Copyright © 2021 by Wendy Waszut-Barrett
A. J. Rupert (1853-1934) worked with Thomas G. Moses at Sosman & Landis from 1892-1893. He was part of the firm’s crew known as the “West Side Force.” In 1892, Moses and his scenic art staff moved into the old Waverly Theatre on the West Side of Chicago. They primarily focused on subcontracted projects. Of the space, Moses wrote “I had A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys. It was awfully hard to keep the building warm. It was so big we had to use stoves.” Some of their projects a production of “Ben Hur” and settings for William Haworth’s “A Flag of Truce.”
By the early 1890s, Rupert had become extremely well known as a landscape painter, having trained in Europe and worked extensively as an art instructor at the Art Institute of Chicago. Many art history books list A. J. Rupert’s birthname as Arthur J. Rupert, frequently sharing the same snippets of information in regard to birthplace, international study and art exhibits. Art experts explain that there is very little information available about the artist when lost paintings credited to A. J. Rupert come to light. Part of the problem is that they have the wrong name; A. J.’s first name was Adam, not Arthur.
Tracking down the correct information to tell A. J.’s story has involved slowly combing through city directories to look cross reference names, occupations and addresses. A. J. is listed as Adam, Adam J., Adam Jr., A. T., and A. G. The handwritten “J” seems to have caused a problem when submitting information to various city directories in the late nineteenth-century; the letter was frequently misinterpreted. What complicates matters even more is that his A. J.’s father, John Adam Rupert, also went by Adam, and is listed as such in city directories and other historic records. For the purpose of this post, I will use the name A. J. for the son and John “Adam” for the father.
The Rupert family remained together; they traveled together, lived together and worked together. They moved from New York to North Dakota, with stops in Michigan and Illinois on their journey west. A. J. was fortunate to have come of age in Chicago where he was able to pursue a career in art. He was in the right place at the right time to start out as a fresco painter for P. M. Almini. A. J. began his painting career at the famous decorative art firm around the same time that Thomas G. Moses began working there, 1873-1874. By 1874, A. J. was listed in the Chicago directory as an artist. By this time, the Rupert family had resided in Chicago for seven years, having moved west after living in Michigan.
Adam John Rupert was born on August 19, 1853, in Fort Plain, Montgomery, New York. He was the son of German immigrants, John “Adam” and Barbara Rupert. John was born in Bavaria in 1827, emigrated to the United States with his family before 1850, and ended his journey in Fargo, North Dakota at the age of seventy. A. J.’s mother, Barbara, is a little harder to track down. Barbara Holtzapel was born in Bavaria in 1826 and passed away in Fargo, North Dakota, in 1904.That is all I know about the matriarch of the Rupert family.
In 1866 John “Adam” worked as a shoemaker in New York, a trade that he would pass along to his son Christian Henry Rupert. In Fargo, Christian would establish C.H. Rupert & Co. Boot Store by 1880. He was also Fargo’s City Auditor for quite a few years. John “Adam” changed professions when his family moved to Chicago in 1867. He left the shoe trade to work for the railroad, working as a foreman, engineer and finally master mechanic. He continued to work in this capacity even after moving to Fargo.
The birth of A. J.’s siblings tell the tale of his family’s travels across the country from 1853 to 1880. I am constantly amazed at how frequently people packed up their families and moved to a new town or territory. It really is staggering when considering the logistics of young children, transportation, work and basic necessities. The two oldest Rupert children, Christian (1855-1913) and A.J. (1853-1934), were born in New York. Alonzo O. (1858-1920) was born in Adrian, Michigan. Helen (1860-1944) and John Henry (1864-1929) were born in Indiana. The youngest child, John Adam Jr. (1863-1929), was born in Michigan, and then the family returned to New York where they remained until 1866.
The Ruperts left New York for Chicago and by 1867, John “Adam” was listed in the Chicago Directory as foreman at the M. C. R. R. roundhouse. By 1868, he was still with the railroad, but now working as a foreman in the M.S. & N.I.R.R. shop. In 1874 John “Adam” was listed as an engineer. As each of his sons came of age and secured employment, they were listed alongside their father in the city directory, always living in the same home together. First was Christian in 1873 (clerk), and then A. J. (artist) and Alonzo (messenger) by 1874. A. J. was the first to leave the family home, but would always return. His success in 1875 likely prompted his desire to study abroad. On August 8, 1875, the “Chicago Tribune” announced, “A. J. Rupert, a young artist and student at the Academy of Design, has several pictures in progress for the Exposition.” By September 8, 1875, the “Chicago Tribune” listed Rupert as one of the Chicago artists whose work was featured in the Western Wing at the Inter-State Exposition (page 1). By 1876, Rupert was studying in Munich.
From 1867 to 1876, the Rupert family lived at 755 Indiana Ave. in Chicago. It was at this time that A. J. left to attend the Royal Academy in Munich. His 1876 passport application provided a physical description of Rupert at the 22 yrs. old: 5’-11” with dark hair, dark eyes and a fair complexion. During his absence his family moved into a new home at 29 Cottage Grove. In 1877 John “Adam” was working as an engineer, Alonzo as a bookkeeper, and Christian H. as a clerk. The Ruperts remained at their home on Cottage Grove until the end of 1879. When A. J. returned from his studied abroad, the Rupert family moved north. The family resettled in Fargo, North Dakota, with A. J. frequently visiting home to sketch the rolling prairie. However, his artistic career began to take off, so he remained in Chicago and opened a studio.
It was in 1880 that Thomas G. Moses began to study with Rupert, writing, “ I was determined to make something of myself. I found an old friend, A. J. Rupert, with whom I had worked at Almini’s. He was now an instructor at the Art Institute, in the life class. He studied abroad and was very clever.” Moses joined Rupert’s art class, two nights a week for a very small tuition. Moses noted that it gave him enough courage to attempt some figure painting on drop curtains, commenting that many of the artists “were very clever and gave me a lot of valuable pointers, so I improved rapidly.” Moses continued his studies and in 1883 recorded that he “painted from life at Rupert’s Studio every Sunday.”
On October 2, 1881, the “Chicago Tribune” cited the location of Rupert;s studio at No. 34 Monroe Street. The article reported, “Mr. A. J. Rupert, who was at one time a pupil of the old Academy of Design, but for five years past a student abroad, principally at Munich, where he acquired the bold, broad handling now prevalent there, has a studio at No. 34 Monroe street, which is filled with many interesting sketches, studies, and bric-a-brac, most of them reminiscences of his foreign travel. A full-length portrait of his brother playing upon his violin is especially rich in tone, and there is much infusion of sentiment into the picture as the limitations of the subject would permit. All of Mr. Rupert’s work shows a good command of the brush, and whatever fault there may be in drawing or selection of subject, there is no hesitation or weakness in execution. Although a figure painter, he has some landscapes which show a close inspection of nature. A Dakota prairie upon which stands a solitary farm-house gives an excellent idea of the vastness and loneliness of that distant region. Two examples of his work are shown at the Exposition. No. 540, ‘Ruins-Pallas Temple, Roma,’ has been described at length, and No 741, ‘Landscape near Munich,’ is broadly handled in low key. Mr. Rupert is at present engaged upon the portraits of Mr. and Mrs. Brust, of Prairies avenue, and will, in addition to his studio work, conduct the evening life classes at the Academy of Fine Arts” (page 6).
By 1882 Rupert was hired to teach for the Academy of Fine Arts in Chicago every afternoon during winter term. On October 15, 1882, the “Chicago Tribune” commented on the Exposition committee’s snub of Rupert’s painting, “The Beggars of Venice.” The article reported, “The ‘Beggars of Venice,’ by A. J. Rupert has lately attracted many visitors to his studio in the Lakeside Building, extra interest being excited by the fact that the picture, which was painted for the Exposition, was rejected by the Art Committee of that institution as unworthy of a place in the collection. That any picture which A. J. Rupert could possibly paint would be deemed unworthy of a place in a collection which contains such wretched daubs as Ward’s ‘Tobacco Filed’ Douglas Volk’s Miln as Hamlet and Burleigh as Othello, and numerous others that need not here be specified, would on general principles he astonishing and explicable except on the hypothesis of jealously and ill-will; but that so really excellent a work as the ‘Beggars of Venice’ should be rejected by the Art Committee is difficult to account for at all An artist who has been honored by the hanging of a picture this year in the Paris Salon said of Mr. Rupert’s canvas, ‘It would be unquestionably and unhesitantly be accepted and hung in the Salon.’ But it would not do for the Chicago Exposition! The truth is the picture is exceptionally strong in many points – notably so in the bold, rich treatment of the massive marble pillars and in the handling of the architecture in general. The figure of the aged mendicant soliciting alms at the entrance of the gloomy and old palace is well drawn, and the artist has finely expressed the idea of contrast between the heavy grandeur of the stately edifice and the petty human squalor of the wretches who lie in wait for the charity of the occasional visitors. Mr. Rupert’s fame as an artist can far more securely rest upon this picture’s merits than can the fame of the Art Committee as competent and fair-minded persons rest upon their rejection of it” (page 20).
Rupert enjoyed quite a following, both among fellow artists and art enthusiasts. Moses greatly revered Rupert’s work, even naming his second child after his close friend. Moses bought a painting from Rupert in 1885 entitled “My Studio,” it measured 34” x 54”. That same year, Rupert exhibited artworks at the inaugural reception and exhibition for the Western Art Association (“Inter Ocean,” 23 Jan 1885, page 5).The group held their show at the Chicago Art Institute on the corner of Michigan Ave and Van Buren Street where a lot of collectors participated in the event. For this show, Rupert had exhibited three pieces “The Violinist,” “The Tramp” and “Discouraged Vestal” (“Inter Ocean” on Jan. 23, 1885, page 5). In 1887 “Adam J. Rupert” was listed in the Chicago Directory as an instructor at 200 Michigan av. He became increasingly invested in the establishment and exhibits of various art organizations. In 1888 he participated in the Chicago Art League Exhibition at Art Institute of Chicago.
By 1889 Rupert opened a studio at No. 59 Honore Block in Chicago and soon exhibited at the Chicago Society of Artists. On Nov. 10, 1889, the “Inter Ocean” reported, “A. J. Rupert, who at one time was instructor in the Art Institute, but who has of late been studying in Europe, has returned to Chicago and opened a studio at No. 59 Honore Block” (page 12). In 1891 Rupert’s artwork was featured next to those of Walter Burridge, Herbert E, Butler, L.S.G. Parker, Frederick Freer, and Joseph Jefferson (the actor). He remained extremely active at the Institute, as well as joining the Palette & Chisel Club. Other exhibitions including Rupert’s works at the Art Institute Chicago were in 1898, 1900, 1906, 1915, 1917 and 1919.
Rupert was also listed as one of the founders of the Cosmopolitan Art Club in March 1892. Many of its members came from the Chicago Society of Artists. Founders included Franck C. Peyraud, Hardesty Maratta, Frederick W. Freer, Edgar S. Cameron, and others. Its purpose was to set a high standard for fine arts in the city of Chicago. Newspaper article announced, “This club, which is informal in its organization, is not intended to antagonize the interests of the older Chicago Society of Artists, but to procure the advantages of a smaller number of members having less diverse interests.” Their first annual exhibition was held in May 1892 at the Stevens’ Galleries. By 1896, the Cosmopolitan Art Club held their fifth annual exposition with A. J. Rupert, Hardesty Maratta, Frank Peyraud, Harry Wallace Methven and Charles Francis Brow as the painting committee. In
By the mid-1890s, Rupert began to travel throughout the United States, frequently stopping in Fargo. His name occasionally popped up the Fargo Directory, each time living with family there. By 1899, all of the Rupert family homes in Fargo were all located on 8th Ave. S. They remained a close-knit family. A. J. was also with his family at this time, but not for long.
In 1900 the Federal Census listed A. J. Rupert (artist) living in LaCrosse, Wisconsin. Frank Peyraud was also living at the same boarding house on 6th Street, so we know it was the same A. J. Rupert. The two sporadically worked together from 1900-1904. By 1904, the two were painting Rupert a World Fair attraction. The project was for Henry Roltair’s “Creation,” an amusement at the St. Louis Exposition. Rupert and George Schreiber were the assistants to Frank Peyraud for this project. The attraction was described in the “Chicago Sunday Tribune” on May 29, 1904 (page 20). The article reported, “A great dome covers transformation scenes representing the creation of the world with dioramas showing what man has created in the world.” The took two hours and consisted of a boat trip travelled around the big blue dome, illustrating the works of God during the six days of creation. Other side trips in boats included the scenic vistas of the Grand Canyon, Yosemite, and Alaska that allowed visitors to travel back into prehistoric time to primitive man. Another boat ride entered a labyrinth that depicted ancient countries and cities, including Egypt, Assyria, Greece, Rome, China, Japan, Spain, France, and England. The cost for this adventure was $0.50 for adults and $0.25 for children.
The next year, A. J. was listed in the 1905 Fargo Directory, again living with family; this time he was living with his brother Alonzo at 312 8th S. Street. And then he starts to disappear from print. His lengthy stays in Fargo were likely associated with the passing of his father in 1897 and mother in 1904. But there are so many other factors that could have been at play. It is so hard to know why this artist who was so revered by Chicago Society simply started to fade away from the public eye, despite his continued exhibitions. I have to wonder if he blundered, or made a social misstep.
By the early twentieth-century it becomes increasingly difficult to track down Rupert’s whereabouts and he only occasionally appears in a city directory. Maybe his time in the public eye simply over. In 1911, A. J. was listed as an artist and living at 55 W. Ontario in Chicago. I have yet to find a wife or any children; Rupert seems to have remained single. The 1930 Census lists A. J Rupert as a lodger on Dearborn Street in Chicago, living alongside performers and salesman. He is still working as an artist, but no longer active. He passed away on Nov. 1, 1934 in Minneapolis, Minnesota, and is buried at Riverside Cemetery in Fargo, North Dakota.
Gravestone for Rupert Family at Riverside Cemetery in Fargo, North Dakota.
Gravestone for A. J. Rupert at Family Riverside Cemetery in Fargo, North Dakota.
To be continued…
