Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 11 – Frank C. Peyraud

Copyright © 2021 by Wendy Waszut-Barrett

On June 1, 1949, newspaper article across the country reported, “Frank C. Peyraud, 89, noted landscape artist whose works are represented in museum and private collections in the United States and Europe died last night.” He passed away on the eve of his 90^th birthday.

By the mid-1890s Peyraud was noted for his impressionist style, often depicting dramatic skies at dawn, sunset, or moonlight. His fine art was exhibited at the Art Institute of Chicago, the National Academy of Design (NY), the Pennsylvania Academy of Fine Arts (Philadelphia), the Corcoran Gallery of Art (Washington, D.C.), the Pan-Pacific Exposition (San Francisco) and many other exhibits too numerous to mention. His paintings remain in a variety of collections worldwide, including the Art Institute and Union League Club of Chicago, the Municipal Collection of Phoenix and the Art Museum of Bulle, Switzerland. In 1935 the conservative Association of Chicago Painters and Sculptors awarded Peyraud a gold medal and he was widely regarded as the dean of Chicago landscape painters. 

Before becoming an internationally-known artist, Peyraud worked Thomas G. Moses at the Sosman & Landis Scene Painting Studio. At the end of 1922, Moses reflecting on the many great painters that he worked with over the years, including Peyraud in the list, writing, “I am drifting back to the days when some of the present-day successful artists were working for me …Frank Peyraud, now celebrated as a landscape painter, was with me in 1893.”  Moses first mentioned Peyraud in 1892. At the time, he was thirty-four years old and working as a scenic artist, panorama artist, and easel artist.

Francis Charles Peyraud was born on June 1, 1858, in Bulle, Bezirk Gruyère, Fribourg, Switzerland. Bulle is a small city near Lausanne. Peyraud attended the College of Fribourg in Switzerland, the Polytechnic School of Zurich, and the Beaux Arts of Paris before emigrating to the United States in 1880. When he settled in Chicago at the age of twenty-two-years old, Peyraud tried to continue his career as an architect.  On June 7, 1896, an article in the “Chicago Tribune” explained Peyraud’s shift from architecture to painting after emigrating to the United States, reporting, “He tried architecture here for a short time. But having no friends and but a feeble acquaintance with the English language success in that line was doubtful. He therefore gave up architecture for painting and studied in the ‘life class’ at the Art Institute School.” (page 50). Peyraud’s first work in the Chicago had been as a draftsman at the architectural firm of William Le Baron Jenney. A decade later he was working at Sosman & Landis.

Peyraud married his first wife, Angeline “Angela” Morand (1862-1898), on May 18, 1886. His wife’s parents, Joseph Morand (1812-1889) and Josephine Castella (1823-1889), were also from the Gruyère valley in Switzerland, making their daughter an ideal wife for the twenty-eight-years-old artist.  The couple celebrated the birth of four children: Estelle (1895-1920), Henry Simon Peyraud (1887-1960), Alice E. Peyraud (1890-1961),  and Albert S. Peyraud (1890-1892).  By October 9, 1888, Peyraud was naturalized and would not return to his homeland until after WWI. His permanent home remained Chicago for the rest of his life. Little was printed of Peyraud’s work until the 1890s, and then his career quickly soared as an abundance of projects brought him into the public spotlight.

The period from 1891 to 1899 was packed full of nationally-recognized projects. In 1891 Peyraud exhibited his artwork at the fourth annual exhibition and sale by the Chicago Society of Artists that fall. His works were exhibited alongside those of John H. Vanderpoel, Oliver D. Grover, Ernest Albert, Jules Guerin, A. F. Brooks, Alfred Payne, W. O. Swift, Jr., L. Mullgardt, J. Frank Waldo, Alfred Juergens, H. W. Rubins, Ludwig Jurgensen, Charles E. Boutwood, Harry Vincent, H. G. Maratta, Edgard Cameron, William Clusmann, F. L. Linden, A. J. Rupert, William Schmedtgen, Arthur Feudel, Frederick Freer, A. W. Street, C. T. Brown and N. Ledochowski (Inter Ocean, 23 Oct 1891, page 6). On Nov. 29, 1891, the “Chicago Tribune” reported, “There is also a small landscape by Mr. F. C. Peyraud entitled “The Evening Star,” which is full of the poetry of twilight, which is a favorite theme of this artist. Half lost in the gathering darkness on the prairies is a cluster of houses and sheds, with few trees about them, and above them the evening star is seen rising. In a second exhibition of the Chicago Society of Artists that year, Peyraud was even the subject of a portrait painting by fellow artist Feudel. Feudel painted Peyraud in an “easy seated pose with a palette in his hand” (Chicago Tribune, 6 Dec 1891, page 38). Peyraud’s work was also exhibited at this time.

In addition to exhibiting in multiple galleries across the country, Peyraud continued work as a scenic artist and panorama artist. In1891, Peyraud touched up Paul Philippoteaux’s panoramic painting depicting the Battle of Gettysburg.  On Dec. 27, 1891, the “Chicago Tribune” reported, “F. C. Peyraud left yesterday for Toledo where he has gone to retouch portions of the canvas of the cyclorama of Gettysburg by Phillipoteaux, which is now owned by Howard Gross, the head of the project of the cyclorama of Chicago fire. The work was recently transported from Philadelphia to Toledo and Mr. Peyraud has been engaged to make certain restorations and add figures in parts of the scene” (page 32). While in Toledo, Peyraud also gathered source material. A year later the “Chicago Tribune” reported, “F. C. Peyraud has just completed a pleasing winter scene made near Toledo, O. ‘Before Sunrise’ is the title he has given it, for it shows a suburban street with a cluster of houses covered with snow, and the first yellow streak of dawn appearing behind them. Mr. Peyraud is to send two recently mentioned in THE TRIBUNE ‘The Last Ray’ and a twilight scene, to the spring exhibition of the National Academy” (21 Feb 1892, page 39).\

Peyraud’s artistic opinions about nudes were also published. On Jan. 24, 1892, Chicago artists spoke in support of artworks picturing nudes after a protest in Philadelphia (page 39). Peyraud rebuttal for the moral attack stated, “The nude is the best means of expressing noble thoughts and ideals. The old masters have used it, the new generation will, and it will always be used. It is the fault of the public rather than the artists if the nude in art is looked upon without appreciating the thought it expresses. The public must be educated to appreciate it, but if Comstock and his class are to be allowed to dictate to artists they will reduce art to its lowest level.”

His theatre work with Thomas G. Moses at Sosman & Landis included painted settings for William Haworth’s “Flag of Truce.” Moses worked with Peyraud, Maratta, A. J. Rupert, Harry Vincent, and a number of other artists. Peyraud continued to work with Moses on theater projects while also securing work with Steele MacKaye on his Spectatorium project for the 1893 Columbian Exposition.  He and Hardesty Maratta contracted with MacKaye during the planning stage of the Spectatorium. Maratta was hired to head MacKaye’s scenic department, with Peyraud on staff. The construction of the 9,200-seat venue was never completed, leaving both Peyraud and Maratta to look elsewhere for employment. Fortunately, in 1892, Sosman & Landis established a second studio in addition to their main studio. Of the new space, Moses wrote, “The Sosman and Landis Company had my new studio under way on the West Side.  The old Waverly theatre, 93 x 210 feet and 40 feet high; four frames were going in and there was plenty of floor space for all kinds of work.” After completing a project in California, Moses returned to Chicago and wrote, “ Found the new Studio all finished and I moved in immediately.  My arrangement was to have all sub-contract work – color and studio furnished me without cost…. I had A. J. Rupert, Frank Peyraud 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.”

As with many other Sosman & Landis artists, Peyraud also joined the Chicago Society of Artists, the Palette & Chisel Club, Society of Western Artists, and helped establish the Cosmopolitan Art Club of Chicago. By 1893, Peyraud was the Secretary for the Cosmopolitan Art Club. Peyraud belonged to a group of Chicago artists that functioned like a fraternal organization in many ways. They not only worked and played together, but offered aid to those who needed help. On January 17, 1894, the Chicago Tribune advertised that a “Charity Sale” of pictures in the rooms of the Chicago Society of Artists, on the top floor of the Anthenæum Building.  It continued ten days and the proceeds were turned over to the Central Relief Association for the benefit of the needy. Many of these same artists also supported Walter M. Dewey. On February 2, 1896, “The Chicago Tribune” reported, “The friends of Walter M. Dewey, a clever young Chicago artist, have been grieved to learn recently he has been sick for several weeks and it has been necessary to remove him to a hospital out of the city…His fellow artists, in their sympathy for Mr. Dewey and his family have arranged an exhibition and sale of paintings for his benefit.” These artists, all coming from a variety of backgrounds, worked, traveled, dreamed, and planned together. Their friendships, social exchanges, moral support, and partnerships went far beyond the realms of mere work or artistic study. They played and brainstormed together about future possibilities, not only for themselves, but also for future generations.

By the mid-1890s, Peyraud’s artistic style was already recognizable. On Dec. 11, 1896, the “Chicago Tribune” reported, “F. C. Peyraud, who is fond of depicting the transient phases of nature, has several snow scenes and evening effects.” In addition to gaining recognition for his work, Peyraud became even more active in a variety of artistic organizations. On Nov. 1, 1896, the “Chicago Chronicle” listed Peyraud’s involvement with the Society of Western Artists. Regionals organizations of the group were founded in Indianapolis, Cincinnati, St. Louis, Detroit, Cleveland and Chicago. In Chicago, H. W. Methyen, George Schrieber and Peyraud formed the committee in charge of the Chicago Exhibition (Chicago Chronicle, 1 Nov. 1896, page 9).

Peyraud and Maratta traveled to Peoria, Illinois, in 1895 where they completed two public painting projects and several private commissions.  They were contracted to paint murals and decorate the interiors of both the Public library and City Hall. In 1896, the new public library in Peoria, Illinois, was decorated with murals by Chicago artists Hardesty Maratta, F. C. Peyraud and Richard W. Bock. On June 7, 1896, the “Chicago Tribune” reported, “Frank C. Peyraud was born in Switzerland and educated as an architect. He studies at the College of Fribourg, at the Polytechnic School of Zurich, and the Beaux Arts of Paris. He came to America sixteen years ago and has lived in Chicago ever since. He tried architecture here for a short time. But having no friends and but a feeble acquaintance with the English language success in that line was doubtful. He therefore gave up architecture for painting and studied in the “life class” at the Art Institute School. He has exhibited pictures in all parts of the country achieving success with both landscapes and figure compositions. Mr. Peyraud also was one of the starters of the Cosmopolitan club” (page 50). On Feb. 28, 1897, the “Chicago Tribune” reported, “On the walls of the main hall of the building there have been placed several paintings by Maratta and Peyraud, representing allegorical development of human intelligence. These paintings fill a series of panels, extending around three sides of the hall, and are broken in places by doors. The general color scheme is of pale green, ivory and gold.”

Peoria newspapers hailed Peyraud as “Illinois’ foremost landscape painter” who had produced artworks for the Union League Club, the Flanagan House, and the Peoria Women’s Club. Unlike Maratta, Peyraud stayed in Peoria for three years and offered art lessons for young aspiring artists. 

He remained in the city until his wife passed away. On June 10, 1898, Angela died from Tuberculosis, leaving him with four young children to raise. She was buried at Mount Carmel Catholic Cemetery in Chicago. In all likelihood, his in-laws cared for his children as Peyraud continued to accept work across the country.

On April 30, 1899, the “Philadelphia Inquirer” described Peyraud’s work on the Battle of Manila panorama (page 4). The Cyclorama Company’s reproduction of the Battle of Manila was exhibited at the Cyclorama Building at Broad and Cheery Street (formerly known as the Arena).The article reported, “A model of the Olympia has been erected in the centre of the great building. This is a fac-simile of the famous cruiser, but reduced to one-third her actual size. This mimic battleship is 120 feet long, 40 feet wide and 28 feet high…the linen canvas is the largest ever hung for cycloramic purposes, and is over 400 feet long and 60 feet high. The painting was accomplished in five weeks, the artists being Salvador Mege, the famous cycloramic painter, and F. C. Peyraud, the great architectural marine painter and scenic artist.” The article described, “The realism of the painting is startling and when the scene is lighted by hundreds of electric lights incased in specially constructed reflectors, really marvelous. The tropical sunrise effects are beautiful and the panoramic view of Manila with the little village of Caloocan close by would more than repay the visit were there not even greater features to win the admiration and to excite the wonder.”

Peyraud won the Young Fortnightly Prize for the best painting in the Chicago Art Institute’s 1899 annual show.  It was the first of many awards he would receive over the course of his career.  Later awards would include a Municipal Art League prize in 1912 and the Art Institute’s Martin B. Cahn Prize in 1921.

However, he continued to complete work as a scenic artist, well versed in large-scale scenic illusion. By 1904 Rupert worked on an amusement for the St. Louis World’s Fair by Henry Roltair called “Creation.” A. J. Rupert and George Schreiber (each former Sosman & Landis employees) assisted Frank Peyraud for this project.

Peyraud eventually found love again in 1906 with fellow artist Elizabeth Krysher.  Krysher was a children’s portrait painter and illustrator. On June 14, 1906, Peyraud married his second wife in Chicago. She was 34 years old and this was her first marriage. The couple celebrated the birth of a son, Robert Francis Peyraud in 1908. The 1910 Census listed Frank and Elizabeth living with their three children: Albert (16 yrs.), Estelle (15 yrs.) and Robert (2 yrs.). Early on in their marriage, the couple traveled from California to the East Coast.  In Old Lyme, Connecticut, they even stayed with a colony of impressionist landscape painters. The couple eventually settled in north-suburban Ravinia, Illinois (a section of Highland Park) by 1919. However, their children grew up in not only a bi-lingual home, but also an artistic one.  

By 1918, Albert Peyraud (son from his first marriage) gave French art lectures at Camp Crane as part of the War effort. Servicemen expressed the need to be fluent in French in order to converse overseas. On June 15, 1918, the “Morning Call” reported, “The necessary of fitting the men for their duties in France by adding to their training a course in French conversation has been appreciated by the staff, and in particular the present cam administration purposes to develop a department of French instruction unequaled in any camp in the country…Twelve lectures are divided among four men…The subject of French Art will be discussed in three lectured by A. P. Peyraud, the son of F. C. Peyraud. Peyraud is a University of Illinois man, and an architect. He is an enthusiastic student of French Art.” (Allentown, PA page 3).

After the war, Peyraud was living with his wife and youngest son at 1230 Judiana St. in Chicago. With most of his children grown, Peyraud returned to Switzerland. In 1921, he applied for a passport to visit his hometown of Bulle. He left in July 1921, arriving in Bulle on August 1 where he remained for three weeks. Some historical sources indicate that he stayed in Switzerland for three years. He returned to Europe on 1923 after departing France in Dec. 9, 1923. During Peyraud’s European stay, his wife became increasing active in artistic circle. In 1922, Mrs. F. C. Peyraud lectured on the “Appreciation of Art” in Carbondale, Illinois. She was the sister of city Mayor F. C. Krysher. The “Carbondale Free Press” reported, “[Mrs. F. C. Peyraud] talked about several canvas paintings the work of her husband, a well-known artist, exhibited to the club (19 May 1922, page 3).

By 1930, the Peyrauds had all returned home to 1230 Judson Ave. in Highland Park. Peyraud was now 72, his wife 58 and youngest son 22. On Feb. 13, 1934, the Waukegan News-Sun” reported, “An art class conducted at Highland Park by Mrs. F. C. Peyraud each Wednesday afternoon from 1 to 4 o’clock at the Y.M.C.A. Mrs. Peyraud is a resident of Highland Park, and a speaker on subjects relative to art. She addresses the Waukegan Woman’s club this past fall” (page 2). In many ways, they continued to live very separate lives, each following their own artistic passions.

On Nov. 19, 1936, the ‘Chicago Tribune” published an article about Peyraud’s one-man show, held in O’Brien galleries, 673 North Michigan. The article reported, “Mr. Peyraud won for himself some years ago the title of “Painter to the Skokie,” because he  was as faithful a follower of its modes and aspects as Frank V. Dudley has been of the dunes. To this title now must be added “painter to all outdoors,” for his landscapes range over a wide sweep of territory, from Illinois to the farthest reach of the Pacific coast. Mr. Peyraud paints the autumn with particular sympathy and grace. His fall landscapes in brown and rust are as beautiful as any of the more glittering autumn pictures from the brush of John Spelman, for example. The quieter moods are as picturesque as those more decorative, or so he suggests. Mr. Peyraud handles sky and water with a craftman’s skill. He gets the feel of the countryside where he pitches his easel and nothing turns him from his path of recreating the beauty spread before him. His compositions are invariably satisfying, sometimes startling so. Shadows and sun play a part in many of his pictures, but wind, rain, and snow are rarely acknowledged. Serenity is a feature held in common by most of his work.”

Their youngest son Robert ended up serving in WWII and later marrying Nancy Forster. After the couple’s wedding on May 10, 1946, the “News-Herald” of Franklin, Pennsylvania reported, “Mr. Peyraud, a graduate of Northwestern University School of Journalism, is now employed in New York City where the couple will reside. He served during the war with the U. S. Army Air Corps in China, Burma, and India” (page 11). By this time, Frank Peyraud was well into his 80s, but not slowing down, and still painting.

On April 25, 1948, the “Chicago Tribune” published a feature article on Peyraud entitled, “Paintings of Another Chicagoan” by Edward Barry (page 154). The article about Peyraud was accompanied by several of his artworks, reporting, “These paintings are the work of a man who was born in French Switzerland close to come of the most beautiful imposing scenery on earth, but who has devoted a large amount of his time and effort to revealing to middle western American’s the quiet beauty that lies right under their wyes. Frank C. Peyraud does not demand the spectacular in nature – mountains and glaciers and roaring river – although he has successfully painted such things many times. He can be aroused emotionally, and his creative impulses deeply stirred, by the gentle contours and low horizons of such unpretentious country as the Des Plaines and Skokie Valleys. That he finds the Chicago area perfectly satisfactory as a source of inspiration is attested by the pictures here reproduced. Only one of them (June Morning on Cedar Creek – a scene near Galena) was painted more than 30 miles from this city…It is plain from Mr. Peyraud’s pictures that he has carefully observed, lovingly studied, and tellingly projected the subtle as well as grandiose in nature. Like all good artists he provides more than a reproduction of a scene. What he has personally seen and felt goes into the picture too.”

Peyraud passed away on May 31, 1948 at Highland Park, Illinois. His obituary was published in “The Pantagraph” (Bloomington, Illinois on June 1, 1948). It stated, “HIGHLAND PARK, ILL. – Frank C. Peyraud, noted landscape artist, died Monday. He would have been 90 Tuesday. Peyraud’s paintings won numerous prizes during the first third of the century. He is survived by his widow Elizabeth Krysher, also an artist, three sons, Henry, Albert and Robert, and four grandchildren. Peyraud is buried at Mount Carmel Catholic Cemetery.

To be continued…