Drapery painting for the theater has a long tradition dating back centuries. Many of the earliest examples depict the same techniques practiced by early-twentieth century artists. It is part of a painting tradition that creates a composition to be viewed from a distance. The three-color painting techniques described in the past two installments to depict drapery for the stage were not only used in eighteenth century painted curtains and scenery for court theaters, but also in ceiling frescoes. Murals placed high above used the same techniques that early-twentieth century scenic artists also would produce for the stage. There remained the separation of color and value that allowed the eye to complete the illusion, making these painted compositions extremely successful when viewed from a distance.
The similarities were not coincidental as many scenic artists found early work and training in fresco studios. As I began compiling a database on North American scenic artists this past fall, I repeatedly encountered nineteenth century scenic artists who began their careers at fresco studios. I had started explored the connection between theatre decorators and scenic artists while touring Europe last year; large-scale paintings intended to be viewed from a distance followed many of the same rules that scenic artists used in terms of value and technique. One decorating studio that provided a start for many nineteenth century scenic artists was the Chicago-based firm of Jevne & Almini. Founded by Peter Magnus Almini (1825-1890) and Otto Jevne (1823-1905) in 1853 many theatre artists and recent immigrants found work in their studio.
Jevne was born near Lillehammer, Norway, and learned the trade there as a fresco painter. He had a variety of skills in both stained glass and fresco work. In 1872, he applied for a patent concerning the improvement in lath-and-plaster walls and ceilings. The invention related to a novel form of wooden lath and “the combination therewith of plaster in such a manner that the wall or ceiling may be made of much thinner and lighter, and at he same time have a firmer texture and be less liable to exhibit the lines or strains caused by lath over time in common walls and ceilings” (US Patent 124,138).
Almini was born in Linderås, Småland, Sweden, and learned his painter’s trade in Eksjö, working his trade in Russia and Finland. For six years, Almini lived in Stockholm and was the assistant superintendent in the decorating of the royal palace.
The two immigrated to the United States around during the early 1850s. What they created for many public spaces, Americans gazed at in wonder. In I. D. Guyer’s 1862,“History of Chicago; Its Commercial and Manufacturing Interests and Industry; Together with Sketches of Manufacturers and Men Who Have Most Contributed to Its Prosperity and Advancement with Glances at Some of the Best Hotels; also the Principal Railroads which Center in Chicago,” the firm of Jevne & Almini is highlighted in the chapter “Interior Decorations.” The publication states that Jevne and Almini had “inculcated and infused a higher level of Fresco Painting” in the city since 1853. The firm is credited with decorating the Crosby Opera House, the Sherman House, the Chicago Chamber of Commerce, Trinity Church, First Presbyterian, Wabash Avenue Methodist Church, and many State Capitol buildings that included Georgia, Illinois, Iowa, Kansas, and Wisconsin. They also were involved in the decoration of many early Masonic Halls, including those in the American Express Building.
Jevne & Amini were not simply known for their plaster innovations and decorative painting skills. The two were also quite infamous as publishers, printing a journal devoted to art and architecture titled “Chicago Illustrated.”
In 1865, Jevne & Almini joined with Louis Kurtz to form the Chicago Lithographing Co. Kurtz drew the prints for one of the company’s portfolios, titled “Chicago Illustrated.” Their portfolios are some of visual records depicting life in this bustling city before the fire of 1871. They had a winning talent for not only printing descriptive lithography of landscapes, architecture and cityscapes, but also printed letterheads, cards, bonds, and checks.
Kurtz (born Ludovicus Ferdinandus Josephus Kurtz von Goldenstein) had previously gained recognition in Milwaukee as a scenic artist at his father’s German-language theatre. Moving to Chicago in 1864, he produced some of the stage designs for McVicker’s Theatre and Crosby’s Opera House.
It was his work at Crosby’s that introduced him to Jevne and Almini as they had decorated the building. This trio later added Otto Knirsch and Edward Carqueville to their ranks at Chicago Lithographing Co. Knirsch and Carqueville had previously worked at the Edward Mendel and Currier & Ives firms.
Many visual artists for the theatre found their initial vocation as illustrators, draftsmen, and decorators. Jevne & Almini was the perfect firm to expose artists to a variety projects and unique skill sets. As previously discussed, scenic artists often worked for a variety of venues during the nineteenth century, not just the theatre. They found work wherever they travelled whether it was illustration, drafting, sign painting, interior decoration, or stage scenery. Additionally, Jevne & Almini advertised as “dealers in artists’ and painters’ materials, oil paintings, steel engravings, chromo lithographs, &c.”
They are credited with establishing the first art gallery in Chicago. This would be the forerunner to the Academy of Fine Arts (1879-1882), later the Art Institute of Chicago.
After the 1871 fire, Jevne and Almini separated, each going their own way and founding new companies: Otto Jevne & Co., 226 E. Washington Street and P. M. Almini & Co., 344 State Street. Whether together or apart, their contributions as two of the leading figures in Chicago’s art scene and businessmen paved the road for many future immigrants working in the city. Of special note is the assistance that Almini provided to fellow artists as a member of the Academy of Design and vice-president of the Master-Painters and Decorator’s Association of Chicago and the treasurer of the National Association of Painters and Decorators when they were founded. As many other artists, he studied ancient and modern art, always sketching for study and leisure. He was also one of the charter members of the Svea Society, organized in 1857. Interestingly, Almini also became a Mason, belonging to both the Ancient and Accepted Scottish Rite and the Ancient Arabic Order of the Noble Mystic Shrine.
To be continued…
