Last month, a gentleman commented on one of my posts about Thomas G. Moses (see past installment # 170). He inquired about whether Moses could have met the African–American scenic artist Solomon E. White during 1875. They were both painting in Grand Rapids during the same period; Moses was just starting out in his career, but White was well established by then.
White painted in Grand Rapids from 1874 to 1876 and again from 1880 to 1885. Moses did some decorating work in Grand Rapids for an unnamed Chicago-based scenic artist who was contracted at the Powers Opera House. Obviously, Moses was not working for White, as the artist he worked for was referred to as “Chicago-based” and White was from Cincinnati. It is highly likely, however, that Moses knew of White. Like many theatre professionals at the time, the world of scenic art was small. Unless you only created only one backdrop during the course of your career, people were familiar with each other’s work and place of employment. Nineteenth-century scenic artists, like Moses, kept tabs on their competition; you never knew whom you might be working with next. Information and connections were key and artists needed to have their own networks.
White was born in Kentucky to Jackson White, Sr. (b. 1815) and Mahaly. Little is known of his mother beyond a name. White’s father worked as a feather renovator. This was a person who cleaned feathers for reuse in pillows and bedding. The year that White was born, his family moved to Lexington, Kentucky. One of six children to the couple, all were born in Kentucky, but raised in Cincinnati and recorded as “free.” There is no confirmation on whether White or his parents were ever slaves.
In 1867, the Fort Wayne Daily Gazette credits Solomon E. White as painting the new scenery for Colerick’s Hall reporting, “Messrs. Hampton & Holt seem to understand what a good theatre is, and appear determined to make one complete in every respect. They are having the new scenery painted by Solomon E. White, for many years scenic artist at the National and Wood’s theatres, Cincinnati, whom they have engaged for the season” (23 September 1867, page 4). He was well known by 1867 at the age of twenty-six and traveling all over the country. This is a really big deal as after the Civil War there was often a backlash against people of color in both the north and the south.
By July 9, 1873, at the age of thirty-two, White married Mary Jane Martin (b. 1855). A year later, White traveled to Grand Rapids to paint the Powers Opera House and continued his scenic art career in the city, also working as a fresco artist. In 1876, he painted four large eight foot by twelve-foot panels that flanked the outer arches of the Centennial Arch at the foot of Monroe in Campau Place.
There was a description of the Centennial Arch paintings posted at “Powers Behind Grand Rapids” – https://powersbehindgr.wordpress.com/powers-theatre/architects-artisans/.
Here is the description: “On the left (east) side of this (north) face of the arch, in the panel over the side arch, is “The Declaration of American Independence the Baptismal Vow of a Republic born of Eternal Right, and for whom Heroes were Sponsors.” Under this is an oil painting, 8 by 12 feet in size, of Washington crossing the Delaware; a beautiful and artistic scene. Beneath is “Their Glorious Record is the Imperishable Heritage of the Forever.” In the west panel of this face of the arch, at the top, is “On Every Sea and Every Land Known to Men the Sacred Honor of the Sires has been upheld by the Sons.” Below this is a painting, 8 by 12 feet in size, representing Columbia standing in the foreground, on a high ledge, pointing over a vast and shadowy expanse, allegorically presenting the greatness and achievements of our country. In the background of the scene is the main building of the Exposition. Nearer is the National Capitol and other public structures. Still nearer is the farmer reaping grain in a broad field with a reaper. Still nearer is a river with a steamboat, a suspension railroad bridge, a second railway track and a train of cars, and a telegraph line. All can understand what they represent. Beneath this beautiful oil painting is: “Of all Nations, and Peoples, and Tongues, she Gathers the Freemen who Bless her Centennial Birthday.”
… In the left or western panel is an oil painting representing Washington at Valley Forge, uniform in size with those above mentioned. Beneath this is “Their Heroic Devotion Inflamed the World and made Liberty the Watchword of Mankind.” In the other panel is an allegorical painting in watercolors, explained by the motto underneath “America supported by Justice and Strength receives Tribute, Affection and Confidence from her Children and Drives Discord and Fraud from her Domain.”
For more information on White, see the Notable Kentucky African Americans Database – (http://nkaa.uky.edu/nkaa/items/show/2507) His story will resume tomorrow.
To be continued…
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