The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 121

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 121

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Has the fact that the governments of England, France and Germany having patronized art made the people of those nations any worse ?- and has not the fact of their governments having fostered the art made the people happier, and the nations greater in intellectual achievements ?

May memory to thy mind present The past with gentle, piacld mien. When Hope, prophetic spirit eent, Waving her golden hair, was seen.

And may thy present honre be bright As the falr angel emiling there;

Without a cloud to dim their light- Without a thought that sets in care.

But for the future-Oh ! may they Be crown'd with bliss, health, and fame !

And may this little, humble lay Be lost 'midst songs that sound thy name.

When the representatives of the people at Washing- ton are made to see something more than "river and harbor" improvements, and are sufficiently developed to estimate the difference of importance between the work of a carpenter and of an artist, they will then discover that there is something in art that is worth the care of the government, and that such care cannot in the least impair the dignity of the government, or jeopardize " democratic-republican institutions." Let our government make an occasional appropriation from its overflowing coffers for the encouragement of art. Let awards be offered for national historical pictures. The appropriation of one hundred thousand dollars would place upon the walls of the Capitol's Rotunda at least four pictures worthy of art-fame.

In 1850, the few artists that resided in Brooklyn felt that something should be done by organization to uphold and advance a taste for art in the rapidly grow- ing city. Among the Brooklyn artists of those days stood prominently Mr. THOMAS THOMPSON, the marine painter, and at that period among the best in the country. Mr. Thompson was born in London, Eng- land, March 25, 1776. He came to the United States in 1817. For several years he resided in Baltimore, and had his studio on Lexington street. In 1830, he came to New York City, was highly esteemed by his brother artists, and was for many years a member of the New York Academy of Design. His marine pic- tures were frequently on exhibition at the New York, Philadelphia and Boston Academies. In 1840, he moved to Brooklyn, where he remained until his death, November 15, 1852. In 1818, while a resident of Baltimore, he was commissioned by a gentleman of that city to paint a view of New York Harbor. Among his later works, the writer has seen two oblong pictures representing the Battery, and taking in an extended view of Governor's Island and the bay, crowded with all kinds of ships and water-craft, as was the case before the introduction of so much steam navigation. These pictures are valuable both as to the condition of things at that time and as works of art.

At the. time Mr. Thompson was resident of Brook- lyn, a Mr. HASKINS was the teacher of drawing and painting in the Graham Art School, in the Brooklyn Institute. This gentleman, feeling that something must be done to advance art taste, and to find a mart for the sale of resident artists' works, called on Mr. Thompson and suggested the formation of an Art Union in Brooklyn, on the plan of the one in New York City-the distribution of pictures by lottery. Mr. Thompson joined hands with this gentleman, and the first exhibition of the

Brooklyn Art Union was given in 1851 at 283 Fulton street, in the " Whitehouse Building," now Loeser's well-known dry goods store. The exhibition room was of good proportions and had a sky-light well adapted to the purpose. The first drawing of the

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HISTORY OF KINGS COUNTY.

prizes took place at the Brooklyn Institute, Washing" ton street, and Walt. Whitman, then the editor of a small paper called the Brooklyn Freeman, delivered the address on the occasion of the first distribution. But the State authorities, looking upon this system for the encouragement of art as nothing more than a mode of gambling, enacted a law forbidding it, and nothing more was heard of the Art Union.

The Graham Art School .- This was the first art-school Brooklyn had. It took its name from Augustus Graham, an English gentleman, who left an amount of money to be used by the Brooklyn Institute for art-school purposes. The Mr. Haskins above- mentioned was one of its first teachers. This school has done a splendid work for art-progress in Brooklyn, and too much respect cannot be shown to the memory of Mr. Graham, who so nobly remembered the cause of art, which is so seldom appreciated by men of wealth in their dying bequests to educational institu- tions of this class.

Quite a large number of prominent artists have graduated from the Graham Art School. It has since the time of its organization given free art-education to over one thousand pupils, males and females, many of whom had not the means otherwise to pursue the pro- fession of their choice. The reader will find as he follows this sketch through to the end, that a fuller history of the Graham Art School will be given in connection with other art events in Brooklyn.

The Sketch Club .- The next important move in art-matters of Brooklyn was the formation of "The Sketch Club," which took place in 1857. Its first meeting was held in the Dodworth Building, 137 Mon- tague street. The meeting was held in Mr. Chappel's studio. Mr. F. A. Chapman was elected president. Among the members we find the names of the fol- lowing artists: S. I. Guy, S. Coleman, Alonso Chap- pell, J. G. Brown, John M. Falconer, John William- son, James Dick, John A. Parker, George Innis, J. B. Whittaker, Rufus Wright, and Mr. Oertel. The objects of this club were of a two-fold nature: for social purposes and original compositions. The re- sults were excellent both in oil and water colors.

It served also to fraternize the artists, and called the attention of the public by their exhibitions to the fact that Brooklyn had an art-circle, in which were some of the most promising artists in the country. The ex- hibitions of this club were held in the artists' studios, Dodworth Building.

Brooklyn Art Association .- In 1859, the artists of New York City started what they termed art- receptions, which was nothing more than a small col- lection of pictures hung upon the walls of the Acad- emy of Design, and invitations sent out to people of wealth to inspect the same. The exhibitions took place in the evening. The artists were present. In-

troductions took place, and the artists sold their pic- tures. In a commercial point of view it was a success. This led Mr. John Williamson to call a meeting in his studio, Dodworth Building, to organize a similar social club, with the additional feature of admitting lay members, believing that this would be the means of interesting a larger outside interest in art-matters and occasion a more ready sale for the artists' produc- tions. The sale was exceedingly limited at that time in Brooklyn.

The first meeting was held on January 5th, 1861. The following artists were present: F. A. Chapman, J. B. Brown, S. I. Guy, John M. Falconer, J. A. Parker, E. J. Whitney, P. P. Rider, W. Hepburn, A. Berger, Mr. Oertel, Mr. Lundy, Mr. Patton, R. Gignoux, and Mr. John J. Ryan, of the New York Herald. Mr. F. A. Chapman was called to the chair. The meeting resulted in an organization, and the following officers were elected: President, Mr. R. Gignoux; Vice-Pres., J. A. Oertel; Treas., F. A. Chapman; Secretary, John Williamson.

"The Brooklyn Art Association."-This organization had a distinctive feature of admitting lay members to take part in the management of the association. Among the first lay members elected were Mr. E. S. Mills, Mr. Massey, and Mr. John J. Ryan. The last-named gentleman interested himself with the directors of the Brooklyn Academy of Music to let the Art Association have their first reception in the Assembly Room of the Academy, free of rent.

The association issued a circular in October, 1861, asking for members at five dollars a year, and promising three receptions during the term. The membership was limited to two hundred. This number was not filled up at first, but after the first reception, which took place in the Assembly Rooms, Academy of Music, on Monday evening, February 18th, 1861, which went off in magnificent style, assisted as it was with the display of floral decorations, music, and full dress, the rush for membership was so great that the association concluded to raise the fee to ten dollars.

The exhibition was thrown open to the public with ten cents admission. This lasted for two days, but was not a success, as the amount taken in was less than sixty dollars. After the second reception, the exhibition was open free for one week, with a charge of twenty-five cents for catalogues. This was announced through the press, and thousands thronged to see the pictures, and the receipts amounted to very nearly eighty dollars a day for catalogues. This was the first catalogue of the kind ever issued in Brooklyn.

The Art Association was now fully launched upon public favor. The membership increased to such an extent that the association felt warranted in extending the expenses and grandeur of their receptions, and, on the occasion of the next one, the floor was placed over the parquette of the auditorium, which was elegantly

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ART HISTORY.

decorated for the occasion with rare flowers, trees and shrubs, the whole under the especial care of John W. Degrauw, president of the Long Island Horticultural Society. The pictures were hung in the assembly room up stairs, while the members and invited guests promenaded the auditorium to the strains of music. It made a scene of beauty and excitement never before witnessed at an exhibition of pictures. It now became the fashionable thing to be a member of the art-recep- tions, and for the citizens to crowd to see the pictures at the free exhibitions.

How much good this display of ornament has done the cause of art in Brooklyn, and how much benefit it has been to the pockets of the individual artists, the artists themselves are the best able to tell after the experiment of twenty-three years. However, the Art Association went on with great success. Several active lay members took great interest in the association, and conceived that there should be a building put up in Brooklyn devoted to art purposes, and the association resolved to erect the Art Association Building that now stands adjoining the west end of the Academy of Music. Mr. Edward G. Lowber in- terested himself so deeply in the erection of this building that he was the means of obtaining the largest portion, by subscriptions, of the eighty thousand dollars which the building cost.

During the Sanitary Fair in 1864, the Art Associ- ation rendered important services to the cause of the Union by giving an exhibition of pictures. The admission fee was twenty-five cents. They also gave a grand reception, which took place on February 17th, 1864. By these two interesting events they added largely to the funds of the Sanitary Commission up to about 1864. All of the Brooklyn artists, and many of the New York artists, contributed liberally to the ex- hibitions in pictures and gold frames, but many of them finding that they only occasionally sold a picture, and other dissatisfaction occurring from too much laic influence in the management, left the association. In fact, the artists themselves became wholly the secondary consideration, and the control of the in- stitution went entirely out of their hands. Among the artists who contributed the most largely to such a separation was Mr. John Williamson himself, who became unpopular with his brother artists of Brooklyn. He at last resigned from the association and removed to New York.

Besides, the directors of the Art Association were so much engrossed with the idea of a building for the as- sociation, that they lost sight of the interest they should have taken in the artists' welfare by the sale of their pictures, which was the very purpose of the existence of the Art Association, for, without the pictures, the in- stitution would have been without a foundation. Too little interest, also, was taken in the formation of a first-rate art school; for although they appropriated a

basement floor for a school, yet, for the want of proper light, it could be used only at night, and with a scanty collection of casts for the students to work from. More will be said on the subject of the Art Association School in the matter relating to the Brooklyn Academy of Design.

After Mr. Gignoux resigned his position as president, Mr. E. S. Mills was elected to the position. Mr. R. W. Hubbard succeeded Mr. Mills.

At last, the opportunity offering the Art Association for a better condition of its art-school, by the fact that the Academy of Design could no longer maintain its schools, a proposition was made on the part of the Art Association to the Academy to take their school-rooms and teach there free of rent, and that out of the one thousand dollars which the city donated to the Art Association for art instruction, after the expenses of light, heat and cleaning, were deducted, the teachers should apportion the residue. To this effect, papers were signed and sealed, and J. B. Whitaker, Rufus Wright and G. O. Annable were appointed as instruc- tors over the several departments of the school. The school went along finely under their able instruction, and the classes became full to overflowing. But when the time came to pay the teachers, out of the one thousand dollars given for the support of the Art School, there was so little left for the teachers, after deducting for light and cleaning, that Mr. Whittaker and Rufus Wright resigned their positions, and others took their places, consisting of George O. Annable, William H. Baker and Miss Georgia Douglas, with Mr. Annable holding the position of principal teacher, until within a year or more of the present period. One of the squeamish features of the directors of the Brook- lyn Art Association was, their forbiddance of a " life school," or drawing from the nude figure. No art- institution with such cramped ideas can ever be much use to real art-progress. Those who seek to manage art on such principles show their total igno- rance of the highest things in art. They do not see that the painters and sculptors of ancient and modern times produced their great works of art from their knowledge of the human anatomy, and when the man becomes ashamed of the naked figure for art or scien- tific purposes, he should go further, to reach a plansible climax, by being ashamed of the God that made him. There is no language strong enough to disapprove of such affected notions, and, if real, their ignorance is only equaled by the bigots who put to death women on the superstition that they were witches, on account of cer- tain natural marks upon their breasts.

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

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HISTORY OF KINGS COUNTY.

only. There should be no opposing elements 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 aspects 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 sketch of the Brooklyn Art Association without alluding to Mr. JOIN 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. Falconer. 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. His 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 House on Gowanus Road, built in 1699; the Payne Homestead at East Hampton, L. I., exterior and interior views; the Old House in Prospect 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. JOHN 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 mauy a fine work of art would have been hung in some dark corner or out-of-the-way place 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 much 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 Allston, Thomas Cole, John G. Copley, Vanderlyn, A. B. 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. B. Morse, James Herring, W. W. Hunt, T. Hicks, C. C. Ingham, Thomaa S. Cummings, Henry Inman, J. W. Jarvis, J. F. Ken- sett, C. R. Leslle, E. G. Malbone, J. McEntee, George Tunis, W. S. Mount, John Neagle, Rembrant Peale, J. F. Pesle, C. W. Peale, A. H. Ritchie, P. F. Rothmel, E. Savage, Gilbert Stuart, Thomas Sully, E. Lisdale, Benjamin West, Charles W. Weir, W. WItteredge, A. Wood side, George A. Baker, Bass Otis, W. H. Beard, Thomas Birch, J. F. Cropsey, and John Trumbull.

The collection of pictures representing this last-named gentlemen's art-work was very complete. It represented his original and remark- able battle pictures, "The Death of Warren at Bunker Hill," "The Death of Montgomery at Quebec," and also the Yale College coilec- tion of minlatures in oil colors of nearly ali of the generals of the Revolution, as well as a large collection of other prominent men con- nected with the history of the country, as follows :- General Nethanlel Green, 1792; Colonel Willlam Hull, 1792; Colonel Thomas Stevens, 1791, Captain Thomas Seymour, 1792; General John Brooke, 1790; Brigadier- General Rufus Putnam, 1790; Colonel Grimke, Major-General Mifilln, 1783; Captain Manning, 1791; General Richard Butlar, 1790; General O. H. Williams, 1790; General William Moultry, 1791; Brig .- General Smsil- wood, 1792; Major Haskell, 1791; Colonel Morgan, 1792; Mrs. Washing- ton, 1792; Mrs. Trumbull, 1793; The Young Sachem, Chief of the Six Nations, 1792; T. Dalton, U. S. Senator. 1792; Theodore Sedgwick, M. C., 1791; Ollver Ellsworth, U. S. Senator, 1792; William Smith, M. C., 1792; Jacob Reed, M. C., 1783; R. Tzaud, U. S. Senator, 1791; Rufus King, U. S. Senator, 1792; Flaher Amee, M. C. 1792; The Infant, a Chlef of the Six Nations, 1792; John Langdon, U. S. Senator, 1792; John Brohn, U. S. Representative, 1792; Jonathan Trumbull, Spesker of U. S. House of Representatives, 1792; Jonathan Trumbuil, Governor of Connecticut during the Revolution; Good Peter, a Chief of the Six Nstlons, 1792; Dr. L. Hopkins, of Hartford, Conn., poet and phyaiolan, 1793; John Trumbull, author of "MoFingal," 1794; L. Livermore, U. S. Senator, 1791; Arthur Lee, 1790; Judge Rutledge, 1791; Thomas Pickney, 1791; Charles C. Plckney, 1791; Judge E. Benson, 1792; Major-Genersi Philips Schuyler. 1792; Harriet Wadsworth, 1791; Faith Trumbuli, 1791; Catherine Wadsworth, 1792; Julla Seymour, 1792; Elesnor Curtis, 1792, Cornellus Schuyler, 1792; Sophia Chew, 1798; Har- riet Chew, 1793; Henry Laurens, President of Congress, 1591; John Jay, Chief Justloe U. S., 1793; John Adams, Vice-President U. S., 1792; George Hammond, Minister from Great Britain, 1792;

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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, H. Car- mienke and P. P. Ryder issued a call for a meeting to be held at the studio of Mr. Carmienke, Dodworth'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

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 121

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345