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Part 527: Thomas G. Moses’ Sketching Trip to Ogunquit, Maine, in 1905

I return to the life of Thomas G. Moses during 1905. In 1904, Moses joined the Salmagundi club while living in New York and in 1906 he joined the Palette & Chisel Club after returning to Chicago. The year in between Moses wrote, “I am getting the picture bug again, and I will have to do something in that line. My little success in New York had a good effect on me, but was not detrimental to my regular commercial activities. I will always keep them lively – that will always be my regular stand-by.”

Moses recorded that on “June 18^th, after several months of intense hustling, Ella and I broke away for the east, going to Ogunquit for a sketching trip, all of which I have written in full in my ‘Ogunquit Trip.’”   I have not located any of Moses’ travelogues to date, only the articles that he published in the Palette & Chisel club newsletter; the Ogunquit trip is missing. In 1905, the “Oak Park Leaves” reported, “Mr. and Mrs. Thomas G. Moses of Euclid avenue have gone to Ogunquit, Maine, where Mr. Moses will study and sketch the rock-bound coast” (24 June 1905, page 17).

Ogunquit was a small shipbuilding community in Maine located on the coast near the southern border of the state. The Abenaki people, native to Vermont, New Hampshire and Maine used the word “ogunquit” to describe the region. “Ogunquit” in the Alnombak language means “beautiful place by the sea.” After the arrival of the European colonists, many of the Abenaki tribes moved north into Canada. Today, the 2000 Abenakis live on two reservations near Quebec. There are 10,000 Abenaki descendants scattered throughout the New England region too.

The Ogunquit community fostered two schools of art: one by Charles Woodbury and the other by Hamilton Easter Field, a student’s of Woodbury’s.

Charles Herbert Woodbury (1864-1940) was born in Lynn, Massachusetts and studied art in Boston, becoming the youngest honoree of the Boston Art Club at the age of 17. In 1886, he graduated from the Massachusetts Institute of Technology (MIT) with a degree in Mechanical Engineering. He taught art while attending MIT, and opened his first art studio by 1887. He married one of his former students, Marcia Oakes and they travel together to Europe.

His artistic studies from January to June 1891 included attending the Académie Julian in Paris. He then explored the techniques of the modern Dutch painters in Holland before returning to the United States. Woodbury’s American winters were spent painting in Boston, while summers were occupied with painting scenes of the New England coast and Nova Scotia.

Woodbury eventually spent his summers in one particular location – Ogunquit, Maine. There he founded the Ogunquit Summer School of Drawing and Painting. He first visit to Ogunquit was in 1888. That summer, he rented a room at Captain Charles Littlefield’s “Ogunquit House” on Shore Road where he painted his first scenes of the Ogunquit River and wharves. At the time, the area was nothing more than a cluster of fishermen’s homes, yet Woodbury immediately recognized the potential for artists.

By 1896 Woodbury established his own studio in Perkins Cove, a picturesque inlet with colorful fishing boats. In 1898 he opened his “Ogunquit Summer School of Drawing and Painting.” It was later re-named “The Art of Seeing – Woodbury Course in Observation” by 1923. Woodbury taught at Ogonquit for thirty-six summers, enrolling between sixty and one hundred students in a six-week course of “painting and drawing from nature.” The course was divided into three parts, with a drawing course held in Boston, just prior to his summer move to Ogunquit every summer. The Ogunquit art school ran from approximately mid-July to mid-August and remained in continuous operation from 1898 until his death in 1940. The only exception was between 1917 and 1924 when Woodbury closed the school to work for the US government.

Woodbury and his students rendered realistic depictions of local life and the sea, rejecting the modernist innovations that were popular at the time. He taught his “art of seeing,” which emphasized subjectivity in art. In other words, he promoted how things seemed, rather than how they appeared – just like many theatrical settings during the nineteenth century. Woodbury believed that every student, no matter the degree of talent, could benefit from his drawing and painting courses. His schools attracted both professional and amateur artists alike.

Fundamental to Woodbury’s teaching methodology was his emphasis on the powers of observation and memory. He emphasized the importance of including motion into each composition. Woodbury also introduced the use of motion pictures as a teaching device by 1928. This was to facilitate his students comprehension of things and people in motion; creating quick and accurate sketches utilizing basic artistic principles.  Seeing and understanding movement was fundamental to his artistic approach. He was known to say, “Paint in verbs, not nouns.”  In Chicago, Moses commented on his own artistic approach in 1905, writing, “I will always keep them lively.”

Woodbury’s approach to marine painting shifted the traditional viewpoint, placing the composition midway over the waves. He was considered by some to be the greatest marine painter after Winslow Homer. Woodbury also published three books that defined his art education philosophy: Painting and the Personal Equation (1919); Observation: Visual Training Through Drawing: (1922); and The Art of Seeing (1925)

In addition to teaching at his own school in Ogunquit, Woodbury taught in Boston and at the Wellesley College. He was a visiting art professor at both Dartmouth College and the Art Institute of Chicago. It was in Chicago where he met Thomas Moses, prompted Moses to travel east for a sketching trip. Woodbury’s students came from as far away as California to study in Ogunquit, setting up their easels for plein-air painting. Moses had always been a plein-air painter, traveling throughout the United States since the 1880s to gather information for both his fine art works and painted settings for the stage.

Woodbury’s approach to seeing meshed with that of scenic artists who created stage settings. Whether creating a large-scale or small-scale compositions, each method was based on the art of seeing. As a “Chicago Sunday Tribune” article noted in 1892, scenic art of high grade was “only different from other studio art in its breadth – a mere question of scale” (Chicago Sunday Tribune, Dec, 18, 1892, page 41).

The same year that Moses passed away, Woodbury’s art school brochure noted, “If the few who create and the many who appreciate have a common basis of training in the value of things seen, felt and heard, the gap between life and the arts will be filled and the gain be as great to the general education as to the artist.” He desperately hoped to establish “a universal graphic language,” where art was an essential part of everyone’s life.

To be continued…

Part 526: Raphael Strauss of Noxon & Strauss

Thomas G. Moses wrote, “J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”

Raphael Strauss was Thomas C. Noxon’s first partner, establishing the scenic studio Noxon & Strauss in St. Louis, Missouri, during 1868. The company lasted for approximately four years, running from 1868 to 1872. In 1868, Noxon & Strauss painted a setting for “Seven Sisters” at the Olympic Theatre (The New York Clipper, 25 April 1868, page 6).

Strauss and Noxon were both immigrants. Noxon was born in Montreal, Canada, during 1829, and moved to Ohio as a child. At the age of sixteen, he traveled to St. Louis to continue his artistic studies. Noxon worked as a decorative painter, itinerant artist, and studio artist, establishing four scenic painting firms throughout his career: Noxon & Strauss, Noxon, Halley & Toomey, Noxon, Albert & Toomey, and finally Noxon & Toomey. At the time of his passing in 1898, the “Dramatic Mirror” reported, “His name appears on the corner of theatrical curtains in almost every large city in the country, and is also seen in the theatres of Europe” (2 July 1898, page 6). In 1872 Noxon & Strauss were still working together in Chicago at Hooley’s Theatre; the partnership ended sometime after that.

Many scenic artists worked in Chicago after the great fire of 1871, decorating a variety of new buildings as the city rebuilt itself. Noxon & Strauss led painted the new drop curtain and scenery at Hooley’s Theater. “The Chicago Tribune” reported, “The drop curtain will fill the entire stage opening, and is being painted by Noxon & Strauss. The design will be the castle and town of Heidelberg, surrounded by drapery” (10 Dec. 1872, page 8). An “Inter Ocean” article further described the painting, “The original drop curtain design depicted a scene from Heidelberg surrounded with painted drapery. The picturesque castle and town suggesting European origins was common for the time, as many compositions harkened to the old world” (Chicago, Illinois, 14 Sept. 1872, page 4). This drop curtain that was later replaced during 1874 by Strauss, with Murphy and Graham as his assistants. Moses watched as the second drop curtain was created as he gilded the opera boxes while working for P. M. Almini.

By 1878, Strauss was working with Charles Witham. They provided the new scenery for “Uncle Tom’s Cabin” at the Grand Opera House in San Francisco, California. The opera’s new season was inaugurated with the “reconstructed version” of “Uncle Tom’s Cabin.” “The Clipper” reported, “The scenic effects by Witham and Strauss were beautiful and realistic pictures.” (23 Feb. 1878, Vol. 25, page 383).

Raphael Strauss (1830-1901), was a German-American artist who worked throughout the United States during the middle and end of the nineteenth century. Strauss was both a writer and artist, producing landscapes, portraits, miniatures and tinted photographs. Born in Bavaria, Germany, he trained in Munich. Strauss arrived in Cincinnati, Ohio between 1857 or 1858. He was consistently listed in the Cincinnati directories from 1859 until his passing in 1901.

It was the German-American artist, John Auberg (1810-1893), who suggested Cincinnati to Strauss, as he had immigrated a decade earlier, settling in Cincinnati by 1853. There was a large German population of the city. John Auberg also became known as Jean Aubery. Born in Kassel Germany, he first moving to the United States in 1848. Prior to his departure to America, he completed numerous portrait and church commissions throughout Europe. After his arrival in Ohio, he advertised as both a portrait artist and tinter of photographs.

During 1859 Strauss tinted photographs alongside Ausbery, Israel Quick, David R. Hoag, Williams Porter and Allen Smith Jr. They all worked at 100 West Fourth Street in Cincinnati. In 1862, the group divided, resulting in two firms: Hoag & Quick and Porter & Strauss. The partnerships lasted throughout the Civil War years. Strauss’ art studio was located at the corner of John and Everett Streets. He traveled throughout the region as an itinerant artist; working on various projects that included scenic art, miniatures and portraits. As many of his colleagues, Strauss was both a fine artist and scenic artist.

By 1869, Strauss again shared a studio in the second Pike Opera House Building; Aubery, Quick, Adrian Beaugureau, Frank Duveneck, and Dwight Benton were among the artists. (The Cincinnati Enquirer, 12 Feb. 1933, page 49). This six-story structure replaced the first Pike’s Opera House after it was destroyed by fire in 1866. The second Pike’s Opera House theater was located on the second floor, with offices above, located on Fourth Street between Vine and Walnut streets. It was similar to the first entertainment venue, but was expanded to cover an entire city block.

During the 1880s and early 1890s, Strauss continued to share a studio with Aubrey in the Pike’s Opera House Building at 152 West 4^th Street. Their studio became a local salon for artists and art lovers alike. In his final years, Aubrey was known as “the ancient Aubrey,” while nurturing younger artists in Cincinnati’s “over the Rhine” community.

Strauss’ worked was exhibited at the 1863 Western Sanitary Fair, the Cincinnati Industrial Expositions (1871 and 1873), and the Art Institute of Chicago (1897). He later became vice president of Cincinnati Art Club. By 1895 he was still active with the group as its secretary (The Boston Globe, 27 Oct. 1896, page 28).

Strauss passed away in Avondale at the age of 71. His residence was 565 Hale Avenue. Strausss’ obituary reported, “He was a prominent in art circles, being a member of the Cincinnati Art Club and the Order of B’ne B’rith. Mr. Strauss leaves a widow and four children. Phillip Strauss, Mrs Julius Freiberg and Mrs. Dan Goldstein of this city, and Joseph Strauss, of Chicago” (The Cincinnati Enquirer, 8 May 1901, page 7). Joseph B. Strauss was a structural engineer and designer who revolutionized the design of bascule bridges He established the Strauss Bascule Bridge Company of Chicago and later became the chief engineer of the Golden Gate Bridge, passing away only one year after the bridge’s completion. Strauss’ widow of 43 years was Caroline Baermann. Once a pianist, an accident ended her concert career.

To be continued…

Part 525: Thomas G. Moses and “By-Paths in the Mountains”

Yesterday, I examined the artistic career of Charles Graham. During 1879, Graham went on a sketching trip to gather information for Rebecca Harding Davis’ article series “By-paths in the Mountains.” Her three papers were published Harper’s Magazine during 1880; they described a fictional trip in the mountains of Virginia and North Carolina.

In 1927, Thomas G. Moses submitted several tales about stories past sketching trips under the heading “Tom Moses’ Trips.” One series described Moses’ sketching trip to West Virginia during 1885. His trip followed the same path as Graham’s. Moses first met Graham I 1874 when they were both working at Hooley’s theater in Chicago; Moses was gilding the opera boxes while Graham painted the drop curtain.

The “Green-Mountain Freeman” reported “The experience of Charles Graham, one of Harper Brothers’ artists, who has just returned from a sketching tour in the south strongly illustrates the lawless antagonism which every northerner may expect to encounter who attempts to live there. Mr. Graham started out in August to make sketches for the illustration of a series of articles by Miss Rebecca Harding Davis, which are to appear in Harper’s Magazine, and returned to New York a few days ago. As a northerner he was looked upon with extreme suspicion, and his movements were so closely watched as to impede seriously the progress of his work. It was even pretended that he was mistaken for a revenue officer, and he was once shot at by moonshiners”(Montpelier, Vermont, 29 Oct. 1879, page 2).

“The Macon Republican” reported that ‘By-Paths in the Mountains’ was “beautifully illustrated by seventeen drawings by Charles Graham and Miss Jessie Curtis” (Macon, Missouri, 8 July 1880, page 1). Curtis’ contributions were mainly depictions of local residents, whereas Graham illustrated the landscape. “By-Paths in the Mountains” explored the landscape and history of West Virginia through the eyes of its fictional adventurers. Scenes included the falls of Blackwater and Dobbins House. Her fictional travelers traversed in the same country that Thomas G. Moses, John H. Young and Henry C. Tryon would explore on a sketching trip five years later in 1885. Moses’ tales of this West Virginia journey was published in the Palette & Chisel newsletter during 1828. Moses’ article borrowed from Davis’ publication.

Here is one example in Davis’ 1880 article: “The wilderness upon whose edge our travellers had just entered, runs back for hundreds of miles, and is as yet literally unexplored by civilized people. There is a house name Koesson’s somewhere on it, where a German by that name, with four other families, settled fifty years ago. They never appear in the settlement, live upon game and a few pigs, dress in skins, and according to Jerry, have all property in common. “They took nyther law nor decency nor God in thar with them,” said the shrewed hunter, “an I reckon they haven’t found any to speak of since.” An energetic explorer of this range of mountains, from Pittsburg succeeded in the summer of 1878 in taking a boat and launching it to then Blackwater. It was the first that had ever insulted that untamed little savage of a stream. He proposes to venture in it this summer up into the heart of Ca-na’an, and to unearth this barbarous tribe.”

Here is the same information presented in Moses’ article years later: “The wilderness runs back from the river hundreds of miles and is, as yet, literally unexplored by civilized people, according to the word of our landlord Davis. There is a house named Koesson’s somewhere in the wilderness, where a German of the name, together with four other families, settled fifty years ago. They never appeared in the settlement, lived upon game and a few pigs, dressed in skins and had all property in common. “They took nyther law, decency nor God in that wilderness,” said the landlord, and I reckon they haven’t found any to speak of since. An energetic explorer of this range of mountains, from Pittsburg, succeeded, in the summer of 1878, in taking a boat and launching it in Blackwater. It was the first one that had ever insulted that untamed little savage of a stream. He proposes to finish his work by venturing into the heart of Canaan, as the natives call the wilderness, and unearth this barbarous tribe.”

There are more other similarities between Rebecca Davis’ 1880 article and the article written by Thomas G. Moses. It may have been Moses’ writing about Graham in “Stage Scenery” that prompted him to discover the old article.

To be continued…

Part 524: Charles S. Graham

Thomas G. Moses first encountered the scenic art of Charles S. Graham (1852-1911) and J. Francis Murphy (1853-1921) while working for the P. J. Almini decorating firm in 1874 Moses wrote, “In June I was sent to Hooleys Theatre to work. On the scenery [were] employed J. Francis Murphy and Chas. Graham. I was put in charge of the proscenium boxes, mostly gilding. I could see the work being done on the paint frame. I was more convinced that scenery was what I wanted to do; more opportunity to do landscapes.”

Charles S. Graham (1852-1911) was born in Rock Island, Illinois. He became a topographer for the Northern Pacific Railroad in 1873. It was while working for the railroad that he received his initial artistic training as an artist and draftsman. He soon sought other artistic opportunities, such as scenic art and illustration. Graham was present when the transcontinental railroad was completed in 1883, covering the event for Harper’s Weekly

By 1874, Graham was painting theatrical scenery in both Chicago and New York. He would primarily work as a scenic artist until 1877. It was on one of his early scenic art projects at Hooleys Theatre that Moses encountered him in 1874.

While in New York, Graham continued to work as a scenic artist for a variety of theatrical venues, including the Standard Theatre at Broadway and 33^rd Street. For one production, he provided “new and elaborate scenery” for the premiere production of “Mignon” in New York,” with mechanical effects by W. Gifford (New York Daily Herald, 17 March 1878, page 4). That same year, he also created an large backdrop for the Order of Elks annual ball (The Brooklyn Eagle, 27 Jan. 1878, page 3). The newspaper reported, “The ball will be held this year at the Academy of Music, which is to be very handsomely decorated, the back of the Academy stage to be occupied by an immense canvas representing the ‘Gathering of the Elks,’ now in course of preparation by a young scenic artist, Mr. Charles Graham.”

Graham continued to be employed as a scenic artist; he worked for Gates & Morange, a leading scenic studio of the time. Graham painted alongside other well-known scenic artists who also worked for the firm, such as Thomas Benrimo, William E. Castle, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. Gates and Morange’s scenic studio was one of the premiere scenic studios during the early twentieth century. It was located in Chicago during 1894 after Edward A. Morange met Francis “Frank” Edgar Gates. During the day, the two scenic studio founded studied fine art, while at night the painted settings for stage shows. Although starting their company in Chicago, Gates and Morange soon moved to New York to produce settings for dozens of Broadway shows. Their first Broadway work occurred in 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley.

Graham was also mentioned as a scenic artist that appeared in a “Chicago Sunday Tribune” article, “Paint Mimic Scenes, Men Who Have Found Fame in (entire article in past installment #245):

“Scenic art of high grade is, however, regarded today as only different from other studio art in its breadth – a mere question of scale. As to the quality of finish it may be remarked that when scenery is lacking in detail it is due to lack of knowledge in the painter, lack of time, certainly not in accord with any principle of stage painting. Formerly the theatrical painter was expected to be truly catholic in his accomplishments, and was called to attempt any subject that the playwright might designate. Now this work, as in other lines of art, is falling more to specialists, and with far better results in figure, drapery, landscape, or architectural design. In spite of many drawbacks in the past, scene painting as a school has been an excellent one. Witness many good men who have left it to win distinction in the galleries of Europe and America: De Loutherbourg, Porter, Boulet, Jacquet, Lavignoc, Leitch, Stanfield, Roberts, Allen, Cole, Detaille, Kingsbury, Potast, Rymnosky, Wets, Guetherz, Peigelheim, H. Fillaratta, Homer Emmons, Charles Graham, and J. Francis Murphy. It will be observed that this list has members of the English Royal Academy, some famous Germans and Frenchmen, and, too, America is ably represented.”

In addition to scenic art, Graham became well-known as an illustrator. By 1878, Graham was hired as a staff artist at Harper’s Weekly; he remained there until 1892. During this time, he contributed illustrations for a variety of other publications, including the New York Herald, the Chicago Tribune, the American Lithograph Company, and Collier’s. It was one of Graham’s first illustrations for Harper’s during 1878 that he depicted scenic artists working on a paint bridge high above the stage. Graham’s best-known work was for the publication “Peristyle and Plasaisance.” For this publication, he created a series of watercolors depicting scenes from the 1893 Chicago World’s Fair, the Columbian Exposition. These colorful plates remain as one of the best sources, offering insight into the event. Advertisements stated that Graham’s paintings illustrated “nooks and corners of the Fair as no photograph could do.”

Near the end of his life, Graham was employed by a lithographer. In 1909, Graham suffered a stroke while working in Davenport, Iowa. He was forced by failing health to give up active work and return to New York as soon as he had recovered sufficiently to permit travel back east (The Rock Island Argus, 12 August 1911, page 5). By 1911, he passed away at the Metropolitan Hospital in Manhattan, after a prolonged illness of a nervous disorder (The Brooklyn Daily Eagle, 10 August 1911, page 3). He was fifty-nine years old at the time. Graham was survived by his daughter Bessie Graham.

To be continued…

Part 523: Ada Clifford Smith Murphy, otherwise known as Mrs. J. Francis Murphy

J. Francis Murphy’s wife, Adah Clifford Smith Murphy (1859-1949), was a landscape artist, a portrait artist, and miniature painter. She deserves special mention about her contributions to the art world apart from the post that I did on her husband. Born in Saratoga, New York, during 1859, she was a student at the Female Art School of the Cooper Union for the Advancement of Science and Art. Also referred to as the Cooper Union Art School, she was a pupil of Douglas Volk and an active artist before meeting her husband.

In November 1883 Adah Clifford Smith married the artist John Francis Murphy at the age of 24; John was six years her senior. The couple met at a skating party while she was a student at Cooper Union Art School. Her husband had moved to the East Coast in 1875, after working as a scenic artist in Chicago.

In 1886, the couple traveled to Europe, first staying in London and then France.  While staying in Montigny, she recorded that they sketched local scenes from June until October, when they departed for Amsterdam. During their travels, they enjoyed seeing many paintings that they had previously only known through photographs. Adah’s works were exhibited at the National Academy of Design in New York beginning in 1886. She remained prominent in eastern art circles from that time until 1933.

The Murphy’s established a studio in the Hotel Chelsea, but after a visit to Arkville, New York, they decided tomove to the Catskill Mountains.  In Akville, the couple found accommodations at an establishment owned by Peter Hoffman. They convinced Hoffman to build a hotel. The Hoffman Hotel was constructed in 1886, and included 17 buildings, many of them shingle-style cottages that are occupied to this day. The Hoffman Hotel, later the Pakatakan Hotel, served as the gathering center of the Pakatakan Artist Colony, named after an old Lenape Native American village on the same location.

In 1887 the Murphys built a home and studio in this small town of Arkville, and named their studio “Weedwild.” They painted the surrounding landscape, occasionally venturing off to capture scenes of the western Catskills.  The Murphy’s presence in this area, prompted many of their artist to visit, including, Alexander H. Wyant, Parker Mann, E. Loyal Field, Frank Russell Green, H.D. Kruseman Van Elten, George Smillie, Walter Clark, Arthur Parton, Ernest C. Rost, and J. Woodhull Adams. Initially staying at the hotel, many visiting artists later purchased property and built their own studios, naming each studio as the Murphys. The Pakatakan Artists Colony contained the summer cottages and studios of 13 artists. It is on the State and National Registers of Historic Places, located off New York State Route 28, just west of Dry Brook Road.

In 1887, the “Menorah: A Monthly Magazine for the Jewish Home” reported that Ada C. Murphy exhibited paintings at the Academy of Design. The article’s author noted that Murphy’s “little studies” were “strongly impressed with the influence of her husband, who is doubtless her master, in an artistic sense, but full of evidence of native talent and feeling” (Volume 2, page 268). Nothing like having your success ultimately attributed to a male – your artistic master.

In 1888, the “Brooklyn Daily Eagle” reported that “Recent achievements of Women Painters, Drawings in Pastels at Wunderlich’s – Strong and Commendable Work” (13 May 1888, page 10). The article commented, “The woman artist is almost a new product of our civilization, but she exhibits a talent and sometimes a genius that entitle her to high consideration…oddly enough the women painters succeed best in themes that are bold and strong. In flowers, birds and fashion plates they never seem to lift the subject out of tediousness, but in things that demand force of execution and largeness of method they are often surprising. It is said that woman was originally the superior of the man in every sense. Perhaps she has entered on a struggle for prestige.”

In 1893, Ada C. Murphy was mentioned as a contributor to the fifth annual exhibition of water-colors by American artists at Messrs. Frederick Keppel & Co. (The Art Collector: A Journal Devoted to the Arts and the Crafts, Volumes 5-6, page 38). Forty-three artists exhibited eighty watercolors; six were women. In addition to her husband, this group included well-known scenic artists, such as H. G. Maratta, W. C. Fitler, Jules Guerin, and H. C. Rehn.

During 1896, “The St. Joseph Herald” featured Murphy in the article “A Clever American Artist” (17 Nov. 1896, page 4). The article reported, “A union of kindred tastes was made when Mrs. J. Francis Murphy and her husband were married. He is one of the best of American landscape painters and his wife has done work that is almost as good as his. She is a very clever flower painter, and in her landscapes there is much of the sentiment and tenderness that appears in the work of her husband. She is a bright and charming woman, and has many friends who have delighted in her success.” In 1894, Mrs. J. Francis Murphy received the same Hallgarten prize as her husband had previously received in the 1880s (The Buffalo Enquirer, 5 April, 1894, page 4). “Her art education was largely obtained as the Cooper Institute, and she is also a pupil of her husband. She has exhibited at the Academy [National Academy of Design] since 1886, and at the Walter Color Society since 1885.” The “St. Paul Daily Globe” added that Mrs. J. Francis Murphy “derived much advantage from her summer’s study of the art galleries of Europe. She spends her summers in the Catskill Mountains. While she and her husband live amiably in a cosey cottage, they have two separate studios. Mrs. Murphy is a hard worker, and paints equally well in water colors or oils.” Mrs. Murphy’s studio was located at 222 West 23^rd St. (The World, 27 Feb. 1898. Page 25). Her husband’s studio in New York was located at the corner of Tenth Street and Broadway (26 Jan. 1880, page 9).

The “Soldier Clipper” noted, “Another clever illustrator and brush-woman is Mrs. J. Francis Murphy, who holds her own in the world of art with her talented husband. Mrs. Murphy is as happy in oil as in crayon work and ranks high as an illustrator. Her fancy is for old ruins, soft moonlight and fantastic shadows. Nothing could be more suggestive of sentiment and poetry than one of her moonlight paintings, where shadows are deep and lights are strong” (Soldier, Kansas, 27 June 1895, page 7).

Her work was included in the annual exhibitions of the Art Institute of Chicago (1889, 1896); the Boston Art Club (1893-1897); the American Water Color Society (1898); the Pan-American Exposition in Buffalo (1901); the annual exhibition of the Pennsylvania Academy of the Fine Arts (1912), and the Panama-Pacific International Exposition in San Francisco (1915).   Murphy was a member of the National Association of Women Artists by 1914, and also a member of the National Arts Club.  Up through 1918 she exhibited in 25 annual exhibitions.

She outlived her husband, John Francis Murphy (Dec. 11, 1853 – Jan. 30, 1921), by almost three decades, passing away at the age of ninety years old in 1949.

To be continued…

Part 521: Palette & Chisel, November – The Changing Times of Scenic Art

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” was first published during September 1927. The article, however, was written by Moses during the spring of 1918.

 Here is Moses’ final November installment during 1927:

“Advertising in theatrical papers and magazines is quite necessary for this line of scenic painting. Illustrated catalogues are gotten up with a good deal of care and half-tones of the actual painted scenes are used. As stages differ in many ways, especially in size, from nine to forty feet in depth, it is quite essential that accurate dimensions be obtained. A card is sent to the prospective buyers which they fill out, giving all the required measurements. The scenes needed are listed, estimates made, the order is received, and each scene is given to the artist who is the most competent to execute that especial scene.

On completion the drop and borders are rolled up the short way and boxed, the frame-work is crated and shipped by express or freight. Instructions are sent for the hanging and setting of all scenes; on many stages it requires the supervision of an expert who is sent to do the work. Models and sketches are made and a miniature stage with all lines and lights, is used to set up the different scenes. The customer can see exactly what he is going to receive. As the average small theatre does not change the scenery within a period of ten years or more it has to be very neutral in design and color so it will not tire the audience in the ten years of wear.

For many years the larger theatres in many parts of the country put in a paint frame and bridge. The scenery was then built and painted in the local theatre, which necessitated the artist and assistant, with a good mechanic, to travel about the country. The writer did this for twenty years, from Maine to California, back and forth, some theatres taking as long as ten months to stock while others were finished in two months. In those days the scenic artist and his work were looked upon in an entirely different light than they are today. Possibly it is the fault of the artists; an indifference as to the real worth of their work has caused the managers to look to others for suggestions, making a simple workman of the artist, one who only follows their instructions, allowing the stage manager to receive all of the credit for the stage settings, while the artist labors on the paint frame all through the hot and sultry night to produce something artistic.

The scenic art has been the starting point for a great many of the well-known picture painters. Among the English painters are Clarkson, Stanfield and David Roberts. All were prominent scenic artists and became as great in picture painting. Some of the leading American artists were scenic artists. J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”

The article continued, “W. C. Fitler was another scenic artist who made good pictures. Jules Guerin, the noted illustrator, started his art career as a scenic artist. I might name several dozen artists who owe their early training to scenic art.

There are a dozen Chicago scenic artists who have forsaken the paint frame pictures for the easel pictures. In a way I do not blame them, for scenic painting is made up of ling hours and hard manual labor. The bigness of the work appalls many who venture into the game, and, with its dirt, soon discourages them and they looker for a cleaner vocation. The close confinement of the old theatre days was another disagreeable feature of the work that never appealed to anyone; no daylight, always long hours and foul air.

The studio of today is an entirely different proposition; a large airy room, plenty of space in which to work, regular hours, all new work, and with very few exceptions, congenial companions; each artist specializing in one line of work, plenty to learn each day and good salaries paid to all, is a big inducement to forsake the stock painting in the theatre and accept the studio work.

The establishment of the scenic studios has created a great deal of competition and sometimes it is very keen, for there are quite a number of assistants who do not know the business thoroughly, yet can convince a certain type of theatre managers who, very often are managers of a very good theatres, that their painting is just as good as that of a man of more than thirty years’ experience and a national reputation.

The raw material has advanced at such a rate that it is impossible to keep pace with it. At this writing (spring of 1918) with the great world’s war going on, common cotton has advanced to thirty-four cents a yard when two years ago it was only eleven cents, and the quality has dropped one hundred percent.

It is impossible to get the rich color we had two years ago. The color question is one of great importance. To begin with, one of the first important features of scene painting is the ground coating or “priming,” whiting and glue size. It must be very carefully mixed and “just so.” T takes several buckets to prime and ordinary drop; the edge must be kept wet so the color will be even all over. If the color edge is dry it will become too thick and will crack when rolled up. In many cases a strong tint in the priming is used for a tonal feeding, especially in landscape. It gives a certain amount of looseness when plenty of tonal color is left in the painting.

The end.”

 

To be continued…

 

 

Part 520: Palette & Chisel, October 1927 – Creating Stock Scenery

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” began during September 1927, however, it was originally written during the spring of 1918.

Here is the third part of Moses’ “Stage Scenery” in the Palette & Chisel newsletter during October 1927:

“The material used to paint on is a fine grade Russian linen and a heavy grade of cotton cloth. Linen is used for all scenery on frames; the cotton is used for drops and borders, usually called “hangers.” The lumber is a fine grade of clear, white pine, without knots or sap. It has to be very clear and straight grained so it will stand upright without too much bracing.

After the canvas has been carefully prepared with a priming coat of whiting and glue is thoroughly dried, the artist draws his design with charcoal, which must be carefully done. In many cases the model must be laid off in squares and the same is carried up on the drop or set pieces. This enables the artist to produce the model exactly as part of the paint frame is below the bridge most of the time so the artist cannot see all of the drop. After the scene is drawn in it is traced with ink, which enables the artist to lay in the main local colors without destroying the drawing. The drawing out of an interior is very laborious. The work has to be done very accurately and pounces and stencils made, as there are many pieces to be covered.

In case of a landscape, they sky is laid in first, distance follows, then the middle distance, and there are many pieces to be covered.

In case of a landscape, the sky is laid in first, distance follows, then the middle distance, and the foreground last. The trees are run up when the sky is dry, which takes a short time. After all the broad “masses” of the “lay in” are dry and a clean palette has been arranged by the “paint boy” and the pots and pails holding the “lay in” are placed under the palette, “(a clear space is required for the many tints that are mixed on the palette, several small cups of dark purple and a strong rich color is used to emphasize the darks in the foreground) comes the careful work of finishing a landscape; strong shadows and half tones in foliage up to the strongest flickering of sunlight. We now take a little more time for our work. The “lay in” had to be done very quickly as it is very essential that the colors be kept will blend, which, in turn, makes the “cut up” easier. A drop representing a landscape 24×36 feet in size can be “laid in” with a lot of rough detail inside of two or three hours and retain wet edges.

As the distemper colors dry out several shades lighter t causes many anxious moments to a novice. There was no trouble with color fading or changing before fireproofing; it eats all the blue (especially Cobalt) out of purple, leaving a bad color, neither a blue nor red, which makes trouble for the artist.

In most cases, in painting a landscape, the artist endeavors to obtain his dark colors in the “lay in” so that when the “cut up” comes it will be all light colors. Most of the artists start to finish the drops from the foreground, getting the strength of the foreground first. Big, broad strokes are what count. It may look rather coarse close by, but when the completed scene is properly lighted you will find a surprise awaiting you. We know how to light a scene, but often some of our best effects are purely accidental. We follow these accidents up, develop them, and find soft, atmospheric color, all to be done with electricity.

Stock scenery for small halls and opera houses and for large vaudeville theatres has grown to be quite a business. Scenic studios have sprung up like mushrooms all over the country. To get the very best facilities for handling all sizes of scenery, the studio has to have a height of at least 54 feet, allowing a drop 30 feet high to be painted from a stationary floor, 24 feet from the basement floor. The width of the studio should be at least 50 feet and 150 feet in length. A building of these dimensions will accommodate fifteen paint frames, giving work for fifteen artists, five paint boys, four helpers to handle the scenery on and off the frames, two sewing women and six carpenters to build and prepare the frames for the scenes. This would constitute a first class studio and turn put a lot of work.”

To be continued…

Part 519: Palette & Chisel, October 1927 – The Design Process

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series for “Stage Scenery” started during September 1927

Here is the second part of Moses’ October installment to the Palette and Chisel newsletter during 1927:

“The artist makes a ground plan of the scene, scaled to one-half inch to the foot. The stage director approves of it, the model is made and every detail is worked out in the model. The recessed window calls for glass or the equivalent; a thin piece of mica or celluloid is glued on the model over the opening cut in the cardboard, the sash lines are drawn with heavy ink, and small bits of heraldry or stained glass are introduced. All the doors have the small thickness jambs, the floor is drawn in imitation of inlaid woods, the whole model is carefully colored and when completed is submitted to the stage director who, in turn, submits it to the playwright and the producing manager. If any minor changes are necessary they are made. When the model is O.K. it is turned over to the stage machinist and an estimate is made to build and prepare the scene for the artist who makes an estimate to paint the scene, which includes the cost of the model.

When the scene is ready for the artist it is placed on his frame. When painted, the machinist puts on the finishing hardware and lines. It is now ready to be moved to the theatre to be produced or rehearsed. The artist and stage machinist superintend the setting and lighting for the first time. It is then turned over to the stage director, and here is where the real hard part of the production comes. After many nights of labor on the scene, as well as long days in preparing the models and painting the scene, completely fatigued and ready for a good nights sleep, he must attend the rehearsal, supposed to be a scenic rehearsal. It is anything but that. The chances are that a umber of artists are interested as there are three or more acts and often a number of scenes to each act, each scene probably painted by a different artist; so each must wait until his act or scene is called. Lucky the fellow who has the first act for he is apt to get away before 10:00 P.M. The one with the forth act will probably get away about 3:00 A.M. for the director will probably go over an act several times before pronouncing it perfect. If this happens in the third act the artist of the fourth act is alone in his long waiting. After he is through and on his way back to New York City he will probably be almost unable to keep awake.

Most of the new productions of New York City are tried out for a week or so over in New Jersey, at Jersey City, Newark, Trenton, Plainfeild or Elizabeth; they all have to stand for it, for that is about the only time they get any of the Broadway production, and the show soon hears from them. If it happens to be poor and the weak points are strengthened and rehearsed every day until they are in good shape for New York critics. The scenic decorations are supposed to be perfect; in fact, they must be perfect.

The scenic artist should know all branches of scenic art and not specialize too much. While it is almost impossible to be perfect in all branches, he should have a good knowledge of landscape, architecture, figures, free hand scroll, marines and drapery; in fact, about everything under the sun. While it is necessary for an artist to be absolutely correct in many details he very often has to gloss over a great many important points which are not noticeable to the public.

Within the past few years many of the stage interiors have solid wood wainscoting, six or seven feet high, very heavy door casing and thick jambs. These solid and realistic interiors are all right but even the relief ornaments and mouldings often have to be high lighted and the shadows made strong. The walls are usually made of some real fabric. So on these scenes there is very little work for the artist. Even in the exteriors the modern, up-to-date idea is to have a lot of artificial flowers and shrubs among the painted pieces.”

To be continued…

 

Part 518: Palette & Chisel, October 1927 – The Paint Studio

 

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series for “Stage Scenery” started during September 1927.

Here is the first part of the October installment during October 1927:

“The scenic artist has gradually drifted from the theatre to the scenic studios, where productions are designed, built and painted. The dramatic or operatic stock company employs its own artists and stage mechanics. The dramatic company usually has its scenery painted in the theatre. The opera company usually has so much scenery, and the greater part is carried over from year to year, that it has to have a large storehouse and usually combines a storehouse and paint room.

We visit the theatre studio first, picking our way down an unlighted alley until we find a door marked “STAGE ENTRANCE. NO ADMITTANCE.” The fine old crab who guards the door is one of the “down and outs” of the profession. He has held all of the good positions offered by the profession and he will tell you: “Me and Booth played together at Oshkosh.” He was quite likely, a property man or stage hand, hardly veer an actor or scenic artist. He is usually deaf, but his sense of feeling and seeing are very acute, so a piece of silver felt and seen opens the door and one is directed to the stairway which is found in the corner, is circular in shape and built of iron.

After a dizzying climb of thirty feet above the stage floor you will land on a solid floor called a “fly floor,” From here all scenery which is fastened to a set of lines, is raised and lowered. The drop curtain is also managed from here. In the modern theatre all of this work is done from the stage floor level. Thousands of feet of half-inch rope is required to handle the scenery, to say nothing of the steel cable that I used.

You feel your way along the rail called the “Pin rail”; to this all of the lines are fastened. You will see a bright light at the rear of the stage; this is the “paint bridge” – six feet wide and reaching from one fly floor to the other. Between this bridge and the back wall is hung the paint frame, also one on the other side of the bridge. These two frames are skeleton frames, as light as possible, but strong enough to hold the frame pieces of scenery of the drops and borders to be painted. These are operated from the floor by a windlass; plenty of counterweights are used to balance the heavy load of scenery. Everything that hangs is operated over pulleys placed on the “gridiron,” sixty feet above the stage floor. A “strip” light is necessary for painting. The artist has a designing room on the fly floor. The palette is two feet wide and eight feet long, two feet and six inches high, mounted on a table with castors. A smooth surface is required for mixing of tints, a set of palette bowls, each six inches in diameter, about sixteen in number and filled with the colors mixed in the pure state with water – other tints are mixed in pans or small pails; a pail of glue size and a pail of clean water, a few brushes. A few strong strokes, with a crayon stick filled with charcoal, you see the design and the painting starts immediately.

In this case we will not do any painting until we find out just what it is going to be. Before any actual work is done the playwright has to give over the manuscript to the manager who has agreed to produce it. The stage director is called in and sometimes whole scenes are cut in spite of anything the playwright may say. He often rehearses the play. If he is a big man, with a reputation, he pays no attention to any one and does as he pleases. When everything is O.K.’d by everyone the manuscript is handed to the scenic artist who, in turn, reads it very carefully and makes notes of the principal “business bits” which are usually marks with red ink. This is very important, as the playwright has fitted the scenes and play together and has specified as follows: “Act 1. Scene 1. A library – Tudor Gothic – one large arch C – fireplace R C – recessed window with seat, doors down L door 2-R night. Place, any place in England, early Nineteenth Century.” By making notes and reading carefully we find a character opens and enters the recessed window, necessitating a different construction; door down right must open on stage.”

To be continued…