N
40.1
B644C5
1911
NMAA
SPECIAL EXHIBITION CATALOGUE
CITY ART MUSEUM OF ST. LOUIS
A COLLECTION OF
DECORATIVE WORKSliY THREE AMERICAN PAINTERS
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THE CITY ART MUSEUM IS OPEN TO THE PUBLIC, FREE, EVERY DAY, INCLUDING SUNDAYS, FROM TEN O'CLOCK A. M. UNTIL FIVE O'CLOCK P. M.
DURING JUNE, JULY AND AUGUST, THE MUSEUM WILL BE OPEN ON SUN- DAYS UNTIL SUNDOWN.
41 EDWIN ROWLAND BLASHFIELD
Toleration; Lord Baltimore in Armor
60 EDWIN HOWLAND BLASHFIELD The Law of Remote Antiquity
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SPECIAL EXHIBITION CATALOGUE Series 1911; No. 11
THE
CITY ART MUSEUM
ST. LOUIS
A COLLECTION OF DECORATIVE WORKS, COMPRISING PAINTINGS, DRAWINGS, CARTOONS, SKETCHES AND REPRODUC- TIONS OF PAINTINGS BY MR. EDWIN HOWL AND BLASHFIELD, MRS. MARY FAIRCHILD LOW AND MR. WILL H. LOW
OPENING SUNDAY MORNING, MAY 21ST, 1911, AT TEN O'CLOCK, IN GALLERY 16, IN THE EAST WING, AT THE FOREST PARK ART BUILDING AND CONTINUING FOR FOUR WEEKS
1874 HALSEY C. IVES, LL.D., DIRECTOR 1911
THE CITY ART MUSEUM, ST. LOUIS
BOARD OF CONTROL
WILLIAM K. BIXBY President
DAVID R. FRANCIS Vice-President
WILLIAM H. LEE GEORGE L. ALLEN THOMAS H. WEST
DANIEL CATLIN
EX-OFFICIO:
FREDERICK H. KREISMANN
as Mayor
BENJAMIN J. TAUSSIG
as Comptroller
PHILIP C. SCANLAN
as Park Commissioner
Director HALSEY C. IVES, LL. D.
IN MEMORIAM
HALSEY COOLEY IVES, LL. D.
Born, Oct. 27, 1846. Died, May 6, 1911.
"Loving hands in his old home at Montour Falls, X. !".. will consign to their final resting place the ashes of Halsey C. Ives. We3 too, wish to join in spirit in that sacred office and to honor St. Louis by paying our tribute of gratitude to the memory of the man who for nearly forty years made St. Louis Jiis home, its higher intellectual ana" aesthetic interests his controlling ambi- tion, and our Museum and the School Of Fine Arts specifically his life work.
••The end Halsey C. Ives steadily held in view was what he believed to be the best interests of the Art Museum and the development of artistic taste and knowledge in St. Louis. No phase of this work appealed more potently to him than the carrying out of its policy of enabling young men and women to make a better living than they otherwise could, by designing, model- ing, decorating, bookbinding, or through some other form or artistic endeavor.
•'Many great artists hare received their first instruc- tion in the school that Halsey C. Ives founded. Their early training and encouragement at a critical stage was received here, and Dr. Ives always took a keen and watchful interest in their subsequent careers.
•'There never was a man more loyal to his friends than Halsey C. Ives. 'By their works shall ye know them.' This is the supreme and the final test, and by that test our friend and his life work must be judged.
'•While others did their part in erecting this build- ing and in securing the contents, yet, as the leu'ler of art in St. Louis, this building, with what it holds and what it means, stands as an imperishable monu- ment to his memory. But, noble as this monument is. there is a nobler. Down there it lies at the foot of the hill — the Art School. There, where young hands ti.il painfully toward skill, where young ideas are ripening to fruition, where young souls dream dreams and young hearts see visions, where young ambitions are rearing their heads toward achievement — there, and in the hearts of a multitude who hare gone forth front it into lives of usefulness and beauty, there we must look for the living and eternal monument of Halsey C. Ives."
— "From the Address of Mr. William K. Bixby, at the Memo- rial Meeting, Before the City Art Museum, May 22d, 1911."
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13
A COLLECTION OF
DECORATIVE WORKS BY
THREE AMERICAN PAINTERS
INTRODUCTORY Contributed by Request
The art of the mural painter in this country may be said to be contemporaneous in its use with the centenary of American independence- In 1876, the late John La Farge was entrusted with the decoration of Trinity Church, Boston, and in that and the following year William Morris Hunt painted in the Assembly Chamber of the State Capitol at Albany, Xew York, the two large panels of "Columbus, the Discoverer," and the "Flight of Night Before the Dawn of Civilization" — works that have been hidden from sight many years by a false ceiling made necessary by the faulty construction of the Assembly Chamber, and which have been finally destroyed a few weeks since by the hre that entailed a partial destruction of the New York State Capitol.
Until 1893, on the occasion of the Columbian Exposition in Chicago, however, American artists were offered little scope for their decorative talent, though by exception two of those whose work is here shown were thus employed, Air. Blashfield. who executed an important ceiling for a private house in New York in the early 80s, and Ylr. Low, whose reception room ceiling for the Waldorf-Astoria antedates the Exposition by a year.
Since the day of the White City, mural painting has grown to such extensive use that at present there are few cities through- out our land that have not one or more specimens of this latest and most vital manifestation of our native art, and few edifices
9
The City Art Museum St. Lou
is
of a civic, state or federal character are planned and erected today without recourse to the vivifying art of the mural painter, who with his brother, the decorative sculptor, are thus called upon by the architect to complete by the depiction of a theme that may be allegorical or historic but which must be typical, an erection that would be otherwise, however perfect in its design and proportion, cold and voiceless.
In its quality of evocation, in its capacity to explain the purposes of a monument, may be found the secret of the growth of mural painting in this country during the past generation, and through its ministration in the widely scattered examples that this period has seen brought into being we come closer to an art for the people than through any other agency.
It is a common remark by critics of our art, especially by those of foreign birth, that while we have developed in the United States a school of landscape painting of surprising merit, we have as yet little to show in figure painting. Such a conclusion might easily be formed by those whose only knowledge of our native work is acquired by the frequentation of our art exhibi- tions. The successive showing of works of art in our City Museum here in St. Louis would, up to the present time, seem to prove no exception to this rule. It was for the purpose, there- fore, to make the series of exhibitions here given more truly comprehensive of all manifestations of American art that one of the last acts of the life of our late Director, Halsey C. Ives, was to bring together the collection here shown.
In a letter received by one of the three exhibitors, which arrived only after the report of Mr. Ives' sudden death, he speaks of his hope of exciting interest in mural painting in the city for which he labored so long and earnestly, and planned for his presence here in order to further his projects to that end. His presence here is denied us, but the exhibition may serve not only to fulfill its general purpose as an educational exposition of mural painting, but as final evidence of our late Director's hearty interest in every form of American art and his especial desire to welcome this comparatively late growth, which permits the mural painter to develop his theme upon a scale less restricted
10
An Exhibition of Decorative Works by Three American Painters
than that which limits the painter of the detached easel picture— a desire which led Mr. Ives, in an earlier instance, to include such representation as could be assembled in the Art Department of which he was Chief in the Louisiana Purchase Exposition, in St. Louis, 1904.
With the exception of the comparatively few figure painters
who contribute to our usual exhibitions, it is evident that a goodly number of our artists who are best trained to cope with the portrayal of the human figure, generally upon a heroic scale, are engaged in mural painting. There is a sharp distinction to be drawn between the easel picture and the mural painting. The easel picture, whether of landscape or figure subject, may be best described as a window opening upon a scene which has impelled the painter to its portrayal. In this he is bound by no law other than to render what he desires to make visible to others. The whole force of the entire range of. color, or of light and shade is at his disposal, and all the elements that go to make up a picture may be called upon to this end ; for the work of art thus conceived bears no relation to any other work of art but is complete within itself.
Not so the mural painting. This must be conceived and executed in obedience to its environment- In shape, in color, in the scale of the objects represented it must conform to its architectural surrounding. It is painted to be seen in a definite place, in a light which can be made neither more brilliant nor more dim, and in subject, it must serve to explain and make clear the purposes of the building it adorns, as the grouping of lines and masses within its field must harmonize with its architectural adjuncts.
Hence, the only proper place in which to judge of the quality of a mural painting is before the space which it has been made to fill. Where it is seen at the proper distance, and where its conformity to the rigid laws set down above, or its failure to meet these conditions, can alone be fully judged. From their great dimensions, it is ordinarily impossible to include the full- sized mural paintings in our general art exhibitions, even if the absence of the surroundings for which they are painted would
11
The City Art Museum St. L
0U1S
make such inclusion desirable, and therefore there are a great number of our painters continuously busy upon this class of work, whose names seldom or never figure in the catalogues of our art exhibitions, and thus fail to the superficial observer to be counted as trained and skillful figure painters.
This exhibition, therefore, contains, with one exception, no work that is complete. For the most part, the drawings, color studies and photographs which it presents, show the material from which the definite resulting works were fashioned. In nearly all cases the definite works are complete and placed per- manently in various buildings throughout the Union, serving their purpose of embellishing the edifices for which they were designed, of explaining the purposes of these constructions, and. above all, of bringing the saving grace of art in closest contact with our people— a message of cheer and of beauty to a race too intent upon its material task and too unthinkingly forgetful of its spiritual alleviations.
The one definite work here shown should have a peculiar interest for St. Louis. This is the large lunette entitled "Prim- itive Woman," by Mary Fairchild Low (Airs. Will H. Low), which, since adorning the Woman's Building at the Columbian Exposition in Chicago, 1893, has been carefully preserved. This canvas, sixty-six feet in length, is possibly the largest ever painted by a woman, though in her treatment of the theme the artist betrays no consciousness of any limitation of sex. With the early career of Miss Fairchild, as she then was, in the School of Fine Arts in St. Louis, which led to her being enabled, through a fund initiated by Mr. Ives, to study abroad, our city is familiar. Her brilliant record in Paris led to her selection, almost at the debut of her career, to paint this great canvas. That she acquitted her difficult task to the satisfaction of the most critical, all who can remember the decoration in place at Chicago in that momentous year of 1893 can testify. A series of fortunate events enabled Mr. Ives to secure the work for temporary exhibition, and, as the subsequent career of his whilom pupil has brought medals and honors to the artist both abroad and at home, it is somewhat in the nature of a home-coming, that "Primitive Woman" should be shown in St. Louis.
12
An Exhibition of Decorative Works by Three American Painters
The drawings of Mr. Edwin II. Blashfield testify to both the quality and quantity of the work which he has been called upon to do since 1893, though even in this suggestive form but a small portion of it is shown here. The mural paintings which he lias signed occupy definite places from our seaboard on the east to our far western boundaries. Few of our painters have done as much as he and none have done better. Varying his themes, as the demands of architectural fitness and of locality have dictated, his work has always given evidence of the sure possession of a design of monumental character, tempered by a rare sense of beauty and expression in his heads, a rhythmic sweep of line in his figures and draperies, and a full chromatic vibration of color. An earlier picture by Mr. Blashfield, "The Flaming" Sword," shows like qualities, and is typical of the character of decorative easel picture which he, in common with those who, like himself, felt called to decorative work before the dawn of mural painting in this country, contributed to our exhibitions in those days.
The third exhibitor, Mr. Will H. Low, is also a veteran of the service to mural painting, if such a term may be used in reference to so recent an art, his earliest work, as an assistant to the late John La Farge, dating from 1881. His contributions to the exhibition consist largely of the preliminary sketches, small scale color studies, and photographs of completed works by which the visitor may follow the methods of the mural painter from the earliest inception of the work to its completion ; although in his case as in Mr. Blashfield's the completed work is lacking. From the careful quarter-size study in color of a panel like that for the Federal Building in Cleveland, taken in conjunction with the photograph of the completed work, a fairly complete idea may be formed of the definite work, though again, as in all the work shown here, it must be borne in mind that a mural painting, from its first conception until it is placed upon the wall for which it is designed, is simply a part of a whole, and its conjunction with and submission to the work of the architect alone completes it — gaining much from both the conjunction and submission and adding something of light, life and grace to the solid con- struction.
13
The City Art Museum St. L
OU1S
From "AN ARTIST'S PROGRESS," by MR. WILL H. LOW.
When the White City was built in 1893 art assumed a definite place in our national life. Then for the first time we awoke to a realization that art of the people, by the people, for the people had come to us. It came to this New World of ours in the old historic way. From the seed sown in the Orient, through Greece, through Italy from Byzantium, wafted ever westward, its timid flowering from our Atlantic seaboard had been carried a thousand miles inland to find its first full eclosion ; not as a single growth, but as the triple flower of architecture, painting and sculpture.
And, as always, it fulfilled its mission of mind over matter. It was a foregone conclusion that the Columbian Exposition would show triumphantly our material power, would demonstrate the potentiality of our commerce, our agriculture and our mechan- ical arts. Nor in the event, were these lacking, but the millions who came to the exposition carried away as the one chief impression, as its most potent appeal, that of the triumph of art. From that day art has carried a new message to our people ; since that day it has stood erect, has added to its stature, and now, still in its youth, it takes its place, a younger brother, but counting with its elders in the family of the art of the world.
Those who had watched the development of our art effort with jealous eye had already seen, at the Paris Exposition of 1889, that the progress for which all had hoped, and for which some had worked, was marked, and then and there our foreign critics had acknowledged the promise of our art. But it was in Chicago, in 1893, that there was gathered for the first time a larger and more comprehensive exhibit of our painting and sculpture, and there, in frank comparison with typical collections of the work of other nations, our own more than redeemed that promise. We showed that since the Centennial Exhibition in Philadelphia, in 1876, there had been begun and carried forward a school whose technical equipment evinced qualities that our earlier artists had not mastered, while, if for this merit we were indebted to the Old World, its expressional qualities were strongly marked by the influences of the New.
Since then in St. Louis, at the Louisiana Purchase Exposition of 1904, an even larger and more comprehensive showing of American work has been had, and this time all forms of our art were exhibited, for the applied arts were included. Here again we met in friendly rivalry our brothers of the Old World, and again the healthy and growing merit of our work was such that
14
An Exhibition of Decorative Works by Three American Painters
we can look forward to our future with assured certainty thai it is not for a day and a momentary sojourn that art ha- traveled westward.
Up to the time of the Columbian Exposition the whole sig niheation of the word art, as understood by our people, and by many of our artists as well, was centered upon unrelated and independent works of painting- and sculpture. Our architects, it is true, had already grown in numbers, and. the qualities of their work had, under the double stimulus of thorough training and abundant opportunity for practice, increasingly gained in struc- tural and decorative merit. But it seldom occurred to our public to consider architecture as an art or its practitioners as artists. It remained, therefore, for the triumphal exposition of their knowledge and inspiration at Chicago in 1893 to correct this error and restore to the architect his place as an artist, and to his work the prouder title of mother of the arts-
For, to all who follow the arts and also to the general public, it was not the contents of the noble art palace which the genius of Charles Atwood had conceived — that still stands in its partial ruin in Jackson Park, Chicago, as one of the most beautiful buildings in the world — which was the most significant indication that a greater phase of art was disclosed to our people. No, precious as were many of the exhibits in the art galleries and in the other buildings of the exposition, it was not the jewels but the casket which contained them that satisfied the primordial hunger for beauty of all who saw them — which has remained in our memory as a beautiful vision since that day.
Nor was it the architect alone to whom was due our grateful admiration, though to him is due the stately order of the Court of Honour, the Peristyle, and the planning of the whole mar- velous dream come true. True mother of the arts, Architecture had called in to her assistance her twin children, Painting and Sculpture, and, working together as they never had before in our land, they had produced a more glorious work of art than the modern world has seen before or since.
It was this alliance of the arts that was new to us, that opened before the artist a new field of endeavor, a larger, nobler employ than the conditions existing before this happy conjunction had accorded to his effort in this country.
A nobler employ, I insist, for if we pause to think a moment we must agree that the production of sculpture and painting has another and more important mission than merely to give pleasure, and that the artist scarcely fulfills his mission who only seeks to gratify some individual and exacting taste that may perchance lower his creative ideals.
15
The City Art Museum St. L
ouis
This is to hark back once more to the days of the Columbian Exposition, for it was there that was established a new outlet to the artist's endeavor, one that has since then seen in each succeeding year a new mile-stone added along the highway of progress toward this higher standard which we must strive unceasingly to attain. It began auspiciously, for there was much of nobility in the universal agreement on the part of each individual connected with the enterprise to consider it patriotic- ally, and subjugate all the prejudices of sectional or private interest to insure its success as a national effort.
This sentiment, I may say in passing, originated with the capitalists who provided the means for the activity of those who planned and carried out the unrivalled exposition buildings, but with these last it entailed greater sacrifice perhaps, for they were a band of men gathered from all parts of the country where they had each worked, every man for himself, architects, painters and sculptors, according to the principles imbibed from their various education, made stable by the lessons learned in their individual practice. With such material cohesion of effort and uniformity of aim might have seemed impossible, but in fact proved easy, so penetrated were one and all with the desire to make each personal contribution swell the sum of a harmonious common result. There must have been as well an instant recom- pense of joy for each subjugation of self, as every worker recognized how greatly his individual effort gained importance as an integral part of the whole.
The men were all inexperienced, even those of longest practice were only authors of isolated works, which, however important, played no part in a great comprehensive scheme like that on which they now entered- As this was true of the architects, it was even more applicable to the sculptors and painters, most of whom then and there entered upon a phase of their career so strange to them that it was virtually a new element which came into their life and their practice.
We all know how triumphantly they succeeded, for though the buildings have vanished, though the sculptures of fountain, court and terrace are gone, though the paintings of frieze and dome have been stripped away, their memory remains and the whole vast and beautiful conception still serves to illuminate the lives of all those who were permitted to see it.
Yet this existing and physical effect, however vividly it is retained in our memory or transmitted by description to unborn generations, is but a part, and a small part, of the service which this great exposition rendered to our art. Up to that time we
16
An Exhibition of Decorative Works by Three American Painters
had seen more than a century of effort upon these shores. We had had good and earnest men, gifted in their craft, solicitous to implant its beneficence as a part of our national life, but at each step baffled by one of the very principles on which our Constitution is based, that forbids the encouragement of private interest at the public expense. They knew not less than we know- today that no art could become stable and part of our national patrimony that was subject to private encouragement alone. They saw from year to year the fluctuations of individual taste- as they saw our painting apparently hopelessly involved in the production of small easel pictures such as alone the comparatively small and ill-lighted houses that we built could harbor. They saw sculpture for the same reason limited to portrait busts or the rare statue of the statesman in broadcloth. They knew as well as we do now that in the more fortunate countries of the Old World art has been kept healthy and progressive through the opportunities afforded to the artist to try his mettle with themes of larger scope. But they were too good Americans to wish, even if they could hope, to alter our prohibition against special encouragement of private interest which has made us one and all so sturdily individual.
17
1 KDWIN ROWLAND BLASIIFIELD
The Flaming Sword
EDWIN HOWLAND BLASHFIELD
"Born in New York, December 15, 1848. Pupil of I'.onnat in Paris. Bronze meclal. Paris Exposition, 1900; gold medal, St. Louis Exposition, 1904. National Academy. 1888; member Society American Artists. i8Sj; Mural Painters; New York Architectural League, 1886; Municipal Art Society; National Sculpture Society; Fine Arts Society; Century Associa- tion; National Arts Club; Artists' Aid Society of New York (hon.)l National Institute of Arts and Letters. Also writer." — American Art Aiut 11 a!.
PAINTINGS
1 The Flaming Sword
DRAWINGS
2 Study for Alma Mater: College of the City of New York
3 Study for figure, after draping, of University of Paris :
College of the City of New York
4 Study for figure of University of Heidelberg: College of
the City of New York
5 Study of figure, before draping, of University of Paris :
College of the City of New York
6 Study head of figure of Islam of University of Cordova :
College of the City of New York
7 Study head for figure of University of Alexandria:
College of the City of New York
8 Child with a Lamb
9 The Future : Decoration in Wisconsin State Capitol
10 Head for figure of Wisconsin : Wisconsin State Capitol
(red chalk drawing)
11 Lake Michigan: Study for figure in decoration in Wis-
consin State Capitol
12 Group of Men : Study, before draping figures, of pioneers
in decoration in Wisconsin State Capitol
13 Figure of Girl : Decoration in Wilkes-Barre Court House,
Wilkes-Barre, Pa.
19
The City Art Museum St. L
OU1S
14 Profile of a Workman : Wilkes-Barre Court House,
Wilkes-Barre, Pa.
15 Claudia: Study for decoration in United States Federal
Building, Cleveland, Ohio
16 Popular and Military Music : Decoration for music room
of Adolphe Lewisohn, New York
17 Head of an Angel: Cleveland Federal Building, Cleve-
land, Ohio
18 Figure of Girl, Supplicating: Cleveland Federal Build-
ing, Cleveland, Ohio
19 Study Head of Bishop : Cleveland Federal Building,
Cleveland, Ohio
20 Crouching Figure : Study for decoration in Federal Build-
ing, Cleveland, Ohio
21 Study Head: In decoration for United States Court
House, Cleveland, Ohio
22 Nude Figure of Girl : Decoration referring to Hudson
Fulton celebration
23 Steam (Water and Fire) : Decoration referring to Hud-
son Fulton celebration
24 War ; profile head of girl : Baltimore Court House
25 Mercy and Justice : Study for figures in decoration,
"Toleration," in Baltimore Court House
26 Study for figure of Colonial Girl in decoration in Balti-
more Court House
27 Head of Woman : Iowa State Capitol
28 Ethel: Study for figure in panel decoration in Iowa State
Capitol, Des Moines, Iowa
29 Eleanor
30 Eleanor : Profile
31 Art: Study for figure in decoration in library of George
W. C. Drexel, Philadelphia
32 Music : Study for figure in decoration in library of George
W. C. Drexel, Philadelphia
33 Study head of Angel in Chancel of Church of the
Saviour, Philadelphia
34 Study Head in decoration of Church of the Saviour,
Philadelphia
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An Exhibition of Decorative Works by Three American Painters
35 Study for figure,, before and after draping, in decoration
of Church of the Saviour, Philadelphia
36 Selma : Study for a decoration
37 Figure of French Explorer in Louis XIV costume:
Decoration in Senate Chamber, State Capitol of Minne- sota
38 Mercy: Figure of girl
38a Study for fragment in Decoration of Iowa State Capitol
PHOTOGRAPHS
39 Washington Laying his Commission at feet of Columbia :
Large photograph of decoration in Baltimore Court House
40 Washington Laying his Commission at Feet of Columbia :
Small photograph of decoration in Baltimore Court House
41 Toleration ; Lord Baltimore in armor : Large photograph
of decoration in Baltimore Court House
42 Uses of Wealth : Large photograph of lunette in Cleve-
land Citizens' Bank, Cleveland, Ohio
43 Uses of Wealth : Smaller photograph of lunette in Cleve-
land Citizens' Bank, Cleveland, Ohio
44 The Law : Decoration in Cleveland Federal Building,
Cleveland, Ohio
45 Justice : Large photograph of decoration in Wilkes-Barre
Court House, Wilkes-Barre, Pa.
46 Girl Pioneers and Indians: Large photograph of decora-
tion in State Capitol, Pierre, South Dakota
47 Prairie Schooner and Oxen : Small photograph of deco-
ration in Minnesota State Capitol
49 Minnesota Riding on Grain Sheaves : Small photograph
of decoration in Minnesota State Capitol
50 Minnesota Riding on Grain Sheaves : Large photograph
of decoration in Minnesota State Capitol
51 Decoration of Senate Chamber of the State Capitol of
Minnesota
52 The Power of the Law : Decoration in the Law Court of
Appeals, Xew York City
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The City Art Museum St. L
ouis
53 Forest Scene: Small photograph of decoration in State
Capitol of Wisconsin
54 Chancel of the Church of the Saviour, Philadelphla :
Small photograph
55 Music; A Processional with Pegasus and musical
figures: Ceiling in house of Adolphe Lewisohn, New York
56 . Prudence Binding Fortune : Lunette in Prudential Build-
ing, Newark, N. J.
57 Thrift Driving the Wolf from the Door : Lunette in
Prudential Building, Newark, N. J.
58 Scaffold in Library of Congress, Washington, D. C.
59 Part of decoration in Library of Congress, Washing-
ton, D. C.
60 The Law of Remote Antiquity : Decoration in Court
House, Youngstown, Ohio
61 Hudson County Court House Pendentives : Youngstown,
Ohio
62 Hudson County Court House Pendentives : Youngstown,
Ohio
63 Hudson County Court House Pendentives : Youngstown,
Ohio
64 Hudson County Court House Pendentives : Youngstown,
Ohio
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An Exhibition of Decorative Works by Three American Painters
MARY FAIRCHILD LOW
Mrs. Will H. Low
"Born, New Haven, Conn. Pupil of St. Louis School of Line Arts; Carolus-Duran and Julian Academy in Paris. Paris three years' scholarship from St. Louis School of Line Arts; medal, Columbian Exposition, Chicago, 1893; bronze medal, Paris Exposition, 1900; bronze medal, Pan-American Exposition, Buffalo, 1901; gold medal, Dresden, 1902; Julia Shaw prize, Society American Artists, 1896; Associate National Academy, 1906; New York Womans' Art Club; Womans' International Art Club, London." — American Art Annual.
65 Primitive Woman: Decoration for Woman's Building, World's Columbian Exposition, Chicago
25
66 WILL II. LOW "Let Him Without Sin Cast the First Stone'
An Exhibition of Decorative Works by Three American Painters
WILL H. LOW
"Born, Albany, N. Y., May 31, 1853. Pupil of Ecole des Beaux Arts under Gerome, and of Carolus-Duran in Paris. Silver medal, Paris Expo- sition, 1889; medal, Columbian Exposition, Cbicago, 1893; Lotus Club Fund, National Academy of Design, 1895; silver medal Pan-American Expo- sition Buffalo, 1901; member, International Jury of Awards, St. Louis Exposition, 1904. Member, National Academy, 1890; Society American Artists 1878; Mural Painters; New York Architectural League, 1889; Centurv Association. Also writer." — American Art Annual.
PAINTINGS
66 "Let him without sin cast the first stone" (Owned by Mr. Julius F. Janes)
SKETCHES AND STUDIES
67 Homage to Woman : Study for ceiling in Ladies' Reception
Room, Waldorf-Astoria Hotel, New York City
68 Cleveland Receives from Art its new Civic Plan : Study
for over-mantel panel in United States Federal Building, Cleveland, Ohio
69 "Suffer Little Children to Come unto Me": Study for
panel in St. Paul's Church, Albany, N. Y.
70 Prosperity under the Law : Preliminary sketch for panel
in court room, Luzerne County Court House, Wilkes- Barre, Pa.
71 Diogenes and the Honest Man: Preliminary sketch for
panel in court room, Essex County Court House, Newark, N. J.
72 Sketch for Panel in Essex County Court House,
Newark, N. J.
73 The Garden of Diana ; Henri II and Diana de Poitiers
in the garden of the Chateau d'Anct : Preliminary sketch for lunette in residence of Anthony N. Brady, Albany, N. Y.
74 The Garden of Diana ; Henri II and Diana de Poitiers
in the garden of the Chateau d'Anct : Preliminary sketch for lunette in residence of Anthony N. Brady, Albany, N. Y.
27
The City Art Museum St. Louis
75 Tin; Garden of Diana; Henri II and Diana de Poitiers
jx the GARDEN of THE Chateau d'Anct : Preliminary sketch for lunette in residence of Anthony X. Brack. Albany, N. Y.
76 The Garden of Diana; Henri II and Diana de Poitiers
in the garden of the Chateau d'Anct : Preliminary sketch for lunette in residence of Anthony N. Brady, Albany, N. Y.
yy Portion of decorations in residence of Anthony N. Brady : Half scale study
78 Portion of decorations in residence of Anthony N. Brady :
Half scale study
79 Portion of decorations in residence of Anthony N. Brady :
Half scale study
80 Portion of decorations in residence of Anthony N. Brady :
Half scale study
81 Portion of decorations in residence of Anthony N. Brady :
Half scale study
82 Portion of decorations in residence of Anthony N. Brady :
Half scale study
83 The. Tribute of the Old World and the New: Prelim-
inary sketch for proposed decoration in Hotel Manhattan, New York
84 Spring: Study for stained glass in residence of Oscar
Straus, New York
85 Summer: Study for stained glass in residence of Oscar
Straus, New York
86 Autumn : Study for stained glass in residence of Oscar
Straus, New York
87 Winter: Study for stained glass in residence of Oscar
Straus, New York
88 The State: Preliminary sketch for proposed decoration
in Albany Savings Bank, Albany, N. Y.
89 The City : Preliminary sketch for proposed decoration
in Albany Savings Bank, Albany, N. Y.
90 The Colony : Preliminary sketch for proposed decoration
in Albany Savings Bank, Albany, N. Y.
'91 The Guitar: Sketch in style of Louis XV for music room' in residence of the late Charles T. Yerkes, New York
28
An Exhibition of Decorative Works by Three American Painters
92 The Violin : Sketch in style of Louis XV for music room
in residence of the late Charles T. Yerkes, New York
93 Song : Sketch in style of Louis XV for music room in
residence of the late Charles T. Yerkes, Xew York
94 Painting: Sketch in style of Lonis XV for music room
in residence of the late Charles T. Yerkes, Xew York
95 Madonna della Pratinella, Our Lady of the Daisy and
Two Attendant Angels : Full size color cartoon for stained glass window executed for the late Gardiner G. Hubbard, and erected in Rock Creek Church, near Wash- ington, D. C.
96 Madonna della Pratinella, Our Lady of the Daisy and
Two Attendant Angels : Full size color cartoon for stained glass window executed for the late Gardiner G. Hubbard, and erected in Rock Creek Church, near Wash- ington, D. C.
97 "Honor thy Father and thy Mother": Half scale color
cartoon for stained glass window for Chester W. Chapin, erected in Unitarian Church, Springfield, Mass.
98 The Dance: Preliminary sketch for one of the lunettes
in ball room of the Waldorf-Astoria, XTew York
99 Central portion of ceiling of ball room in the Waldorf-
Astoria, Xew York : Preliminary sketch
100 Central portion of ceiling of ball room in the Waldorf-
Astoria, Xew York: Preliminary sketch
101 Proposed decoration of a XAtional Bank Building : Pre-
liminary sketch
102 Original drawing for Diploma of Louisiana Purchase
Exposition Company
PHOTOGRAPHS
103 Interior of ball room, Waldorf-Astoria Hotel, showing
decorations in place.
104 Lunettes and Panels executed for ball room of Waldorf-
Astoria Hotel
105 Lunettes and Panels executed for ball room of Waldorf-
Astoria Hotel
29
The City Art Museum St. Louis
1 06 Lunettes and Panels executed for ball room of Waldorf-
Astoria Hotel (The oval panels represent types of different nations, each with a typical instrument of music. The lunettes repre- sent the Dance, the Drama, Music of the Sea, Music of the Woods, Music of Peace and Music of War.)
107 Golden Autumn: Ceiling executed for residence of W. V.
Lawrence, New York
108 Garden of Diana : Four panels of decoration executed for
residence of Anthony N. Brady, Albany, N. Y.
109 Garden of Diana : Central panel of decoration executed
for residence of Anthony N. Brady, Albany, N. Y.
no "Suffer Little Children to Come unto Me": Completed panel executed for St. Paul's Church, Albany, N. Y.
in Diogenes and the Honest Man: Panel in court room of Essex County Court House, Newark, N. J.
112 Prosperity under the Law : Panel in court room, executed
for Luzerne County Court House, Wilkes-Barre, Pa.
113 Cleveland Receives from Art its new Civic Plan: Over-
mantel panel, executed for United States Federal Build- ing, Cleveland, Ohio
30
*8 WILL H. LOW
The State: Preliminary Sketch for Proposed Decoration in Albany Savings Bank, Albany, N. Y.
COLLECTIONS NOW INSTALLED IN THE ART MUSEUM
CURRENT SPECIAL, EXHIBITIONS
Decorative Work by Three American Painters: Mr. Edwin H. Biashfield, N. A.; Mrs. Will H. Low, A. N. A.; Mr. Will H. Low, N. A gallery 16
Paintings by Mr. Lewis Cohen gallery 19
Etchings, etc., by Mr. C. F. W. Mielatz, A. N. A gallery 25
Recently purchased for the permanent collections. Etchings, etc., by Mr. Joseph Pennell, N. A gallery 20
Recently purchased for the permanent collections, (A special catalogue is issued for each of the above-named collections.) Central American Antiquities (Expedition of the St. Louis
Society of the Archaeological Institute of America).. gallery 12
OTHER INSTALLATIONS
Paintings lent by Mr. George B. Leighton gallery 14
Paintings belonging to the W. K. Bixby American Art Acquisi- tion Foundation gallery 15
Paintings lent by Mrs. O. E. Forster gallery 22
Other paintings, in galleries 32, 6, 7, 14, 15, 23, 28, 30 and 31
Drawings and sketches galleries 4, 5 and 9
Arundel prints, of masterpieces of painting gallery 1
Greek sculpture galleries 17 and 24
Roman and Renaissance sculpture gallery 8
and northwest alcove of central sculpture hall. Modern sculpture, principally installed in the central sculpture hall. Antique and classic bronzes, installed decoratively in various galleries.
Egyptian and Assyrian antiquities, including sculpture gallery 21
Medallions in cases gallery 1
Japanese and Chinese Art, chiefly in galleries 6 and 7
also galleries 13 and 1
Metal work, chiefly in gallery 29
also galleries 15 and 1
Pottery, etc., chiefly in gallery 13
Glass galleries 13 and 20
also galleries 21, 23, 20, 1. 6, 7, etc.
St. Elizabeth Mosaics (presented by Mr. Adolphus
Busch, 1905) central sculpture hall
Fabrics, etc., chiefly in galleries 29 and 7
also in Indian and other collections. American Indian Handiwork —
The Dyer Collection galleries 5, 4 and 9
The Andrew Collection and other exhibits galleries 1 and 4
Louisiana Purchase Exposition Memorial Collection, lent by
Hon. David R. Francis galleries 10 and 11
Architectural models, etc galleries 17 and 8
and central sculpture halL