNOT} OY], ‘syusred Jay}O OU JO UIOG Us0eq BAY P[Nos yey} PMO B pploa oy} 0OZUT yYSno1q aaey SuOs-Joy}OUL sy} pue sseNsueT-19q}ey oY} YOU Ul UOT}yeUTePep Be ‘qooods-Su0s jeuoryeu ®@ asmood jo st viado jo jooyas jeuonjeu eB jo UoOTyepuNo} onstyre oY, ‘Q0UBII[OJUI UBYING JO suorsstu ystuedg ‘AgoAviq AeUOTyNJOAI JO UOTzezZIyeUTeIp ay} Se0p JoyyeN ‘“e1odo ue 9z¥eI0 Jou Se0p a1008 dy} UI oISNUL UIpUy Jo suOT} -B}IUII JO puke s1ozOeV se sAoqMod JO suRIpP UT YW 9[e] B Jo osn Jou oYT, ‘siseq dArjeu OU sey Biodo UROIIOUTW “ysed yey -SIp ® Jo spuesay [eoryz Aur oy} Ut soystueA Ayeug yey, Aroysty e ynoyzM AryUN0D MOU ® SI BoLOUTY yng = *AIyUNOD Jayyo Aue jo yey} WoIy poystnsunstp Aydieys vsado jo odAy & uorzyeu ay} 940q A10}s puv Suos ut Aypunosey snopareul s.vissny ‘aanzredap [eorper ou opeur JauseA\ UaAd Yor UrOTy Jopout ev AUBULIAX 07 poystusny ‘afdoad ay} Jo o1snur oy} pue puadey [euorjyeu B Jo yno viodo-yoy B Surpying ‘seqaAy JO sntues oy, “uoryepuNoy aatj~ourstp Ayrvinoed B Jooys oe ay} 07 aAeB ouLoRY Jo uoTeUTEpPep oY} PUB SAT}VPOoL URITe}] Woy yoveds-Suos youery ve Surpjam ut Ayn] Jo SIOGE] OY], “Sel}UNOD Moy UI JOJORIeYD TeuOT}eU postnboe sey ‘AyeI Jo uy ~BUISBUTI SnONsues pure I[I}Joj oy} wOIy Sunads ‘esadg ‘yuomdoyaaap yeor107 “st JO sjusuraaout Jodeep oy} ut yysnos aq pmoys yweusead ysour ay} Inq ‘uorytpuos srejnsurs ATyueredde sty} 10 psonppe oq yYysIu suoseor AuepY ‘soouvivoddestp sayy Aq pamorjoy ATtpoods useq aaevy soouvsvadde ney} ynq ‘odom@ ut uaats useq oun] 07 ou, UTOIy aavy suvorroury Aq sesedg, ‘osnoy esodo ustos0y Aue yo Aroqsodar repnBar oy} OFUT ABA szT poosoy sey YONA YIOM uvoroury Aue oJoy} st Jou ‘AxyUNOD oy} jo esensuey oy} ut seuresp o114] Suronposd asnoy esedo weotoury ou st asay ae “pozi[einjzeu surodeq you sey vsodo rey snyy yng ‘sarPO JoT[eUIs 07 yUoUTUTEY ~doyua Sussed ystuany yorym sorueduroo Surpaavsy [eseaes ore osoyy, ‘aovyd SH ploy OF SenuIyU0D pue STE] UI ooUa}sIxa oyUI ouTeD vedo OFvoIYD TH, VuddO NVOTYAINNVY YO SISVE AALLVN JO AONASAV AHL ae ee ee ee te eee ee Me te Te TWMITYIS “HN ‘TIG6T © ‘uwoysuryse A ‘ssoasu0D JO AIGIQIT 94} Uy ‘DwowAN BI9dO §,410q19H 1I0J0T A JO 91098 [eI}SeyoIO [VULZ]IO 949 WOIT 68¢ xXII—22 332 THE PAGEANT OF AMERICA OPERA AN EXOTIC AMONG ENGLISH- SPEAKING PEOPLES OrERA among English- speaking peoples has always been an exotic. It was an importation at first into all countries except Italy, for the claims of France to ante- cedence are at least debata- ble. For many years native opera in France battled desperately against the pop- ularity of the importation. : *, ; In England to-day Wagner o if foe 8 ers is the sovereign master. In uuteation The Opening NtsM of te Grand Opera Segson, Qrawing by ©: B.Ereveet | Geena most famous Teutons. But our composers, lacking the basis of a national folk-music and turning to the unoperatic materials offered by the Indian chant or the negro spiritual, have failed to discover that the vulnerable point in their system is a declamation in which the English tongue is forcibly married to the uncongenial Italian recitative. We are compelled furthermore to consider the attitude of the public trained to regard opera as a form of fashionable entertainment, not an art, and accustomed to listening to strange phrases delivered in a foreign language. The Italian and his fathers and his grandfathers have always heard the commonest utterances of their language sung in the lyric drama. When our opera-goers hear those of our language they are inclined to smile. Two persons melodiously saying “Good evening; good evening” seem absurd to them, while “Buona sera, buona sera” courts their ears with the charms of poetic mystery. The disposition of the public toward opera has powerfully aided the other factors in maintaining its exoticism. To-day the popularity of opera throughout the country is un- questionably spreading; but there is no tangible evidence that the people look upon it as an art-form. It is true that much excellent criticism of new works appears in various parts of the country and that an almost negligible minority discusses lyric dramas as art-creations; but from the Metropolitan Opera House to the Tivoli the vast majority of opera-goers are mere amusement seekers, to whom lyric dramas are valuable chiefly as materials for the supply of phonographic records. LP OLOZOZO OOOO DOR OZONG sMetropolitan Opera House, 5 ABBEY, SCHOEFFEL & GRAU, Sole Lestses and Managers, } é Supplementary Season = GRAND OPERA Ise ORDER, ov %< nop HENRY E. ABBEY AND * MAURICE GRAU ¢ x. Wednesday Evening, April 25,% AT 8 O'CLOCK. THE INTERNATIONAL METROPOLITAN OPERA Pek MEANWHILE, this survey of the relation of opera to the life of S the people of the United States cannot be concluded without a reference to the apparent assumption of an international character by the Metropolitan Opera House. Puccini’s Girl of the Golden West had its first performance at this theater. The attainment of an international position by the Metropolitan might perhaps signify the existence of an artistic influence formed and supported by the New York public; but the fact that numerous operas received recently in Europe as of signal worth have not been and are not likely to be produced at the Metropolitan, suggests the possibility that the seemingly inter- national character is merely the result of Signor Puccin1’s rebel- lion against the treatment accorded to some of his productions ° 592 Program for Faust at the Metropolitan Opera House by his own countrymen. in 1894, in the New York Public Library B WAGNER‘ -t.250 7c eee eee Sig. DE VASCHETT! £3 JX ¢ AND 28 OD FAUST......000eeecceseeeeee cose M. JEAN DE RESZKE Qos r Conductor. .........+2005 Sig. BEVIGNANI. ED) REGISSEUR «+40 eee eee eee ererees sine wie Mons. CasTELMany ASE Geto STAGE MANAGER 5): 0s open vinee nn eb ease WituraM Parry ¢ ioe eae #28 Ky The Knabe Piano used at the Metropolitan Opera House anil 299 S¢e by the Artists of the Company. eH : ao fa eS JX The New Pipe Organ, with Electric Action, was built by S281 the Farrand & Votey Organ Co., New York and Detroit, AX; @ ec Prhacned ME a — ey et MUSICAL ART IN AMERICA 333 TRSR 5 —= aloe 2 593 Scene in Fry’s opera Notre Dame de Paris as given at Philadelphia, from 594 John Knowles Paine, 1839-1906, from a Frank Leslie's Illustrated Newspaper, May 28, 1864 photograph in the Harvard College Library, Cambridge = AMERICAN COMPOSERS AMERICAN composers are not without achievements. Enough has been said about the pioneers. The his- tories contain pages about Gottschalk, Lowell Mason, William H. Fry, Stephen Emery, George F. Bristow and other now forgotten but adventurous spirits. None of them affected the trend of : American music or left anything of more than ‘ momentary worth. Fry’s Leonora, an opera : produced in 1845, had a passing success and 5 perhaps lent some glamour to the creator's title of “First American Composer.” But it is not until we reach the period of the Harvard school, with Professor John Knowles Paine as its head and his pupils and followers as its body, that we come into contact with a clearly defined quantity of American composition. It has been defined as classic because it ad- hered to the laws and traditions of the German conservatories; but some of its members have survived to venture with discretion but with genial spirit into the land of romance and to _ speak the musical language of the less violent Modernists. Professor Paine, born in Portland, Maine, in 1839, wrote an opera entitled Azara, two symphonies, two symphonic poems, The Tempest, An Island Fantasy, an oratorio, St. Peter, and music to the Edipus Tyrannus of Sophocles. He left much music in smaller forms. None of his works occupy places in contemporaneous programs. His opera was never produced. Professor Paine’s force in our musical development was centered in his train- ing of young and vigorous native talents ae = which based their achievements on sound i hp eta md : academic traditions, the foundations of music. 55 21am, jhe crime Teri 1a the Harvard College Library, Cambridge i ; 2 &R 4 : i txt a: PIR TET it a igh ate LG «aes 9 Same intge’ SESE T at OTR WK Iw AO RDB X Rak FUR PF NAME AMNOIAES 1 « Sy — A SCE SUEUR S.C Dead FOG Ie A 2 ; f= iia ay Pty 2 334 THE PAGEANT OF AMERICA GEORGE WHITFIELD CHADWICK GEORGE WHITFIELD CHADwIckK, born in 1854, and at present director of the New England Conservatory of Music in Boston is the dean of American composers. He studied first at home and then for three years in Leipzig and Munich. His first work was written in the latter city and produced there. It was essentially classic in form and style and Mr. Chadwick’s music for some years continued to be built on German models. But he was not of the stationary type. The romantic spirit appealed to him and his music began slowly to emerge from the shadow of Teutonism; it basked in the sunlight of Irish folk-song and negro melody and eventually even began to frolic with the idioms of the Futurists. His Euterpe overture, 1904, shows the genial progress of his muse, while his Tam O’Shanter reveals him as a musical merrymaker and orchestral technician of high rank. The Americanism of Mr. Chadwick is disclosed in his facile assimilation of the best in foreign schools and his with his own individuality. His talent, though not averse to the smaller forms, is best the Yale Commencement Ode and the Phenix Expirans. His Ballad of A list of his more important works includes 596 Home of the New England Conservatory of Music from 1882 to 1902, from King’s Hand Book of Boston, 1883 ability to stamp it disclosed in his larger works, such as Trees and the Master is also a choral composition of great worth. Judith, opera, 1900; symphonies in C, B-flat and F, several overtures, Cleopatra, sym- phonic poem; piano quintet and five quartets; | Ta "Ors banter choral works, The Viking’s Last Voyage, | 2 Lovely Rosabelle, The Lily Nymph, The Pul- | sei marco “4 grim’s Hymn and the Columbian Ode, for the | — + Fates World’s Columbian Exposition, Chicago, 1893. | — oe oe English: Hors SPU Alirgre moderato idiney ~Clnrinet ee dD ELD B Clarinets im Bfliat Py E(B =~ hi Bass Clarinet in B flat Wedd 2 Bassooan (Bnd 1 it Horns ot F iil iv, % Traupats ii Bitat hy BAD é 2 Trombanes ‘ Treks { Base Trombese aad Tuba th Frlt trou Base Drom and Cymbals it Or (yeu Xytepherd tilocken Spiel B= txyb2 Ut By) ie Wot: Dram (8 Or Chinese Dru oh Tey Sond -Biock (8:0! Rattle Harp : ode to (9s 22) J 2 xf. FF A a a 1 Violin WL) aoa ECE EERE OE ee ox w. of 3 ¢ £ 3 J < VW Vietin WI) Viola Vad Nietoneelio Wet} Doble Base (84 Copyright 1942, by The Roxtem Masa Coe Wo $460 For si cepotrigs 597 George Whitfield Chadwick, 1854-. 598 First page of Chadwick’s Symphonic Ballade T'am O'Shanter. © Pirie Macdonald © Boston Music Co., 1917 aa ee Sa a $s 2 Sia ela: gi Ri mel An i iat = ine aie aa ha a Ce etic Ba | ikea gh} 335 MUSICAL ART IN AMERICA eS ae he eee ‘OIsnuT Pood Jo uoTyeyUseId oY} JOJ psoooI OU B YIM uOryezIUedI0 ue ‘eIYsayoIQg Auoydutdg yprnyy) ayohsg puv pdny pue ‘(L106 ‘eztad tysmorapeg) buog wozg V ‘(Areuszuss1q = eTe@X 9} JF) uoupup souwmhyy “oyy wniojabup quojspp ‘saydojsruyy 39 fo puabaT ay “pryg Moy ayy oe syiom quejiodunt ysour s.Jayreg Jo si9y1O "J[PS}PL BSTOIOX9 0} VoIy SEM BUT -}LIM [RIOYD IOF YUoTe} s_tosoduroo oy} YOM Ul osoy} Wem DUO ut sosed yeoisnul jnyssooons ysour oy, ‘seseryd AroyeurTepPep UI suOT} -oWld Itey} AvAMOD sdoyoeIeYyD sity dYVUI OF IAOI}S puB ‘9oUe19}4N ITIAT pepue}x9 0} UOIsIOAR Jesus v peMoys Joye “Uo py JO a109s oy} Ut ATIS¥9 PIZAOISIP aq P[Nos suosved e,[, ‘Wosvas jsIy @ PoATAIMs syIOM asoy} JO WYYON ‘TEL Ut sqnio [eXISny JO Uolyesopay [RUCT}EN ay} Aq perago oziid ev uoM ‘erado puooss ev ‘punjhung sip{ ‘1OUUIM oy} sem ‘sayooy] uetig Aq yooq ‘nuopy sjoyieg ‘ueoieury ue fq ystsuyq ut e1ado ysaq a4} 10J 0OOOIY Jo eztad v posayo Aueduroy viodg uvypyodors~W Oy? LI6T UT “SUI }.1ed Jo Jopustds pue Apoyeut jo ssouyolt ‘afAzs Jo ssourqyjoy Aq pozisoyovreyo st y~ ‘savak Auvur 10y voeTd spt prey Apqeqoad [im pue uorpisoduos Surry % ST YY “668 UI Suns sem 4 oJoyM ‘pUL[DUG “19}S90I0 AA 7B SIOYD VoIYT, OY} JO [RATSOJ B 7B UBAIS oq 07 UOT}ISOduIOO UBOLIOULY SIZ OY} SVM YT “GEST Ul UOI}ezIURsI0 yey} Aq poonpoad pue yIOX MONT Jo Ayatoog [eIoYD YOMYD oy} OJ w9z}IM sv YOM oy, ‘odomm wi osye ynq ‘AryUNOD sty} Ur ATUO JOU YURI YSIY WY WOM YMA “DuUssxoAy DLO] O1IOYeIO 24} A[peyqnopuN se UOT{BIID [NJssa0oNs YsOUI SIFT “OISNYA JO Jooyog sex oy} jo uvop sem ay “YIOX MAN “Ysunyrepay 7@ GIG] Ul Yop sty jo our 94} FV ‘WoIunNyL Ul Jasioquieyy YA preMsozye pue Arourg usydoyg pue youmpeyy Japun peipnjys off “oISNUI UBolIOUTW Jo semMsy Burpee], sy} Jo suo sem ‘EggT Ul ‘s}jesnypeRssepy ‘ofepuinqny 7e UIOG SBM OY4M “AAWAUVG WVITTIAA OILVAOH UANMdVd WVITTIIM OLLVYOH — UDARFT MON OY} JO IOpesmp oy} savok AULUT JOF SBM JOYIVT “(SIV Ul oY} JO Jooydg efeX oy} Jo Aressoatuue UOLZUTYSVAM ‘SSOIZTOD Jo AIVIQVT 94} UT ‘T68L ‘VwsswoON DLOH 8,1oyIVd JO 9100s [vuUsIIO oy} WO1T 663 THE PAGEANT OF AMERICA ARTHUR FOOTE Artuur Foot, born in 1853, was also a pupil of Professor Paine and Stephen Emery, and is known as one of America’s foremost composers of instrumental music. His two trios, two quartets, and piano quintet, his serenade in E for strings, two orchestral suites, a prologue entitled Francesca da Rimini, as well as numerous excellent organ works, have created for Foote a high place in the esteem of music lovers. Foote is regarded as “‘the Nestor” of that group of living New England com- posers already mentioned in this chapter. 601 Arthur Foote, from a photograph FREDERICK SHEPHERD CONVERSE FREDERICK S. CONVERSE, born in 1871, another of the Boston group, has contributed to the repertory of the orchestra The Mystic Trumpeter, Endymion’s Narrative, The Festival of Pan, Night and Day (two poems for piano and orchestra) and a symphony in D-minor. His opera, The Pipe of Desire, was produced at the Metropolitan Opera House in 1910 after a 602 Frederick 8. Converse, from a photograph Boston presentation in 1906. His second opera, The Sacrifice, was given by the Boston Opera Company in 1911. He composed the music for the pageant and masque of St. Louis in 1914. He has written also chamber- music and some piano works. He is conceded to be among the foremost American composers because of the solidity and dignity of his principal works. 603 The Stage-setting for The Sacrifice, Act I, performed at Boston, 1911, courtesy of F. S. Converse ming MUSICAL ART IN AMERICA 337 EDWARD ALEXANDER MACDOWELL In New York lived one of the leading figures of our native musical art, Edward Alexander MacDowell, who was born in 1861 and died in 1908. He studied abroad and had the friendship of Liszt, who gained for him European consideration. He lived for a time in Boston, but the latter years of his career were passed in New York where he was professor of music in Columbia University. There has been much discussion, some of it acrid, of the qualities of MacDowell’s music. It is unnecessary here to say more than that his place as one of the richest talents in American musical history cannot be questioned. His mental characteristics com- bine warm romanticism with a certain spiritual aloofness which kept him from receiving the magnetism of intellectual movements. MACDOWELL’S INDIAN SUITE -. gy: At the same time £ MacDowell’s pecul- 604 Edward Alexander MacDowell, . 5 acans 5 : after a photograph iar individuality gave to his creations a singular charm. Like some of his contemporaries among the painters and sculptors, he was influenced by the Indian background of America. His masterpiece is probably his Indian Suite, though his pianoforte sonatas, Eroica, Tragica and Keltic are more familiar to music lovers. His songs are admirable and his smaller piano pieces have large merits. His piano concertos are still played, and his symphonic poems, Hamlet, Ophelia and Launcelot and Elaine, are occasionally heard. MacDowell’s influence has been kept alive by composers who were his pupils at Co- lumbia University. 605 From the original score of MacDowell’s Indian Suite, 1896, in the Library of Congress, Washington. © Breitkopf & Hartel, Leipzig, 1897 HENRY KIMBALL HADLEY Henry K. Haptey, born in 1871, is one of the younger writers, and has composed numerous works which have been received with favor on both sides of the Atlantic. His sec- ond symphony won the Paderewski prize and that of the New England Conservatory in 1901, and his The Culprit Fay won the National Federation of Musical Clubs prize in 1909. His first symphony was entitled Youth and Life, the second The Four Seasons, the fourth North, East, South, West. Salome and Lucifer, tone-poems, further re- veal his devotion to romantic ideals. He has written three operas, of which Cleopatra’s Night was produced at the Metropolitan Opera House. Hadley has conducted opera and concerts in Europe, was for a time conductor of the Seattle Orchestra, afterward of the San Francisco Or- chestra and in 1926 was associate conductor of the Phil- 606 From the original score of Hadley's Rhapsody he Culprit . : Fay in the Library of Congress, Washington. G, Schirmer harmonic Society of New York. iin THE PAGEANT OF AMERICA 338 Be Ta A aS ree ee a ee he nee Rpt eg Te Pee anes Mate Ny Pee Re A reo a ee ee Pe Tee eee ea a er ee ae ey L981 ‘dove (fouayO) Aor AuIW 809 ‘Seg epepy ye Asoqora s Aomoy [eirMpy jo Jouoy ut pesoduroo sem wnaq a], ppunpy SiR, *(eurerp s,pueysoy uo pepunoy) opisbiag ap owns eiodo we pue ‘sduos ouros ‘sy10M [eIZS9YIO OuIOS pssoduroo sey ‘yIOX MON Jo Ayoroog Auoydurdg oy} Jo JOJONpUOD “‘YOsoIMTE] JOY! “JAA ppom oy} asteid Jo pssur onp Met} peateoar savy pure “yueurdojaasp ured -oIny JO YOIVUI sy} JO ysvoIqe pueys yey) suorzisoduroo uvoLIoury 18 ‘sya -nusuy pabuygy nog of osnpy pue ‘woog uvbog y ‘sapboqury, ap 140 IT ‘SyIOM sity JO 4Soulf OY} ‘IOAOMOFT ‘soroyp Aq ones) St olsnur sty pure “ATG Xq uerespy ue st oy asnevooq “uoysog jo ‘IoAJeoT ue sajreyD ‘ssosod -W10d UeoLIOUTy [[@ JO yUeUTUE y4sour aq} Jo pres oq YonuL ued ION ‘SPeI} UBILIOULY OU IARY SYIOM IsOyM pu edomy Ul speUr s19M S1901B8d 9SOYM ‘UOI}OUT}sSIp oULOS Jo siosodur0d Y}Oq ‘pig inyqyty pue Zuo0yg uozduay, ynoqe s1oy pres oq posu SuryjON *suOT} -tsodxa oosluRLy, uUeg pue RYeUIC oy} IO sooord yeIOYyD IYO GTEL pue 868 Ul puke osvoIYD 3 UT s.PHOA\ ey} Jo Suruedo oy} soy oyepqne pearyseg B 9JOIM oYs ‘OISnUL Yoyo Jay}O pue suUsyjUe ‘SyIOM [BIOYD [BIOAVS ‘SSVUL B “OGST ut fuoydwhy oyany @ 04 uolyppe uy ~“ArjouuAs pur ssouresjo Aq poysmsurystp 918 PUB S[PPOUL dIssBjo oy} UO YING ATJsOUI oe SYIOM JOFT *So}eIG payup sy} Jo Jasoduiod ueWOM SuIpee] oY} SI ‘Uosog Jo ‘yovog (AsuayD) Aorey AUIY “Wout adie] JO se poydaooe st yey} oIsSnUI Jo [vep poos v posonpoid sey [IFT ouresurping ce i 2 oe preApy “GOGI Ul oztid IysMosopeg oy} UOM ‘uDZG UayDY ay J, pote “erysoyoIo YM | — oo SOOIOA POXIUL JO} SNIOYO SIFT “OAT YONUI UOA sey ‘YdJoys OrMoydutAs & ‘~OFT aoumwg | = = SS SI] ‘wesZoid uo popunoy pue oynjosqe Yq oIsNUE u9zWIM sey ‘ISNT Jo ooyos | re ; aeA ey} Jo uvap sv JoyIeg O1yeIOF{ JO Aossooons ‘yyIUIG AgjURIG plAeqY ‘olsnur ayNjosqe Jo uoryeedo sty Aq pUB ‘JoSVUL B SI OY YOIYA Jo ‘SUIO} DISSRID 0} DOUEIOY “pe sty Aq poysinsunsip st (FLT Ul OTYO Ul UIOq) S19qp[Q PUY “ST6T Jo [BATISo} [OJION oy} 72 poonposd ‘Auoydurks punpbug maayy e pue wnfxT wag JoF orsnut ‘urppojpy pees oyins B ‘yjagon py Ss o1vodsaxeYS IO} OISNUI U9}}1IM Sey ATTIC NVIWTILLS UVOGY SUadSOdWOD AUVHYOdWALINOD YUHHLO 6061 ‘eUITWOS “HO © ‘uouyyseA ‘sse1su0D Jo AIBIQVT 9U} Ul Wa0d udbv_ V §AaYo0T UAV SefIeYO JO 91008 [vUTs]10 Oy} MIOIT 109 y MUSICAL ART IN AMERICA 339 THE TWO CHIEF TRENDS IN sop AMERICAN MUSIC | tapghae OD Wuat may be called for the sake of classification Sie ees Americanism in music must be sought in the works of [ff two groups of writers. One group yields itself to the in- fluence of Dr. Antonin Dvofak’s opinion that the only basis for a distinctly American music was the negro melody, while the other discloses its American- ism rather in its whimsical humor and volatile fancy. In the former group may be placed Henry F. B. Gilbert, x John Powell and Rubin Goldmark, while the other includes John Alden Carpenter, Deems Taylor and Blair Fairchild. Charles Wakefield Cadman and Arthur Nevin have rested heavily on Indian music for their inspirations. Cadman’s one-act opera Shanewis was produced at the Metropolitan and Nevin’s Poia was first performed in Germany. The tendencies of the other musicians just named may be inferred from the titles of some of their works. Henry F. B. Gilbert has written a Comedy Overture on Negro Themes, a Negro Rhapsody (for orchestra) and The Dance in Place Congo, a ballet given at the Metro- 4 politan. In a different vein is his symphonic prologue to J. M. Synge’s Riders to the Sea, produced at the MacDowell Festival, at Peterboro, New Hampshire, 609 From the original score of John Alden Carpenter’s On a Screen in’ 1914. Gold. in the Library of Congress, Washington. © G. Schirmer, 1916 mark’s Requiem, 1919, and his Negro Rhapsody contrast with the Ode to Colorado and his A-major piano quartet, which won the Paderewski prize in 1910. John Powell has composed a Negro Rhap- sody and a sonata, Virginesque. John Alden Carpenter’s Adventures i. ‘ in a Perambulator and Deems Taylor’s Through the Looking Glass are q two whimsical suites which promise to secure permanent places in : ‘the repertories of the country’s orchestras. Blair Fairchild has lived 3 mostly in Paris and his works show the influence of the contempora- ; neous French school. AMERICAN MUSIC IDEALISTIC THE music of the Amer- ican composers, viewed as a mass, is distin- guished by mastery of technique and form, by eee tetas Cotman, 1281--, sensitive fancy, warm, if not deep, feeling, and en ee by a constancy to high ideals. The want of nationalism in ¥ melodic idiom and rhythmic movement is of course due to the absence of a national folk-music. The utilization of the negro songs and spirituals as a basis for something distinc- tively American was inevitable and would have come even if Dvofak had never promulgated his theory or composed his symphony From the New World and his American quartet and quintet. The music of the Indians continues to be studied and to be a source of discussion, sometimes acrimonious. It is ee ae ae ; 7 is Ti j j 611 From an Indian song by Cadman based on Omaha not very flexible as material, but is rich in suggestion. tribal melodies, © White-Smith Musle Pub. Co., 1909 340 THE PAGEANT OF AMERICA 612 From a first edition of Stephen C. Foster’s Uncle Ned, 1848, in the New York Public Library THE INFLUENCE OF NEGRO MUSIC Lone before Dvorak’s day the slave-songs of the South furnished inspiration to Stephen C. Foster, whose Old Folks at Home, Massa’s in de Cold Ground, Nelly was a Lady, My Old Kentucky Home, Good Night, and Old Black Joe are so widely known and sung that loose writers sometimes call them “‘folk songs.” These songs have none S18 SePhenner 8 Dociserege of the characteristics of negro melody which have appealed most forcibly to the later writers. They lean rather toward the “spiritual” in their lachrymose sentiment and quickly uncovered emotions. The rhythmic snap which subsequently laid the foundations of ‘“‘ragtime” is absent from them, but is to be found in the negro compositions of Henry F. B. Gilbert, John Powell, Rubin Goldmark and others. MUSIC AND THE MELTING-POT Ir has already been asserted that the history of music in this country was a story of assimilation rather than creation, but it may be added now that the assimilation has been powerfully aided by resolute propagandism and unceasing education. Instruction may be obtained from the disposition of any public toward opera. New York City is a home for all nationalities and its opera house is its most frequented musical resort. When Chaliapin sings in Boris Godunov the theater contains hundreds of enthusiastic Russians. If Miss Bori AY? » Va ie 614 A Concert by Gilmore’s Band in Madison Square Garden, from an illustration by W. T. Smedley in Harper's Weekly, June 20, 1891 sings in Anima Allegra the Russians are all absent, and some scores of Spaniards appear. When Cavalleria Rusticana and Pagliacci are sung, the house is crowded with demonstrative Italians. The boxes on all occasions are occupied by “‘soci- ety” people who go to opera as they go to dances or dinners. If the observer seeks for evidence of complete assimilation in the concert hall, he will find that more than half of any audience is composed of persons who have plainly not yet felt the magic beat of the mysterious melting-pot. In short, the foreign-born citizen naturally goes to hear the kind of music he loved to hear when he was at home. And in order that the relation of music to the people of this country may be understood, it must be admitted that the foreigners of humble origin enjoy music which is viewed with hostility by the born Americans of a similar mental status. The encouraging feature of musical history in this country is the continued spread of interest in the art, but we must never lose sight of the vital fact that this interest works its way down from the top. This is perhaps the most striking aspect of American musical development. Perhaps one day we will bea nation whose song springs naturally from the common people. But aside from the cow punchers who rode the lonely plains there has been little ballad-making among us. Cer 2 eh OmR MUSICAL ART IN AMERICA 341 AMERICAN SONGS AMERICAN song writers have produced many beautiful melodies, such as The Rosary, which have become favorites. But these have in- eer variably been handed down from above. Pe Pinan tgs ' Moreover, they have not become the univer- Cte ort S Shae te. sal property of the people. Our population is as yet too heterogeneous for that. Our A ee cs civilization offers so many pleasures like the ciao ere pee = picture palace, the dance, and the bridge table that there is little time for singing. Cer- tainly the conquest of the American home by our own songs would not readily bear com- parison with that of German homes by Das Veulchen and Der Erlkinig. The phonograph and the radio are helping the native lyrics to establish themselves among the people for whom they were composed and are adding substantially to the efforts of popular singers who specialize in songs with English texts. Efforts to develop community singing are also of great value. Perhaps we shall one day become more of a singing nation. Our songs too frequently lack characteristics which would mark them as products of American conditions. The majority of them are ob- viously machine-made and for that reason devoid of the living thrill without which no music conquers. O15) )> tom te oat coos of Ze Rosary by Rehelbert Nevin in th PATRIOTIC MUSIC Parrioric songs and airs should assuredly be a direct utterance of national feeling, yet the American who sets out to survey the field of patriotic music in his country cannot be overwhelmed with pride. The endless discussion about The Star-Spangled Banner, although that pompous utterance is the official national anthem of the government, is enough in itself to convince the disinterested observer that it has no powerful appeal to the national consciousness. The air originated in England, not America. The Marseillaise is strongly French in character and was born in France under stirring circum- stances. But on the whole the case of The Star-Spangled Banner is little worse than that of the Russian hymn or the Austrian. It differs in the one vital fact, that the people as a whole do not accept it. America, which so many declare to be our national hymn, is only American in its words, the tune is that of the British national hymn God Save the King. America The Beautiful, one of the best expressions of American sentiment and inspiration and popular in the United States during the World War, is another instance of adapting new words to an old air. Here the words by Katharine Lee Bates were set to the hymn Materna of Samuel A. Ward. The Civil War brought forth some fairly good songs, but these are sectional rather than national. They are, fortunately, mostly forgotten and should be. Reference has already been made to the most firmly established of our popular songs, namely, those composed by Stephen C. Foster (No. 612), but they too are sectional in feeling, for it is inconceivable that the native-born sons and daughters of Maine or Oregon can be deeply affected by otG Samvel Francis Smith, Aegean ad thoughts of an old Kentucky home or a master in the cold, cold ground. 342 THE PAGEANT OF AMERICA RAGTIME AND “JAZZ” THERE is, however, a Rhapsody In Blue Piano Solo for Jazz Band and Piano with 2nd plano type of music which has in score : GEORGE GERSHWIN actually conquered the =e country, namely, the so- called “‘jazz.”” Too much importance is attached to the vogue of this infec- tious expression of ex- uberance. The highly significant fact that it has superseded what was known as “ragtime” is generally overlooked. “Ragtime” and “jazz” are not identical. The former was distinguished by its characteristic use of syncopated. rhythm and was devoid of instru- mental peculiarities. The latter acquires its individ- uality chiefly from a capricious and frequently grotesque employment of the portamento and in- strumental effects, such as mutes of various kinds ranging from Derby hats to tin kettles. Expert jazz Molto mode rato (d=80) 4 performers, like Ross Gor- man, have learned to dis- Copyright MCMXXV_ by HARMS Inc.,N.Y. y . if 7206 International Copyright Secured i tort melodic sequence into ALL RIGHTS RESERVED Including public performance for profit = aeee irresistible burlesques on music. The portamento has become the common 617 From a “ jazz'’ rhapsody ag pele ey ope and played by Paul Whiteman. property of trombones and reed instruments. The high period of “ragtime”’ was the decade before the World War. The prevalence of “jazz” has arisen since the conflict. The writer first heard ‘‘jazz” instrumentation while the war was in progress, when march- ing trombone-players made known to the public their peculiar tricks of portamento with the slide. Those who are familiar with the singing of negro male quartets know that their basses are fond of treating descending scale-passages in a manner resembling that of the military trombone-players just mentioned. In other words, it might not be impossible to establish an Afro-American relationship between the origins of “ragtime” and “‘jazz.’”’ As negro melody has always had an especial charm for Americans it seems likely that any exaggeration of its characteristics leaning toward burlesque would appeal to the American sense of humor. We must ask the reader to consider how much of American individuality has been found in the mass of compositions put forth by native-born writers and how closely and intimately it has brought itself into rela- tion with the artistic feeling of the public. We are obliged to note that no people as a whole rises to an ap- preciation of the higher forms of music, but the appeal of such forms is surely wider when the materials of which they are built are fashioned by the hands of the people themselves. No one can doubt that the music of Albeniz and Granados makes itself loved by Spaniards more easily than that of Brahms or that Russians gather to their hearts the symphonies of Tschaikowsky and the operas of Moussorgsky and Rimsky-Korsakov. +o. MUSICAL ART IN AMERICA 343 CONTEMPORARY POPULAR MUSIC THE want of permanence in the popular music of to-day is so easily demonstrated that no space need be devoted to it. The most casual observer cannot fail to perceive that the prevailing songs, which are mostly planned to serve also as dance-music, are quite devoid of the traits of the old ragtime and equally of the negro melody. It must not be regarded as irreverent to say that they more nearly resemble the emotional hymns heard in revival services. To classify them as ‘“‘jazz”’ shows that the term has lost its original meaning. The reason for the appeal of such music lies on the surface and need not be discussed. The mere record is all that is required here. At the end of the way we find ourselves confronted by a single conclusion, whose significance is by no means clearly definable. The people of the United States possess no genuine national music created by themselves, but have adopted a type which none the less expresses their ebullience, their nervous energy and their aversion to artistic solemnities. That any enduring form of art can be reared on this music as a foundation seems at least to be questionable. The most important demonstration of its possibilities is that made by Paul Whiteman, a conductor 618 . Paul Whiteman, Teegeherimant of “jazz” of dance music in New York. Whiteman has given concerts SE a designed to show the progress and development of ‘‘jazz”’ from its crudest early form to that of an ambitious rhapsody for piano and orchestra composed by George Gershwin. These concerts indicated the resources of the “jazz” band rather more clearly than the promise of the music itself. AFRO-AMERICAN MUSIC Ir it is true that the musical history of the country is one rather of assimilation than creation, it may at least be added that the assimilative powers of the people have responded much more actively to the attractions of the Afro-American music and its derivatives than to those of European artists and their disciples. But this was inevitable. In spite of the fact that we are a nation of conglomerate development, containing elements drawn from all the rest of the world, we have never- theless a certain national character, and, except among primi- tive races, such a character rarely exists without an appetite for its own music. One of the most curious aspects of American history is to be found in the fact that the race whose individ- uals were brought to American shores as slaves and whose descendants have never been granted equality by their white neighbors, have given us our only distinctive native music. The only music that has come up from among our people is the Afro-American. It has the traits of a true folk-music. It is of the people, by the people, for the people. Speculation should not enter intoa consideration of the musical development of the United States, but one is impelled to wonder what would have been the grade of popular music produced by our people if they had enjoyed the racial background of the Rus- sians or the Germans. The prevalence of “ragtime” before the World War and “‘jazz’’ afterward has demonstrated, be- yond doubt, that the musical taste of our countrymen is not deeply influenced by the labors of benefactors or orchestras, 619 From the original score of the negro spiritual My the propaganda of music clubs or even the work of supervisors ; dy, arranged by H. T. Burleigh. © G. Spe “ Ricordi &Co. inc, 1017 of music in public schools. 344 THE PAGEANT OF AMERICA 620 A Concert at Lewisohn Stadium, College of the City of New York. © Empire Photographers, 1924 THE FUTURE OF AMERICAN MUSIC THE present state of artistic composition in this country suggests the likelihood that it will advance along lines similar to those followed by the popular music. Without enslaving itself to the idioms and forms of the Afro-American folk song and equally without prostrating its spirit before the altars of either the European nationalists or modernists, it will seek to express the soul of its own people. Henry Hadley’s North, East, South, West was a deliberate essay in this direction, and his employment of certain familiar melodic idioms was for the purpose of delineating certain sections. Goldmark’s Requiem (suggested by Lincoln’s Gettysburg Address) and Ernest Schelling’s Victory Ball were other efforts in the same line. What the activities of musi- cal organizations will yet bring forth cannot be conjectured. Still another view of the historical line of movement is necessary. It is only in countries where the musical impulse is deeply imbedded in the national life that composers can carry on their work regardless of political upheavals and international conflicts. Among the Germans, Bach, the recluse musician, could live wholly absorbed in his duties as organist and choir master of the Thomas Church in Leipzig and unconsciously creating masterpieces of ecclesiastical music which in no way reflected the agitated spirit of the time. It calls for no unusual imagination to picture what might have been the trend of the tonal art if Bach, the most powerful individual influence it has ever felt, had plunged into the vortex of the time and given his mighty soul to the production of odes to the monarch or martial oratorios celebrating the Lord as a man of war. Lacking such a transcendent genius as Bach, we possessed in our earliest days a few church writers whose inspiration might have been the Roundhead’s surly hymn immortalized by Tennyson. The struggle for independence almost obliterated the infant musical life of the people. We did not produce a revolutionary anthem, as France did in the Marseillaise, because we had no national musical foundation for one. The years succeeding the Revolution were crowded with political events which held the minds of the people distant from considerations of art. The Mexican War, which now seems a matter of small moment, loomed larger in its own day, and when Jefferson was a decaying force but not yet a dead apostle, possibly more thousands of Americans were interested in the Missouri Compromise than we can realize now. There were some indi- cations of a stirring of the feeble musical spirit in the shadowed years before the Civil War. But it was not till the dust of fratricidal battles had begun to settle that the great musical organizations of this country lifted their standards and began to approach a prominence that entitled them to the daily observation of the newspapers East and West. At the present time European visitors are fond of telling us that we are a uation of idealists, which is indisputably true. But they do not often inform us just what our ideals are. We may without fear of offending ourselves admit that in the tempestuous 1849 period most of us were as interested in the Golden Calf as we are to-day, and that for many years after 1849 we were by sheer force of circumstances engaged in the solution of material problems. The splendid era of western development was one of the proudest and most brilliant chapters in our history, but it furnished no nurture for the growth of musical art. Every American realizes now that the pioneers had no time to stop to write stories and poems, paint pictures or compose sonatas. But they left us imperishable records which may serve as inspiration to all the creative genius of our future. * hy: ‘at aaa acme eta a ee ik we rom Site 2c ee a I Gobihss Rie 08, SANE ay eee RSE gh nay) Sl 04 Wang. ~ ek” a et a ee ee eee ee ee 346 INDEX Borie, Adolphe, as portraitist, 174. Boston, music in, 322, 324, 334. Boston Athenzum, 16. Boston Massacre, Revere’s engraving, 227. Boston Museum of Fine Arts, material from, 18, 22, 28, 36, 38, 60, 66, 84, 92, 95, 110, 150, 168, 169, 202, 204. Boston Public Library, material from, 105, 109. Boughton, George H., as genre painter, 50, 54; “Pilgrims going to Church,” 54. Boyle, John J., as sculptor, “Stone Age,” 197. Bradford, William, as landscapist, 49. Breese, Samuel L., Huntington’s portrait, 67. Brenner, Victor D., as sculptor, “Bronze Plaque,” 212. Bridges, Charles, as portraitist, “Maria Taylor Byrd,” 8. Bridgman, Frederick A., “Lady of Cairo Visiting,” 238. Brooklyn Museum, material from, 10, 45, 93, 109, 128, 130, 133. Brown, Bolton, as lithographer, “Brook Nymph,” 273. Brown, Henry K., as sculptor, 180, 183; “ Washington,” 183. Brown, John G., as genre painter, 50, 53; “Allegro and Penseroso,” 53. Brush, George de F., as figure painter, 95, 138; “Indian and Lily,” ““Mother and Child,” 95. Bryant, William C., on Thomas Cole, 42; Eaton’s por- trait, 93. Buchanan, James, campaign cartoon, 310. Buck, Dudley, portrait, Golden Legend, 325. Buckingham, Duke of, and art, 4. Buffalo Fine Arts Academy, material from, 94, 126, 129, 154. Bunce, William G., as landscapist, “Early Morning,” 86. Bunker Hill, Trumbull’s painting, 33. Burleigh, H. T., My Way’s Cloudy, 343. Burroughs, Bryson, as visionary, “Princess and Swine- herd, 159. Burt, Charles, as engraver, “Henry Inman,” 232. Butler Art Institute, Youngstown, material from, 143. Byles, Mather, Pelham’s portrait, 4. Byrd, Maria Taylor, Bridges’ portrait, 8. Casot, Sebastian, ship, 113. Cadman, Charles W., as musician, From the Land of the Sky-blue Water, portrait, 339. Calder, A. Sterling, as sculptor, ‘Depew Memorial Foun- tain,” 211. Camp meeting, 82. Caricature, development, 306; social examples, 308-310, 315-317; political examples, 310-315, 318. Carlsen, Emil, as still-life painter, 118; as Luminist, “Lazy Sea,” 128. Carnegie Institute, Pittsburgh, material from, 32, 88, 134. Carpenter, John A., as musician, On a Screen, 339. Carpenter, William, Earl’s portrait, 14. Carr, Benjamin, opera, The Archers, 328. Carr, J., Musical Journal, 325. Cartoons. See Caricature. Cassatt, Mary, as figure painter, 138, 146; “‘On the Balcony,” 138; as etcher, “‘Au Théatre,” 263. Cecilia Society of Cincinnati, 323. Century Association, New York, material from, 26, 40, 80. Cesare, Oscar, as caricaturist, “Printemps,” One Hun- dred Cartoons, 318. Cézanne, Paul, and Expressionism, 155, 156. Chadwick, George W., as musician, Tam O’Shanter, por- trait, 334. Chamber music, 326. Chanler, Robert W., as animal painter, “ Porcupines,” 163. Chapman, Carlton T., as naval painter, 50. Chapman, John G., as genre painter, 37; ‘Casting Children into the Nile,” 245; as illustrator, ‘‘Chief’s Daughter,” 282. Charles I of England, and art, 4. Charles, William, as caricaturist, 306. Charleston Museum, 16. Chase, William M., as portraitist, ““Lady in Black,” 96; still-life, 118; as figure painter, 139; Sargent’s portrait, 142. Cheney, John, as mezzotinter, “‘ Preciosa,’ 240. Chicago Art Institute, material from, 66, 79, 112, 118, 119, 136, 174, 176, 198, 200. Chicago Auditorium, interior, 327. Childs, C. G., “Spy,” 279. Christy, Howard C., as illustrator, “Ex Curia,” 303. Church, Frederic E., as landscapist, 42, 47, 48; ““Coto- paxi,”’ 48. Church, Frederick S., as visionary, “Sirens,” 64; as caricaturist, ‘“‘ Mosquitoes,” 310. Church of the Ascension, New York, decoration, 100. Churches, details and interiors, modern, 100, 115, 117, 199. Churches, later colonial New England, 129. Cincinnati, music in, 323. Cincinnati Museum Association, material from, 93, 140, 171, 175. Civil War, artistic presentation, 50, 52, 54; sculpture, 180, 185, 187, 193. Clark, Walter A., as illustrator, “Lover of Music,” 300. Classic styles, architecture and painting, 32, 36. Cleveland, Grover, Reich’s etching, 238. Cleveland Museum of Art, material from, 20, 153. Closson, William B. P., as wood engraver, 255, 275; “Water Nymph,” 275. Coates, Samuel, Sully’s portrait, 28. Cole, Thomas, as landscapist, 41-44; “‘“Conway Peak,” 43; “Lake Winnepesaukee,”’ 234. Cole, Timothy, as wood engraver, 252, 290; “Hay Wain,” 252; “Gillie Boy,” 290; “Lincoln,” 291; ““Day Dreams,” 293. College of the City of New York, stadium, 344. Colonies, English-American, and art, 4; portraiture in, 4-15; and sculpture, 178; engraving in, 225, 228; music in, 320, 321. Columbus, Christopher, Rogers’ sculptured “History,” 186. Concert life, colonial, 320, 321; early societies, 322; later, 344. Conried, Heinrich, and opera, 330. Constable, John, “Hay Wain,” 252. Converse, Frederick S., as musician, “Stage-setting for Sacrifice,” portrait, 336. Cooper, J. Fenimore, illustration, 279, 285. Copley, John S., training and career as portraitist, 4, 5, 10-12; “Self-Portrait,” ‘Epes Sargent,’ 10; “Mrs. Seymour Fort,” “Boy with the Squirrel,’’ (Henry Pel- ham) 11; “ Mary Storer Green,” 12; as historical painter, “Death of Chatham,” 31. Corcoran Gallery of Art, Washington, material from, 22, 34, 36, 48, 53, 58, 66, '78, 87, 135, 168, 181. Couturier, Henri, as portraitist, “O.S. Van Cortlandt,” 6. Cox, Kenyon, on art, 1; as portraitist, “Augustus Saint- Gaudens,”’ 94; as mural painter, “Light of Learning,” 103; mosaic, “Liberty,” 114; as figure painter, 138. Cram, Ralph A., on art, 1. Crammond, William, house, 230. Crawford, Thomas, as sculptor, 179, 182; ‘‘Freedom,”’ 182. Croome, William, as illustrator, 284. INDEX 347 Cubism, 156. Cunard building, New York, decoration, 113. Currier & Ives, cartoons, 310, 311. Cushing, Howard G., as still-life painter, “Flower Piece,” 121; as portraitist, “Mrs. Cushing,” 168. Daun, Cyrus E., as sculptor, “Appeal to the Great Spirit,”’ 202. Damrosch, Leopold, as musician, 324, 330; portrait, 324. Damrosch, Walter, as musician, 327, 338. Dance, Indian, 63; caricature, 308. Dannat, William T., as painter, ““Quartette,” 97. Da Ponte, Lorenzo, and opera, portrait, 329. Darley, Felix O. C., as illustrator, 37, 285-287; as lithog- rapher, “Headless Horseman,” 244; “Water Witch,” 285; “Death of King Philip,” “Gossips,” “Cobbler Keezar,” 286; as caricaturist, “Hungarians,” 308. Davenport, Homer C., as caricaturist, 307, 314; “Wall Street’s New Guardian,” 314. Davies, Arthur B., as mural painter, 112; as visionary, 157-159; “Throne,” 157; ‘‘Rose to Rose,” “Dream,” 158; “Girdle of Ares,’ 159; as etcher, “Antique Mirror,” 269; as lithographer, ““Golden City,” 273. Davis, Charles H., as landscapist, ‘‘ August,” 86. Davis, John, New Orleans opera, 329. Dearth, Henry G., as still-life painter, “Offering to Buddha,” 120; as Luminist, “‘Golden Sunset,’’ 130. De Camp, Joseph, as portraitist, 139, 144; “H. H. Fur- ness,” 144. De Forest, David C., and wife, Morse’s portraits, 25. De Francisci, Anthony de, as medalist, 222. Delanoy, Abraham, Jr., as portraitist, “Benjamin West,” 13. Delaplaine’s Repository of Distinguished American Charac- ters, 229, 231. Demuth, Charles, as Modernist, ‘‘ Milltown,” 165 Detroit Institute of Art, material from, 34, 116, 127, 143, 145, 147, 149, 177, 213, 214. Devereux, “Rasselas,” 282. Dewing, Maria O., as still-life painter, “Poppies and Mignonette,” 118. Dewing, Thomas W.., as figure painter, “Girl with Lute,” 141. Diaz de le Pefia, Narcisse, “Lovers,” 251. Dickinson, Sidney E., as portraitist, “Robert Aitken,” 176. Dielman, Frederick, as mural painter, ‘‘ History,” 116. Dippel, Andreas, and opera, 330. Donoghue, John, as sculptor, “ Young Sophocles,” 198. Doolittle, Amos, as engraver, “‘ Battle of Lexington,” 228. Dougherty, Paul, as Luminist, “Late Afternoon,” 131. Doughty, Thomas, as landscapist, 41, 43; ““On the Susque- hanna,” 43; “Flat Rock Dam,” 279. Dove, Arthur G., as Modernist, ‘‘ Wind and Trees,”’ 166. Dow, Arthur, as wood engraver, 255. Drake, Alexander W., and illustration, 290, 291. Drummond, Robert R., Early Music in Philadelphia, 320. Du Bois, Guy P., as figure painter, “Scene in a Restaurant,” 154. Diisseldorf Gallery, New York, 16. Du Mond, Frank V., as mural painter, “Departure of the Pioneers,”’ 110. Dunlap, William, as portraitist, “Artist showing his First Picture,” Arts of Design, 21; as historical painter, 30; opera, Archers, 328. Durand, Asher B., as portraitist, “James Madison,” 26; as landscapist, 42, 44; “Lake George,” 44; Elliott’s _ portrait, 66; as engraver, 231, 233-235; “Aaron XII—23 Ogden,” 231; “Capture of André,” 233; “Lake Winnepesaukee,”’ 234 ‘ Ariadne,’ 235; “ Wife,” 280. Duveneck, Frank, as figure painter, 93, 139; “ Whistling Boy,” 93; Grafly’s bust, 204; as etcher, “Oblong Riva,” 259. Duyckinck, Gerret, as portraitist, “Mrs. Augustus Jay,” 7. Dvorak, Antonin, on American music, 339. Eaxrys, Thomas, as genre painter, 51, 57, 58; “Rush carving the Allegorical Figure,” 57; “Salutat,’” 58; as portraitist, ‘Thinker,”’ 96. Earl, Ralph, as portraitist, “William Carpenter,” 14. Eastman Theater, Rochester, decoration, 113. Eaton, Wyatt, as portraitist, “W.C. Bryant,” 93; ‘Abra- ham Lincoln,” 291. Eberle, Abastenia S., as sculptor, “Windy Door-step,” 218. Edwards, Jonathan, as New England intellectual, 10. Ehninger, John W., “Legend of St. Gwendoline,” 292. Eisfield, Theodore, as musician, 326. Election cartoons (1856), 310; (1860), 311. Elliott, Charles L., as portraitist, ‘A. B. Durand,’’ 66. Emmes, Thomas, “Increase Mather,” 225. Emmons, Nathaniel, as portraitist, “Samuel Sewall,” 8. Engraving, reproductive, 223; varieties, 223, 224; painter-, 253; photomechanical, 278. Etching, process, 253, 254; reproductive, examples, 237, 238; painter-, examples, 256-269. Kuterpean Society of New York, 322. Evans, Rudulph, as sculptor, “Golden Hour,” 218. Expressionism. See Modernism. Farrcuip, Blair, as musician, 339. Farny, H. F., “Cincinnati Opera Festival,” 323; “Chicago Auditorium,” 327. Farragut, David G., Saint-Gaudens’ statue, 193. Faulkner, Barry, as mural painter, “Dramatic Music,” 113. Feke, Robert, as portraitist, 4, 9; “Samuel Waldo,” 9. Fenn, Harry, as illustrator, 288. Festival Chorus Society of Cincinnati, 323. Field, Eugene, McCartan’s memorial, 219. Figure painting, classes, 138. See also Portraiture. Filmer, John, as wood engraver, “Tenuya Cafion,” 249. Fisher, Mrs. William A., and music, 328. Flagg, James M., as illustrator, “Woman’s Auxiliary,” 303. Flonzaley Quartet, 326. Folsette, H., “Park Theatre,” 329. Foote, Arthur, as musician, portrait, 336. Foote, Mary H., as illustrator, “Picture in the Fireplace Bedroom,”’ 290. Fort, Mrs. Seymour, Copley’s portrait, 5, 11. Foster, Ben, as landscapist, “Late Autumn Moonrise,” 87. Foster, John, as engraver, “Richard Mather,” 225. Foster, Stephen C., as musician, Uncle Ned, portrait, 340. Fourth of July, celebration, 38. Franklin, Benjamin, as New England intellectual, 10; Longacre’s engraving, 229. ~ Fraser, Charles, as miniaturist, ‘‘ William Petigru,”’ 23. Fraser, James E., as sculptor, “End of the Trail,”’ 217. Freake, Elizabeth, portrait, 7. Freer Gallery of Art, Washington, material from, 69, 70, 118, 141. French, Daniel C., as sculptor, 189, 195, 196; “‘ Minute Man,” 195; “Death and the Sculptor,” “Spirit of Life,” 196. French, Edward D., as engraver, “Bookplate,” 237. French, Frank, as engraver, 255. 348 INDEX Frieseke, Frederick C., as Luminist, “Under the Willows,” 171. Frontier, development and art, 2; missions, Asbury, 213. Frost, Arthur B., as illustrator, “‘Corn-Shucking,” 298. Fry, William H., and opera, “Scene from Notre Dame,” 333. Fuller, George, as visionary, 59, 60; “ Arethusa,”” 60. Furness, Horace H., De Camp’s portrait, 144. GaBRIEL, Ralph H., on development of American art, 1-3. Garber, Daniel, as Luminist, “’Tohickon,” 132. Garcia, Manuel, and opera, 329. Garfield, James A., Ward’s statue, 188. Garnsey, Elmer E., as decorator, 108. Gatti-Casazza, Giulio, and opera, 330. Gaul, Gilbert, as military painter, 50. Gay, John, Beggar’s Opera, 320, 321. Gay, Walter, as painter of interiors, ““Commode,”’ 119. Genre painting, first period, 37; postbellum, 50, 51; French trained school, 91; in sculpture, 210, 217, 218. Gershwin, George, Rhapsody in Blue, 342; as musician, 343. Gibson, Charles D., as illustrator, ‘Princess Aline,” 299; as caricaturist, “Botany in the Bowery,” “Education of Mr. Pipp,” 316; New Cartoons, 316. Gifford, Robert S., as landscapist, “Near the Coast,” 89. Gift annuals, 277, 281, 282. Gignoux, Régis F., as landscapist, “Summer on the Hud- son,” 45; ‘“‘Housatonic Valley,’ 234. Gilbert, Mrs. George H., Wiles’ portrait, 143. Gilbert, Henry F. B., as musician, 339. Gilchrist, William W. J., as genre painter, “ Model’s Rest,”’ 175. Gilmor, Robert, Sartain’s mezzotint, 239. Glackens, William J., as portraitist, 139, 152, 171; “Family Group,” 152; “ Walter Hampden,” 171; as illustrator, “Essex Street,” 304. Gladstone, William E., Hamilton’s portrait, 145. Gleason’s Pictorial, and wood engraving, 246. Godey’s Magazine, illustration, 280. Gogh, Vincent van, and Expressionism, 155. Goldmark, Rubin, as musician, 339, 344. Gorman, Ross, as musician, 342. Goupil Gallery, New York, 16. Government buildings, modern, 276. Grafly, Charles, as sculptor, 190, 204; ‘‘ Frank Duveneck,” 204. Grahame, Kenneth, Dream Days, illustration, 302. Graham’s Magazine, illustration, 280. Grau, Maurice, and opera, 330. Gray, Henry P., as historical painter, “Judgment of Paris,” 36; as portraitist, 65. Green, Elizabeth S., as illustrator, “Real Birthday of Drante,” 302. Green, Samuel A., John Foster, 225. Greenough, Horatio, as sculptor, 179, 182; ‘‘Washing- ton,” 182. Gregory, John, as sculptor, ““Wood Nymph,” 220. Guérin, Jules, as illustrator, “‘On the Harlem,” 301. Haptey, Henry, as musician, The Culprit Fay, 337. Hahnemann, Christian F. §., Niehaus’ statue, 198. Hale, Gardner, as Modernist, “Arrival of Saint Julian’s Parents,’ 167. Hale, Nathan, Macmonnies’ statue, 205. Halpin, John, as engraver, 230, 234; “N. P. Willis,” 230; “Housatonic Valley,” 234. Hamerton, Philip G., Etching and Etchers, 256. Hamilton, John McL., as portraitist, “Gladstone,” 145. Hammerstein, Oscar, and opera, 330. Hampden, Walter, Glackens’ portrait, 171. Hancock, John, Copley’s portrait, 5. Handel and Haydn Society of Boston, 321. Harding, Chester, as portraitist, 17, 22; “John Randclph,” 22; *‘Daniel Boone,”’ 231. Harper’s Monthly, illustration, 289. Harper’s Weekly, and wood engraving, 246, 249. Harris, Joel C., Uncle Remus, illustration, 298. Harrison, Thomas A., as Luminist, “Grand Miroir,” 127. Hart, Joel, as sculptor, 179. Hartley, Marsden, as Modernist, “Still Life,” 165. Harvard College Library, material from, 321, 325, 333. Harvard Union, material from, 324. Haskell, Ernest, as etcher, “Head of the Ostrich,” 266. Hassam, Childe, as Luminist, 124, 129, 138; “Church at. Old Lyme,” 129; war pictures, 151; as etcher, “Old Warehouses,” 264. Havell, Robert, as aquatinter, “Birds,” “West Point,” Q41. Hawthorne, Charles W., as figure painter, ‘Trousseau,” 172. Hawthorne, Nathaniel, illustration, 245. Hayman, Francis, “Scene from Beggar's Opera,” 321. Health, quack doctor, 53. Healy, George P. A., as portraitist, 65, 66; “Self-Portrait,” 66. Henri, Robert, as figure painter, 139, 150; “‘Julianita,”’ 150. Henry, Edward L., as genre painter, “Old Westover Man- sion,” 58. Herbert, Victor, ‘Score of Natoma,” portrait, 331. Herford, Oliver, as caricaturist, Alphabet of Celebrities, 317. Herter, Albert, tapestry, “Great Crusade,” 116. Hesselius, Gustavus, as portraitist, “Self-Portrait,” 8. Higgins, Eugene, as visionary, “Lonely Road,” 161; as etcher, ‘Midnight Duty,” 268. Higginson, Henry L., and music, Sargent’s portrait, 324. Hill, Edward B., as musician, 338. Hill, J. H., as etcher, ‘ Moonlight,” 257. Hill, John, as aquatinter, “New York,” Picturesque Views, 240. Hill, John W., as lithographer, “Rockland Lake,” 243. Hill, Uriah C., as musician, 322, 326. Hinshelwood, Robert, as engraver, “Smoky Mountains,” O30. Historical painting, West and early, 29, 30. Historical Society of Pennsylvania, material from, 8. Hoffman, Malvina, as sculptor, “Sacrifice,” 222. Home Book of the Picturesque, 234. Homer, Winslow, as genre painter, 50, 54, 55; “Prisoners from the Front,” 54; “ Hark, the Lark!” 55; as landscape and marine painter, 73, 75, 83, 84; “Summer Night,’’ “Cannon Rock,” 83; ‘Hound and Hunter,” “Look- out,” 84; as water-colorist, “Palm Tree,” “Shore and Surf,” 85; ‘“Grafter,’ 249; as illustrator, 288, 292; “Excelsior,” 288; “‘The Courtin’,” 292. Hopkinson, Charles S., as portraitist, “Prince Saionji,” 170. Hopkinson, Francis, as musician, 321. Hoppin, Augustus, “The Courtin’,” 246. Hosmer, Harriet G., as sculptor, 179, 187; “Zenobia,” 187. Hours at Home, illustration, 289. Hovenden, Thomas, as genre painter, 50, 56; “Jerusalem the Golden,” 56. Hudson River School, 42. Hunt, William M., as portraitist, 65, 67; “Charles Sum- ner,” 67; as mural painter, “Flight of Night,” 101; “Mrs. Adams,” 236; as lithographer, 254, 269; “Flower Seller,’ 269. ) ee ee Sy ee, ¥ ers. Ce ee INDEX 349 Huntington, Daniel, as historical painter, 30, 35; “Mercy’s Dream,” 35; as portraitist, 65, 67; “S. L. Breese,” 67; ‘‘Preciosa,’’ 240. Hurd, Nathaniel, Copley’s portrait, 5; as engraver, “‘Bookplate,”’ 226. Hyatt, Anna V., as sculptor, “Jeanne d’ Arc,” 216. Hyde, Helen, as wood engraver, 255. Ittman, Thomas, “Drawing Book,” 281. Illuminated Bible, 245. Illustration, William Morris’ influence, 275; and decora- tion, 277; development and decay, 277, 278, 305, 307. Immigrants, caricature, 308, 309. Impressionism. See Luminism. Indianapolis Art Association, material from, 131. Indians, artistic presentation, 63, 104, 106, 174, 197, 202, 207, 217. Inman, Henry, as portraitist, 17; as genre painter, 37, 39; ““Mumble the Peg,” 39; as lithographer, “‘ Mrs. In- man,” 242; “‘ William Rawle,” 243; as illustrator, 279. Inness, George, and Page, 36; as landscapist, 73, 74, 76—- 79, 124; “Juniata River,’ “Peace and Plenty,” 76; “Delaware Valley,” “Pine Grove,” 77; “Coming Storm,” “Sunset,” 78; “After a Summer Shower,” 79. Ipsen, Ernest L., as portraitist, ‘Mrs. Ipsen,’’ 170. Irving, Washington, Sketch Book, illustration, 247, 286. Isham, Samuel, on early portraiture, 17. Ivins, Florence W., as wood engraver, 255. Ivins, William M., acknowledgment to, 224. Jackson, Andrew, Mills’ statue, 183. Jackson, Mrs. Andrew, Peale’s miniature, 24. Jarvis, John W., as portraitist, 17, 22; ““ Portrait of a Lady,” eee Jay, Mrs. Augustus, Duyckinck’s portrait, 7. Jazz music, 342. Jefferson, Joseph, as Bob Acres, 296. Jefferson, Thomas, Neagle’s engraving, 231. Johansen, John C., as figure painter, “Signing the Peace Treaty,” 173. Johns Hopkins Hospital, Baltimore, material from, 142. Johnson, Eastman, as genre painter, 50, 52; ““Old Ken- tucky Home,” “Knitting for Soldiers,”’ 52; as portrait- ist, 65, 67; “Two Men,” 67. Johnson, Mrs. Reverdy, Sully’s portrait, 27. Johnson, Thomas, as etcher, “Walt Whitman,” 238. Jordan & Halpin, engraving, 284. Juengling, Frederick, as wood engraver, “ Whistler,” 250; as illustrator, ““Engineer,” 291. Keck, Charles, as sculptor, “Chandelier,” 215. Keese, John, Poets of America, decoration, 284. Keith, William, as landscapist, 49. Keller, Arthur I., as illustrator, “Little Revenge,” 298. Keller, Henry G., as still-life painter, “October Fruits,” ve home a Kelley, Edgar S., as musician, 338. Kelly, James E., “Gillie Boy,” 290; “‘Engineer crossing a Chasm,” 291. Kemble, Edward W.., as caricaturist, “Bear Story,” 315. Kendall, William Sergeant, as figure painter, ‘‘Cross- lights,”’ 145. Kensett, John F., as landscapist, 42, 46; “Highlands of the Hudson,” 46. Kent, Rockwell, as visionary, 85, 155, 162; “Burial of a Young Man,” 162; as wood engraver, 276, 318; “‘ Mast- Head,” 276; “Filling the Treasure Chest,” 318; as illustrator, ‘Book Jacket for Wilderness,” 305. Keppler, Joseph, as caricaturist, 306, 309, 313; “Uncle Sam’s Show,” 313. King’s Hand Book of Boston, 334. Kingsley, Elbridge, as wood engraver, 255, 274, 291; “Old Hadley Street,” 274. Kneisel Quartet, 326. Knox, Henry, Stuart’s portrait, 18. Konti, Isidore, as sculptor, “The Brooks,” 203. Krehbiel, Henry E., Chapters. of Opera, 330. Krimmel, John L., as genre painter, 37, 38; “Fourth of July,” 38. Kroll, Leon, as figure painter, “In the Country,” 177. Kruell, Gustav, as wood engraver, 251, 255; “Princes in the Tower,” 251. La Fares, John, art, 68, 71, 72; “Paradise Valley,” 71; “Wild Roses and Water Lily,” “Muse of Painting,” 72; as mural painter, 98-100; ‘Christ and Nicodemus,” “Athens,” 99; stained glass, “Resurrection Window,” *“Peacoek Window,” 117; as water-colorist, ‘“ Aituta- gata,” “Samoan Girls Dancing,” 137; Lockwood’s portrait, 150; “Island Home,” 248; as illustrator, 287, 288; “Enoch Alone,” 287. See also frontispiece. Lafayette, Marquis de, Peale’s portrait, 24; Bartlett’s statue, 206. Landscape, Hudson River School, 41, 42; Heroic School, 47; La Farge, 71; great school, 73-76; engraving, 234, 235, 240; lithograph, 243; etching, 256-261. See also Luminism. Landscape Book, 234. Lankes, Julius J., as wood engraver, “Vermont Farm- house,” 276. Lathrop, William L., as landscapist, “Tow-Path,” 87. Lawrence, Sir Thomas, “‘ Robert Gilmor,” 239. Lawson, Ernest, as Luminist, “Spring Night,” “ Vanish- ing Mist,” 134. Lawton, Henry W., ©’Connor’s statue, 215. Layton Art Gallery, Milwaukee, material from, 55. Leslie, John, as genre painter, 37. Lester, C. Edwards, Artists of America, 232. Leutze, Emanuel, as historical painter, 30, 35; “‘ Washing- ton crossing the Delaware,” 35; ‘‘Why don’t he come?” 280. Lever, Hayley, as Luminist, “Dawn,” 135. Lewis, Arthur A., as etcher, “Old Woman Reading,”’ 268. Lexington and Concord, battle, French’s ““Minute Man,” 195; Doolittle’s engraving, 228. Library Company of Philadelphia, material from, 228. Library of Congress, material from, 101, 102, 106, 114, 116, 191, 311, 320, 321, 325, 331, 335, 337-339, 341. Lie, Jonas, as Luminist, “ Western Slope,” 136. Life, and social caricature, 307, 315, 316. Lincoln, Abraham, Ball’s group, 185; Saint-Gaudens, statue, 194; Marshall’s engraving, 232; Cole’s engrav- ing, 291; caricature, 311. ; Lindsay, A., engraving, 293. Line engraving, process, 224. Linton, William J., Masters of Wood Engraving, 244; as wood engraver, 274, 290; “Waterfall,” 274. Lithography, character, 242; examples, 242-244; process, 254; painter-, examples, 254, 269-273. Lockwood, Wilton, as painter of flowers, “Peonies,” 119; as portraitist, ““John La Farge,” 150. Loeffler, Charles M., as musician, A Pagan Poem, 338. Longacre, James B., as engraver, “Franklin,” 229; “Daniel Boone,” 231. Longfellow, Henry W., Poems, illustration, 240. Longstreet, Augustus B., Georgia Scenes, 284, 350 INDEX Louvre, Paris, material from, 70. Low, Will H., as mural painter, ‘‘ Music of the Sea,” 102. Lukeman, Augustus, as sculptor, “Francis Asbury,” 213. Luks, George B., as portraitist, 139, 150-152; “Old Duchess,” 150; “Blue Devils,” 151; “Sulking Boy,” 152; as illustrator, “Polo,” 304. Luminism, Whistler and La Farge, 68; principles, 122, 123, 155; in America, 123, 124, 187; in figure and portrait painting, 138, 139. Luxembourg Gallery, Paris, material from, 83, 92, 194. Lyford, Ralph, Castle Agrazant, 328. Lyon, James, as musician, Hymn to Friendship, “Song from Urania,” 321. McCarran, Edward, as sculptor, “Eugene Field Me- morial,”’ 219. MacDowell, Edward A., as musician, Indian Suite, por- trait, 337. McEntee, Jervis, as landscapist, “Autumn,” 45. MacKnight, Dodge, as water-colorist, ““Below Zero,” 133. MacLaughlin, Donald S., as etcher, “Saint Sulpice,” 265. Macmonnies, Frederick W., as sculptor, 204, 205; “Bacchante,” 204; ‘Nathan Hale,” 205. MacNeil, Hermon A., as sculptor, 190, 207; “Sun-Vow,” 207. Macomb, Alexander, Weinmann’s statue, 211. Madison, James, Durand’s portrait, 26. Malbone, Edward G., as portraitist, “Self-Portrait,” 23. Manet, Edouard, as figure painter, 138. Manifest Destiny, and art, 49. : Manship, Paul, as sculptor, “Centaur and Nymph,” 221. Maretzek, Max, and opera, 329. Marin, John, as Modernist, “River Effect,” 164; as etcher, 265, 267; ‘“‘Moul’ St. Maurice,” 267. Marine painting, 61, 75, 83-85, 90, 127, 128, 135. Marion, Francis, and the British officer, 239. Marsh, Henry, as wood engraver, 250, 288; Fan,” 250. Marshall, William E., as engraver, “Abraham Lincoln,” 932; Martin, Homer D., as landscapist, 73, 74, 80-82, 124; “Lake Sanford,” 80; “ Andante,” “Harp of the Winds,” 81; “‘ Westchester Hills,” 82; “Smoky Mountains,” 235. Martiny, Philip, as sculptor, “Soldiers and Sailors Monument,” 199. Mason, Lowell, as musician, portrait, 321. Mason, William, as musician, 326. Massachusetts Historical Society, material from, 8. Masses, and caricature, 315, 317. Mather, Cotton, Pelham’s portrait and engraving, 4, 226. Mather, Increase, career, 225; Emmes’ engraving, 225; Blessed Hope, 225. Mather, Richard, Foster’s woodcut, 225. Matteson, Tompkins H., as genre painter, 37. Matzka, George, as musician, 326. Maverick, Peter R., as engraver, ‘“‘ Bookplate,’’ 227. Melchers, Julius G., as figure painter, “Fencing Master,” 143. Mendelssohn Quintet, 326. Metcalf, Willard L., as Luminist, “‘ Unfolding Buds,” 127. Metropolitan Museum of Art, New York, material from, 8, 12, 13, 23, 24, 35, 45, 46, 54, 56, 60, 63, 67, 72, 76, 77, 79-83, 85, 86, 89, 90, 94, 96, 97, 119, 132, 141, 142, 146, 150, 158-60, 163, 172, 184, 192, 197, 204, 207, 208, 218, 221, 226, 227, 229, 232, 240, 242, 256-265, 268-270, 272-274, 276. “ As / i X Re, ty Mey as Me pe aeons he | +