Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 122

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360

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The Art Association has just completed its forty- seventh exhibition, which was attended only by hun- dreds, where it used to be attended by thousands. This should not be the case, nor would it be, if the in- stitution had been properly managed. The fact is, all art-associations should be managed by artists

1142

HISTORY OF KINGS COUNTY.

only. There should be no opposing clements in the management of the institution in the fact of two classes of men, the one having the right and the knowl- edge to manage, while the other has only the means to assist in the upholding of the institution. Each class has its separate functions to perform, and each alike honorable. All should be in harmony.

To say that the lay members of the Brooklyn Art Association have not been of great benefit to art-prog- ress in the city of Brooklyn, or that they have not done a great work in giving the city of Brooklyn the fine building for art-purposes, would be simple injustice and ingratitude. The great trouble lies in the fact that wealth felt itself of more importance than art, and that artists felt themselves of more importance than wealth. We freely maintain that there have been painted more great pictures under the influence of poverty and toil and struggle than have been painted under the affluent aspeets of life. The man who wants to paint, will paint under any circumstances. But who will pretend to deny that the man of wealth has the power to en- courage the artist in his work, and assist art and artists to attain the highest condition of merit ?

It would not be just to close this sketeh of the Brooklyn Art Association without alluding to Mr. JOHN M. FALCONER. Perhaps no member of the as- sociation gave more of his valuable time, and none accomplished more for the success of the institution than Mr. Faleoner. He was constantly on some com- mittee, and whether he was or not, he invariably helped those that were. During the Sanitary Fair in 1864, Mr. Falconer got up the first exhibition of engravings that was held in the United States. The collection was a large one, and represented the best specimens of the difficult art. Henry Ward Beecher, Charles Burt, the celebrated engraver, and Professor West, of the Brook- lyn Heights Seminary, contributed largely to the col- lection of engravings. The Rev. Dr. Farley made an able report on the exhibition.

Mr. Falconer has interested himself for many years in making sketches in oil and water colors, of the noted landmarks of the Revolution that lie within Kings County and on Long Island at large. His pictures are remarkable for truthful representations. Ilis color is always good, and the details admirable. To the histo- rian, these pictures must prove of great value. Those that attracted our attention the most are the views of the old Cortelyou llouse on Gowanus Road, built in 1699; the Payne llomestead at East Hampton, L. I., exterior and interior views; the Old House in Prospeet Park, Brooklyn, that stood near the old Long Island battle-ground; and the Old Tavern in Flatbush Avenue. Mr. Falconer has produced etchings of many of these places. He is a member of the London Etchers' Club, among whom his etchings are highly valued. Mr. Falconer is a Scotchman by birth, has been in this country many years, and is a resident of Brooklyn.

Mr. Jons A. PARKER was another devoted servant

to the success of the Art Association. For many years he served on the Hangers' Committee, and, had it not been for his just and determined spirit many a fine work of art would have been hung in some dark corner or out-of-the-way plaec in the exhibition, that justly found a place on the line. It is only just and right to state that there were various other members of the Brooklyn Art Association who did mueh hard work, and assisted materially in advancing the success of this institution, and only the fact of the want of proper space prevents further detail.

On March 11th, 1872, the Brooklyn Art Associa- tion, on the occasion of the twenty-fourth reception, gave to the public an exhibition that will ever redound to its great credit. This exhibition consisted of the finest collection of works of art by American artists, in chronological order, that had ever been brought together, and more than is likely ever again to be accomplished to so complete an extent. Any lover of art who took an interest in the art-achievements of this country, and saw this exhibition, was fortunate, and should ever feel indebted to the Brooklyn Art Associa- tion. It is here proper to give the names of the most prominent of the past artists who were represented on this occasion, many of whom had long since washed their brushes for the last time, and many who were fast trudging down the slope of life that leads to where shadows fall from graves .*

* Washington Aliston, Thomas Cole, John G. Copley, Vanderiyn A. 11. Durand, Charles Elliott, F. W. Edmonds, Jared B. Flagg, James Frothingham, S. R. Gifford, H P'. Gray, G. P. A. Healey, D. Hunting- ton, S. F. 11. Morse, James lferring, W. W. Hunt, T. Hicks, C. C. Ingham, Thomas S. Cummings, Henry Inman, J. W. Jarvis, J. F Ken- sett, C. R. Lesile, E. G. Maibone, J. MeEntee, George Tunis, W. S. Mount, John Neagle, Rembrant Peale, J. F. Peale, C. W. Peale, A H. Ritchie, P. F. Rothmel, E. Savage, Gilbert Stuart, Thomas Sully, E Lisdale, Ilenjamin West, Charles W. Weir, W. Witteredge, A Whood side, George A. Baker, Bass Otis, W. H. Beard, Thomas Birch, J. F. Cropsey, and John Trumbull.

The collection of pletures representing this last-named gentleman's art-work was very complete. It represented his original and remark- abie battie pietures, "The Death of Warren at llunker Ilili," "The Death of Montgomery at Quebee," and also the Y'ale College collec tion of miniatures in ofi colors of nearly all of the generals (f the Revolution, as well as a large coffeetion of other prominent men men- nected with the history of the country, as follows :- General Nathanlel Green, 1792; Colonel Willlam Huli, 1792; Colonel Thomas Stevens, I'D1. Captain Thomas Seymour, 1792; General John Hrooke, 15!"); ilrigadler- General Rufus Putnam, 1790; Colonel Grimke, Major-General MI Min, 1783; Captain Manning, 1791; General Richard Ilutier, 1790; General 0). Il. Wlillams, 1790; General Wlillam Mouitry, 1791; Brig .- General Small wood, 1792; Major Haskell, 1791; Colonel Morgan, 1792; Mrs. Washing- ton, 1792; Mrs. Trumbull, 1793; The Young Sachem, Chief of the x Nations, 1792; T. Dalton, U. S. Senator, 1792; Theodore Sedgwick. M.C 1791; Oliver Elisworth, U. S. Senator, 1792; William Smith, M. C., I. Jacob Reed, M. C., 1783; R. Tzaud, U. S. Senator, 1791; Rufus King 1 S. Senator, 1792; Fisher Ames, M. C. 179"; The Infant, a Chlef of the Six Nations, 1792; John Langdon, U. S. Senator, 1212; John Drohn. I S. Representative, 1792; Jonathan Trumbull, Speaker of 1". S. liou= = t Representatives, 122; Jonathan Trumbull, Governor of Connecticut during the Revolution; Good Peter, a Chief of the Six Nations, I Dr. 1 .. Hopkins, of Hartford, Conn., poet and physician, 1 ; John Trumbull, author of "Me Fingal," 1791; L. Livermore, 1'. S. Senator. 1791; Arthur Lee. 1790; Judge Rutiedge, 1791; Thomas Pleknes. 1.1- Charles C. Pickney, 1701; Judge E. llenson, 1712; Major-( eral Philips Schuyler. 172; ilarriet Wadsworth, 1701; Falth Tru li. 1791; Catherine Wadsworth, 192; Julia Seymour, IT; Dar Curtis, 1792, Cornelins Schuyler, 1702; Sophla Chew, la Har- riet Chew, 173; Henry Laurens, President of Congress, 17 Jn Jay, Chief Justice IT. S., 1793; John Adams, Vice-l'realdent U. S., 1702; George Hammond, Minister from Great Britain, 17.

1143

ART HISTORY.

The Brooklyn Academy of Design .- In the preceding sketch of the Brooklyn Art Association we mentioned a meeting called by Mr. Williamson, held at his studio on January 5th, 1861, and resulting in the formation of the " Art Association." The great majority of the artists of Brooklyn became members thereof, but, after a few years, many of the artists became much dissatisfied with the management, for the reason that the lay members were usurping their rights. In December, 1866, Alonzo Chappell, F. A. Chapman, Rufus Wright, George Hall, II. Car- mienke and P. P. Ryder issued a call for a mecting to be held at the studio of Mr. Carmicnke, Dod worth's Building, to take these matters into consideration, and to form another association, to be controlled by artists only. The following artists were present :- William Hart, A. H. Ritchie, A. Chappell, H. Carmienke, Gabriel Harrison, Rufus Wright, P. P. Ryder, G. R. Hall, J. C. Platt, W. M. Brown, G. O. Annable, J. G. Brown, F. A. Chapman, W. Hepburn, S. I. Guy, A. Berger, A. Lumley, A. Fisher, C. Sherman, S. Wal- len, G. Ward, E .. T. Whitney, J. B. Whittaker, and C. H. Smith. This was the largest meeting of artists that had been held in Brooklyn. William Hart was requested to take the chair. Alonzo Chappell then stated that " the object of the meeting was to form an art-association to be entirely controlled by artists, and for the one purpose of art-improvement, by the forma- tion of an Academy of Design, with its several schools, for the improvement of the artists, and free instruc- tion of the youth of Brooklyn." Mr. Chappell's re- marks were received with warm approbation. Rufus Wright, Mr. Carmienke, and Gabriel Harrison sus- tained Mr. Chappell. Mr. Harrison hoped that if the free school of the academy were organized, it would admit the female portion of the community as well as the males. Immediate organization was proposed, and the election of the following officers took place : Wil- liam Hart, President ; Alonzo Chappell, Vice- Presi- dent ; A. H. Ritchie, Treasurer ; J. B. Whittaker, Re- cording Secretary ; Gabriel Harrison, Corresponding Secretary. Several commitees were then appointed to take into consideration the principles that should guide the academy schools, &c., &c. J. B. Whittaker, A. H. Ritchie, and Rufus Wright were appointed on the school, and Gabriel Harrison and Rufus Wright to find rooms for the academy.

On January 14th, 1867, rooms were secured in the Halsey Buildings, on Fulton street, opposite the City Hall. Thirty-three artists interested themselves, and by their efforts and donations nearly three hundred dollars were raised within a month for academy pur

poses. The schools were opened with some forty scholars-eleven young ladies being among the num- ber. J. B. Whittaker, Rufus Wright and F. A. Chap- man were appointed teachers, all capable to the high- est degree, and most industriously attended to the ad- vancement of the pupils. The average attendance for the first season was sixty-two, of which number twenty- two were ladies. All the expenses of the school were paid by the artists themselves, among whom nonc was more liberal than A. H. Ritchic.

The importance of the art-work done by the pupils and the members of the Academy of Design cannot be over-estimated, and the unselfish motives of the artists, in doing the work of teaching, stand unequaled in the history of art. Five nights in the week the schools were kept open, fom 8 to 10 o'clock, and prizes of considerable valne, for emulation among the pupils, were offered. The results of the first season's teaching gave remarkable evidences of talent and industry on the part both of the pupils and teachers.

The academy remained in the Halsey Building until the Graham Art School, at the Brooklyn Insti- tute, in Washington street, refitted their rooms, when it was proposed by said institute that they would furnish the Academy of Design with a suite of rooms, free of rent, if they would take charge of the Graham Art School teaching, free of cost. This handsome offer was cordially accepted. The rooms werc well adapted for the purpose. The Graham Art School had quite a collection of casts, to which were added those of the Academy of Design. The two combined made a respectable show for the round and antique class.

The season of 1868 opened with a crowded school. Ilere the academy established a "life-school "-the most neglected branch of study in this country. The life-school to the figure artists is of as much import- ance as is the dead body to the anatomist for the studies of his science; and this youthful academy, soon feeling the strength of a giant, projected public lectures in the large hall of the institute, the first of which was deliv- ercd by James Fairman. His subject was : "The .Es- thetics of Art." The second lecture was delivered by Nelson Macdonald, on "The Fine Arts of the Ancient Egyptians." The third lecture was by Caleb Lyons, on "Paul Delarache." Others were given, all of which cost money, but produced none. This with other mat- ters brought the academy into debt, and next fall, when abont to organize for the winter campaign, mat- ters wore a gloomy aspect. The majority of the mem- bers had already put their hands into their pockets as deep as they dared to go in justice to their families. William Hart, the president, felt the gloom of despondency, called a meeting of the Academy, and offered a resolution to adjourn sine die. This resolu- tion would have passed, had it not been for the elo- quent and earnest pleading of Gabriel Harrison, who proposed onc more assessment of the members to an amount sufficient to satisfy a few creditors, and sug-

Temple Franklin, grandson of Dr. Franklin, 1791; Judge Oakley, 1827; Henry Dwight, M. C., 1827 ; John C. Calhoun, Vice-President of U. S., 1827; Dr. Allen, 1827; Dr. B. T. Ogden, 1827; portrait of Colonel Trumbull, belonging to Mrs. D. T. Lanman ; Colonel Trumbull's two daughters, do., and a mlnlature of General George Washington, once belonging to Governor Barbour of Virginia, sold December 22d, 1863, at the Wolf sale, and now the property of Mr. J. T. Sanford.

1144

HISTORY OF KINGS COUNTY.

gested means for loosing the meshes of debt which over- hung the academy. Mr. Harrison and Mr. Balling, who had warmly seeonded his views, were appointed a committee to arrange for a concert, and a snbseription was raised by the members to meet the immediate lia- bilities of the school. Previous, however, to the eon- eert, the Academy, at its annual election, January 18th, 1869, elected the following offieers :- President, George Innis, Esq .; first vice-president, Alonzo Chappel; seeond vice-president, Lemuel Wihnarth; recording secretary, J. B. Whittaker; corresponding secretary, Gabriel Harrison; treasurer, E. D. Plympton; eoun- eil-F. A. Chapman, P. P. Ryder, W. Hepburn, H. Balling, A. Bergen; hanging committee-William Hart, Rufus Wright, and W. H. Snyder.

THE GRAHAM ACADEMY AND ART SCHOOL elasses were under the instructions of William Hart, J. B. Whittaker and Rufus Wright. The Elementary class had 103 students on the roll; average attendance, 78. Architecture, under I. T. Rhne, number of students on the roll, 20; average attendance, 16. The Academy elasses, Antique, under L. Wilmarth, number of stu- dents on the roll, 56; average attendance, 38; one half the students being young ladies. The Nude Art School had 18 students, average attendance, 15. A total of 197 pupils who were receiving free art-education- a showing that stands unequaled in the history of any other art-institution in the United States, and is not likely to be equaled again.

Mr. Harrison carried out his promise with the eon- cert, which took place at the Brooklyn Academy of Mnsie, on the 12th of February, 1869. The following ladies and gentlemen volunteered their services: Ole Bull, S. B. Mills, F. Steins, and Miss Agatha Statts, and the Brooklyn Amateur Philharmonie Society. The Rev. Henry Ward Beecher made an address, re- lating to the noble work done by the Brooklyn Aead- emy of Design, and the importance of art-culture to the moral condition of society.

The back of the stage was ocenpied by an allegorieal picture-the figures colossal-representing Music sus- taining Art, designed and painted by Gabriel Harri- son and Alonzo Chappell. In one of the proseenium boxes sat Admiral Farragut, who was received with marked attention. The result of the concert placed over nine hundred dollars in the treasury of the Acad- emy of Design.

The increase of pupils had now gone far beyond the capacity of the rooms allotted by the Institute, and abont this time a misunderstanding occurring between the directors of the institute and the officers of the academy, led to the removal of the latter institution to other quarters, which were found in the Hamilton Building, corner of Court and JJoralemon streets, where, by Gabriel Harrison's successful intercession with Mr. A. A. Low, the proprietor, they were seenred at half the usnal rent. The main room was twenty-five by

sixty feet in size, with plenty of light for day-schools; there were two other rooms, one of which answered for eouneil chambers. Admirable arrangements of gas- lights were put up for night-classes. Mr. E. D. Plympton, the treasurer, who took great interest in the Academy of Design, presented the academy with a full suite of furniture for the eonneil chamber. All things in readiness, the sehool opened on the 29th November, with 128 applicants, of which number only 110 could be received for want of room.

At the annual clection, January 29th, Mr. A. H. Ritchie was elected president, while the rest of the offi- eers stood the same as the year previous. The school gained additional glory this season by the wonderful results of its pupils. The fame of the management of the academy-schools extended to the New York Acad- emy of Design, from which a committee waited on the Brooklyn Academy to see and inquire into its workings. So well pleased was this committee that they not only adopted many of the principles of the teaching system. but asked the privilege of inviting Mr. Wilmarth, one of the teachers, to take a class in the New York Acad. emy, at a handsome salary, which was granted in justice to the gentleman, as none of the teachers were receiv- ing the least pay for the extremely hard work they did in the Brooklyn Aeademy.

The season of 1872 found the members of the academy ready and willing to work, but the want of means to carry on the sehools again looked them in the face. New assessments were proposed, but the members could no longer stand the burden; besides, the vast expenditure of brains and physical labor re- quired from the teachers for the average attendance of a hundred pupils, five nights a week, from November to May, began to weary the teachers, and especially so when considering that they received no pay. J. B. Whittaker and Rufus Wright were martyrs to art-edu- eation. It was suggested that the eity be asked to give the school $1,000 per annum, a portion of which should be paid to the three teachers. The Art Asso- ciation, hearing of this application, put in a similar ap- plieation, though at the time it had no schools, and from the faet of their having a building, and a strong influence to baek the application, obtained it. This left the academy ont in the cold. This cansed some bitterness of feeling between the two art-associations which finally led to the following understanding: that the Academy of Design should hold its art. schools in the basement of the Art Association, and that the schools known as the Free Schools of Brooklyn Acad- emy of Design, and of the Brooklyn Art Association, should be under the government and control of the academy; that the necessary accommodation, hght, heat, and attendanee of janitor, with facilities for the meetings of the academy, be also furnished by the Art Association; that of the $1,000 received from the city a portion should be divided among the three

1145

ARTIST BIOGRAPHIES.

teachers, etc .; the statuary, fixtures and property of the Academy of Design to be used in the schools.

So the Academy of Design merged into, and died an easy death in the arms of, the Art Association. But with this died the finest art-school that had ever been organized in America. Many of the best members of the Academy looked upon the transaction with muchi disfavor, and quietly withdrew from all public art-interest in Brooklyn. The schools were taken to the Art Association with less than half of the number of pupils that attended the Academy. Mr. William Hart, the ex-president of the Academy, was placed on the council of the Art Association, but this appeared useless, as the majority of the members of the acad- eny saw that eventually all control would fall into the hands of the lay members of the Art Association, and it did. Mr. Whittaker, Rufus Wright, and George O. Annable were appointed teachers. But when the ap- portionment of the thousand dollars, which was to have been paid to the teachers, after the deduction for heat, light, &c., &c., was made, the amount was so 'small that Mr. Whittaker and Mr. Wright resigned their positions. The collection of casts belonging to the Academy of Design was finally sold to the Brooklyn Adelphi Academy, where Professor F. T. Boyle organized an art-department, and for several years in- structed with great success. So perished the Brooklyn Academy of Design. If the artists themselves had been true to those professional principles which alone can make a professional organization successful, the Academy of Design would have accomplished all that could have been wished for. The layman never can understand the necessities of the professional man. The layman can give noble assistance with his means, and help to build up an institution to a success, but the professional man must be the brains and the genius of the institution, if great professional results are desired.

Other Art Clubs .- In writing this brief history of art in Brooklyn, it has been the object to mention particularly only those artists and institutions which were prominently connected with art progress in a local sense. Many painters, engravers, and sculptors have resided in Brooklyn for many years who have not con- nected themselves with art-matters in this city.

The Art Guild, The Rembrandt Club, The Art Stu- dents' League, The Palette Club, The Brooklyn Art Club, and The Scratchers' Club (of which fuller men- tion will be found in a subsequent chapter of this work), are among thie minor associations that have been of use to art-culture in Brooklyn.

The rooms of the Brooklyn Art Association have been the means of giving to Brooklyn many a fine ex- hibition of pictures. The last and most notable of all was "The Loan Exhibition" of 1884, given for the purpose of obtaining funds for the base of the Statue of Liberty for the harbor of New York. This exhibition for real merit was far in advance of the one given in the city of New York for the same purpose.

The city of Brooklyn can boast of possessing some of the finest foreign pictures in the United States. Among the owners may be mentioned the names of Messrs. Seney, Martin Healy, Charles Storrs, Judge McCue, A. A. Low, H. A. Pierrepont, Kenyon, Pro- fessor C. E. West, B. H. Smith, Litchfield, H. T. Cox, Dr. Keys, Fred Ward, J. Stearns, Alexander For- man, T. Havemeyer, Burt, the engraver, Aaron Hcaly, Gordon L. Ford, and many others. These gentlemen possess not only many foreign pictures of great merit, but a large number of the best American artists' works in painting, engraving, and statuary. We doubt whether any other city in the Union, with the exception of New York, can vic with Brooklyn in these respects.

WILLIAM HART.

W ILLIAM HART was born in Paisley, Renfrewshire, Scot- land, March 31st, 1823, His parents emigrated to the United States in 1831, and after divers wanderings, settled at Albany, New York. William, one of nine children, at ten years old, was placed in a woollen manufactory, where he remained till he was fourteen years old. Then he was apprenticed to Eaton & Gilbert, of Troy, N. Y., coach and ornamental painters. He was apt at the business, and formed a desire to become a landscape-painter, or an artist in the full sense of the word. After serving four years of his time, ill-health compelled him to seek a release from the balance of his indenture. Free from slavish hours, he had an opportunity to build up his health. But the desire to be an artist still burning within him, he fitted up a wood-shed studio on " Ida Hill," and there commenced portrait painting. Five dollars was his price for head and shoulders. His likenesses were good, and he did quite a thriving business ; securing his principal support, however, from the mill and fac-

tory hands. After having saved quite a little sum of money, he started, in 1841, for Michigan, where he traveled about for over three years as a portrait painter. This was before daguer- reotyping had found its way much beyond the large cities, and portrait-painting at low prices was somewhat in demand among the poorer classes. He was quite successful, and received as high as $25 for a head, in the way of barter, taking anything that was offered, from fruit-trees to clothing. Having accu- mulated three or four hundred dollars, he returned to Albany in 1844. Here he became acquainted with Dr. J. H. Armsby, a warm-hearted gentleman, and a great lover of art, of whom Mr. Hart remarks that, " Whatever may be known of Dr. Armsby's deeds of charity, not one-tenth of them has the public ear. That Palmer, the sculptor, Launt Thompson, George Boughton, James Hart, and many other artists can alike testify with him- self to the great encouragement they received in their art- struggle." The first commission Launt Thompson executed in

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Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 122

Author: Stiles, Henry Reed, 1832-1909. Publication date: 1884 Publisher: New York : Munsell Number of Pages: 1360

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360