Chapter 5 ART STUDY IN AMERICA

During the time of my preparation for entry to college, a wandering artist had happened to find his way to Schenectady, one of the restless victims of his temperament, to whose unrest fate had given other motives for change than his occupation. He was an Englishman by the name of John Wilson, a pupil of the brothers Alfred and Edward Chalons, fashionable London miniature painters of the early part of the century. In years long gone by he had established himself at St.

Petersburg as a portrait painter, but, losing his wife and two children by a flood of the Neva, which occurred during his momentary absence in England, he abandoned Russia and went to one of the Western States of America and gave himself up to agriculture. Here fate found him again, and, after losing another wife and other children, he became a wanderer, interested in everything new and strange. He had been taken by Pitman's then new phonography, and his chief occupation at that time was teaching it wherever at any school he could form a class. He came to Union College, to this end, and had been recommended to my mother for board and lodging, and she gladly availed herself of the opportunity to get for me lessons in drawing in return for his board. He was a constitutional reformer, a radical as radicalism was then possible, had become an atheist with Robert Dale Owen, indignant at the treatment accorded him by destiny, and was au fond an honest and philanthropic man. He taught me the simplest rudiments of portrait and landscape in water-color, and of perspective, of which he was master, and, as he failed to find a field for his phonographic mission, I got up a small class in drawing for him, and after our dozen lessons he went his way to new regions and I never heard from him again. What he taught me I soon lost, except the perspective.

A little later, and while at work in my father's shop, there came in for a piece of ironwork our local artist, a man of curious artistic faculties, a shoemaker by trade, who had taught himself painting and had made himself a certain position as the portrait painter of the region. He desired to make for himself a lay-figure, and for the articulations had conceived a new form of universal joint, which he desired my father to put into shape. My father refused the job, as out of the line of his work, and I volunteered to take it, stipulating for some instruction in painting in return. The joint did not answer when worked out, but the friendship between Sexton and myself lasted through his life, and a truer example of the artistic nature never came under my study. All that he knew of painting he got from books, save for an annual visit to the exhibition of the American Academy at New York, but his conception of the nature of art was very lofty and correct, and had his education been in keeping with his natural gifts, he would have taken a high position as a painter. His was one of the most pathetic lives I can recall-a fine sensitive nature, full of the enthusiasms of the outer world, with rare gifts in the embryonic state and mental powers far above the average, limited in every direction, in facilities, in education in art and in letters, and having his lot cast in a community where, except the wife of President Nott, there was not a single person who was capable of giving him sympathy or artistic appreciation. Not least in the pathos of his situation was the simplicity and humility with which he accepted himself, with his whole nature yearning towards an ideal which he knew to be as unattainable as the stars, without impatience or bitterness towards men or fate. If he was not content with what was given him, no one could see it, and he was so filled with the happiness that nature and his limited art gave him that he had no room for discontent at the limitations.

Happy days were those in which my leisure gave me the opportunity to share this man's walks and make my crude sketches of his favorite nooks and bends of our beautiful river Mohawk, and listen to his experiences while he worked. I can see now that it was more nature than art that evoked my enthusiasms, and that in art I felt mainly the expression of the love of the beauty of nature. Sexton gave me some idea of the use of oils, and from that time most of my leisure hours and my vacant days were given to painting in an otherwise untaught manner, copying such pictures as I could borrow, or translating engravings into color-wretched things most certainly, but to me then, with my crude enthusiasm, productive of greater pleasure than the better productions of later years.

The three years of my college course had left me little room or leisure for such studies, and at the end of them I realized that so far as the object I had set before me was concerned, I had wasted the years and blunted the edge of my enthusiasms. In preparation for the career which I proposed to myself I had, however, been in correspondence with Thomas Cole, then the leading painter of landscape in America, and an artist to this day unrivaled in certain poetic and imaginative gifts by any American painter. He was a curious result of the influence of the old masters on a strongly individual English mind, inclined to nature worship, born in England in the epoch of the poetic English school to which Girtin, Turner, and their colleagues belonged, and migrating to America in boyhood, early enough to become impressed by the influence of primitive nature as a subject of art. Self-taught in technique and isolated in his development, he became inevitably devoted to the element of subject rather than to technical attainment, and in the purely literary quality of art he has perhaps been surpassed by no landscape painter of any time. His indifference to technical qualities has left him in neglect at present, but in the influence he had on American art, and for his part in the history of it, he remains an important individuality now much underrated. It was settled that I should become his pupil in the winter following my graduation, but a few months before that he died.

At that moment there was not in the United States a single school of art, and except Cole, who had one or two pupils when he died, there was no competent landscape painter who accepted pupils, nor perhaps one who was capable of teaching. Drawing masters there were here and there, mostly in the conventional style adapted to the seminaries for young ladies. Inman, the leading portrait painter of the day, had taken pupils, but his powers did not extend to the treatment of landscape, and my sympathies did not go beyond it. I applied to A.B. Durand, then the president of our Academy, the only rival of Cole, though in a purely naturalistic vein, and a painter of real power in a manner quite his own, which borrowed, however, more from the Dutch than from the Italian feeling, to which Cole inclined. Durand was originally an engraver of the first order, and afterwards a portrait painter, but his careful painting from nature and a sunny serenity in his rendering of her marked him, even in the absence of imaginative feeling, as a specialist in landscape, to which he later gave himself entirely. His was a serene and beautiful nature, perfectly reflected in his art, and he first showed American artists what could be done by faithful and unaffected direct study of nature in large studies carefully finished on the spot, though never carried to the elaboration of later and younger painters. But he was so restrained by an excess of humility as to his own work, and so justly diffident of his knowledge of technique, that he could not bring himself to accept a pupil, and I finally applied to F.E. Church, a young painter, pupil of Cole, and for many years after the leading landscape painter of the country. He was then in his first success, and I was his first pupil.

Church in many respects was the most remarkable painter of the phenomena of nature I have ever known, and had he been trained in a school of wider scope, he might have taken a place amongst the great individualities of his art. But he had little imagination, and his technical training had not emancipated him from an exaggerated insistence on detail, which so completely controlled his treatment of his subject that breadth and repose were entirely lost sight of. A graceful composition, and most happy command of all the actual effects of the landscape which he had seen, were his highest qualities; his retention of the minutest details of the generic or specific characteristics of tree, rock, or cloud was unsurpassed by the work of any landscape painter whose work I know, and everything he knew he rendered with a rapidity and precision which were simply inconceivable by one who had not seen him at work. I think that his vision and retention of even the most transitory facts of nature passing before him must have been at the maximum of which the human mind is capable, but he had no comprehension of the higher and broader qualities of art. His mind seemed a camera obscura in which everything that passed before it was recorded permanently, but he added in the rendering of its record nothing which sprang from human emotion, or which involved that remoulding of the perception that makes it conception, and individual. The primrose on the river's brim he saw with a vision as clear as that of a photographic lens, but it remained to him a primrose and nothing more to the end. All that he did or could do was the recording, form and color, of what had flitted past his eyes, with unsurpassed fidelity of memory; but it left one as cold as the painting of an iceberg. His recognition of art as distinguished from nature was far too rudimentary to fit him for a teacher, for his love of facts and detail blinded him to every other aspect of our relations with nature, in the recognition of which consist the highest gifts of the artist.

My study with Church lasted one winter, and showed me that nothing was to be hoped for from him, and that the most intimate superficial acquaintance with nature did not involve the perception of her more intimate relation with art. I learned from him nothing that was worth remembering, but I made acquaintance with a young portrait painter, who had a studio in the same building, an Irishman named Boyle, a pupil of Inman, whose ideas of art were of a far higher order, and to my intercourse with him during that winter and the following summer, which we spent together sketching in the valley of the Mohawk, I owe the first clear ideas of what lay before me in artist life. At Church's studio I met Edgar A. Poe, a slender, nervous, vivacious, and extremely refined personage. But at that juncture I came across "Modern Painters," and, like many others, wiser or otherwise, I received from it a stimulus to nature worship, to which I was already too much inclined, which made ineffaceable the confusion in my mind between nature and art. Another acquaintance I made that winter was of great importance in developing my technical abilities-that of a well-known amateur of New York, afterwards a professional artist, Dr. Edward Ruggles, a physician whose love of painting finally drove him out of medicine. He had the most catholic and correct taste I had then met, and he introduced me to William Page, the most remarkable portrait painter in many respects America has ever produced, whose talks on art used to make me sleepless with enthusiasm. Page was the most brilliant talker I ever met, and a dear friend of Lowell.

Returning to Schenectady the following summer, I made my first direct and thorough studies from nature, and amongst these was one, a view from my window across gardens and a churchyard with the church spire in the distance; a small study which incidentally had a most potent effect on all my later life. It was bought in the autumn by the Art Union of New York, and on the proceeds, thirty dollars, the first considerable sum of money I had ever earned, I decided to go to Europe and see what the English painters were doing. Of English art I then knew only directly the pictures of Doughty, an early artistic immigrant from England, and, as afterwards appeared to me, a fair example of the school which had its lead from Constable, to whom he had, however, no resemblance except in choice of motive. He had a comprehension of technique possessed by none of our home painters-a rapid and masterly execution with a scale of color limited to cool grays, but, within this gamut, of exquisite refinement. Constant repetitions of the same motive wore out his welcome on the part of the American public, but his pictures had a charm which was long in losing its power over me, and had an influence in determining me to go to England at the first opportunity. But to see Turner's pictures was always the chief motive, and was the one which decided me to go.

I was, in knowledge of worldly life, scarcely less a child then than I had been when, at the age of ten, I determined to go out into the world and make my own career, free from the obstacles I imagined to be preventing me from following my ideals. The ever-present feeling developed in me by the religious training of my mother, that an overruling Providence had my life in keeping, made me quite oblivious of or indifferent to the chances of disaster, for the assurance of protection and leading to the best end left no place for anxieties. It was a mental phenomenon which I now look back on with a wonder which I think most sane people will share, that, at the age when most boys have become men, for I graduated at twenty, I should have been capable of going out into a strange world like one of the children of the Children's Crusade, with an unfaltering faith that I should be led and cared for by Providence as I had been by my parents. I had no apprehension, from the moment that one of the ship-owners who was in business relations with my elder brother offered me a free passage on one of his sailing ships to Liverpool, that I should not find a similar bridge back again; and with my thirty dollars changed into six sovereigns, and a little valise with only a change of clothes, I went on board the Garrick, a packet of the Black Ball line, sailing in the last days of December, 1849. There had been a thaw and the Hudson River was full of floating ice, which in the ebbing of the tide endangered the shipping lying out in the stream, and the captain made such haste to get out of the danger (the extent of which was shown by the topmasts of an Austrian brig, showing above water where she had been sunk by the floating ice) that the ship had her anchor apeak before the boat which carried my brother and myself out could reach it. We barely arrived in time for me to get aboard, the difficulty of threading our way amongst the masses of ice making our boating difficult. That my childish faith in Providence was a family trait might be deduced from the fact that my brother, who had from boyhood stood to me in loco parentis, had not asked me, until I was on the point of going aboard, what my means of subsistence were, and, when he found that I had only my six sovereigns, he told me to wait at Liverpool for a letter of credit he would send me by the steamer which followed.

That voyage is one of the most delightful memories of my life. I loved the sea; and every phase of it, storm or calm, was a new joy. I had one fellow-passenger, a German doctor of philosophy, Dr. Seemann, who had been an ardent radical in Germany, and had been studying in the United States the development of political intelligence under democratic conditions, returning to his native land with the profound conviction that democratic government was destined to be a failure. We had hot debates on the subject, in which the doctor adduced his conversations with the intelligent farmers of New England, whom he had especially studied, to show that their political education was such as to endanger the best interests of the community from its extreme superficiality; I, with an unfaltering faith in the processes of universal suffrage, disputed his conclusions, so hotly in fact that we quarreled and he took one side of the quarter-deck for his promenades and I the other. But the conditions of sea life, with a companionship limited to two persons, are such that no quarrel that was not mortal, or from rivalry in the affections of a woman, could endure many days, and after a few such days we drew to the same side of the deck and were better friends than before, but we dropped politics.

This was in January of 1850, and I am driven to curiosity as to the subsequent career of the young German savant, who in that state of American political evolution was capable of drawing the horoscope of a nation, as it has been in recent times fulfilled; who saw in the crude notions of political economy of that prosperous yesterday the germs of the political blunders and errors of to-day. I drew his portrait, I made a few studies of sea and sky, but for the most part the sensation of simple existence under the conditions of illimitable freedom in space, with no reminder of anything beyond, was sufficient for me. I used to lie on my back on the roof of the wheel-house and look into the sky, and try to make friends with the sea-gulls which sailed around over me, curiously peering down with their dove-like eyes as if to see what this thing might be. Then the nights, so luminous with the "breeming" of the sea as we got into the Gulf Stream, and the flitting and sudden population of the ocean, always bringing us surprises; the more exciting and delightful storms which came on us in the region in which they were always to be expected, and which, though we had some that made lying in one's berth difficult, were never enough to satisfy my desire for rough weather,-all these things filled my life so full of the pure delight in nature that when, at the end of nearly three weeks at sea, we came in sight of the Irish coast, I hated the land. Life was enough under the sea conditions, and the prospect of the return to the limitations of living amongst men was absolute pain.

We made Liverpool in twenty-one days from New York, and the steamer which had left that port the next week did not arrive till three or four days after, so that my waiting for the letter of credit involved a hotel bill which nearly exhausted my money in hand. The kindly captain, knowing my circumstances, made the hotel keeper throw off fifty per cent. of his bill (for I went to the "captain's hotel"), and thus I succeeded in getting to London with the money which was to have paid my expenses for six weeks (according to the careful calculations I had made, at the rate of a pound a week) reduced to provision for three, after which Providence was expected to provide me with a passage home. In these weeks I had planned to see Turner's pictures, Copley Fielding's, with Creswick's, and all the others Ruskin had mentioned. But the railways and hotels had never come into my arithmetic, and that was always, and remains, my weak point. However, the letter of credit was for fifty pounds, and so I felt justified in my faith in Providence, my brother going to the general credit of that account.