When we think of Impressionism and Impressionist painters we immediately think of French artists and if I was to ask you to name a few French Impressionist painters, I guess you wouldn’t have a problem and the names of Monet, Sisley, Renoir, Bazille, Pissaro and Cézanne would easily roll off your tongue. However, if I was to ask you to cite some famous American Impressionists I guess the names of Mary Cassatt and John Singer Sargent would come immediately to mind, some may even suggest William Merritt Chase or John Henry Twachtman but, especially if you were not an American, it would become a struggle to think of the names of any other American Impressionist. In my blog today I am looking at the life and work of one of the first American Impressionists, Theodore Robinson, albeit he is not the best known. Lovell Birge Harrison, the American genre and landscape painter, teacher, and writer and prominent practitioner and advocate of Tonalism wrote about Robinson in a 1916 article in Century Magazine, saying:
“…The one who always stands out most vividly in my own mind …[is] Theodore Robinson, who is now taking his place beside Inness, Wyant, and Winslow Homer as one of our American old masters…”
Robinson was one of the most skilful and gifted American artists of the nineteenth century. He said he always knew he would become an artist and once said of himself that perhaps he was born to make sketches. His accomplishments as an artist take on an even greater meaning considering that he was a man who would have to battle all his life against poor physical health.
Theodore Pierson Robinson was born on July 3rd 1852 in the small northern Vermont town of Irasburg which lies twenty-five miles south of the US-Canada border. He was the third of six children of Elijah and Ellen Brown Robinson. Sadly, his two sisters and one of his brothers died in childhood, leaving just Theodore and his two brothers Hamline and John. In 1843, his father, who had worked on the family farm in Jamaica, trained to become a minster in the Methodist congregation but due to ill health had to give up the ministry and he became a shopkeeper opening is own clothing store.
In 1855, whilst still a very young child, Theodore and his family moved from Vermont and went to live in the small town of Barry, Illinois and two years later they moved again, this time to Evansville, southern Wisconsin, another small town that was first settled in the 1830s by New Englanders who were attracted to the area by its unspoiled wooded landscapes. Another reason for the move to the countryside of Wisconsin was because of Theodore’s health. As a young child, he had developed asthma which had weakened him and would trouble him for the rest of his life. He enrolled at the local seminary where his artistic talent was first noted, winning prizes for penmanship. He would also often sketch portraits of friends and family as well as the parishioners who came to the local Methodist church.
In 1869, aged 17, after he had completed regular schooling, and because of his burgeoning artistic talent, along with his mother’s dogged perseverance, he enrolled as a student at the Art Institute of Chicago. Unfortunately, he did not stay there long as his asthma worsened, a chronic condition that he had suffered with since childhood, and so it was decided that he should move away from polluted air of city life and move to the cleaner drier mountain air of Denver, Colorado. It must have done the trick for a few years later, he did return to Evansville where he carried on with his portraiture work which he would sell and with the money he earned he would put it aside for his art college fund. In 1874 he moved to New York where he enrolled at the National Academy of Design. This establishment was founded in 1825 by a group of artists including Samuel F. B. Morse, Asher B. Durand, Thomas Cole, Martin E. Thompson, all students of the American Academy of Fine Arts, who had grown increasingly impatient with the constraints of the Academy, and in 1825 they had left to found the National Academy of Design. The idea for its existence was said to be
“…to promote the fine arts in America through instruction and exhibition…”
Whilst there, Robinson studied under Lemuel Everett Wilmarth and when not at the Academy would spend hours sketching in nearby Central Park. We have seen with many of the European academies, the narrow and rigid academic training in art was not for everybody with some aspiring young artists wanting more freedom with regards what was being taught and how it was being taught. As far as Robinson and several his fellow students were concerned there was a two-fold problem with the American Academy of Fine Art. Firstly, the Academy was run by a group of older artists who were landscape painters and concentrated on teaching that artistic genre despite many of the students, including Robinson, wanting more emphasis on figurative painting. Secondly, the students believed that their prospects to exhibit, and ultimately sell their work, was being limited by the Academy. Another reason could have been that in 1874 the Academy temporarily suspended activities. Rumours flew around that the establishment was in financial trouble and so its students felt they had nowhere to turn and wondered about their future. In 1875, this dissatisfaction and confusion about the future lead Wilmarth, along with a group of his students, including Robinson, to form the Art Students League. This Art Students League met and held its classes in a small rented space over a shop at the corner of Fifth Avenue and 16th Street. It was so small a space that a daily schedule of studio instruction had to be organised, with women studying in the afternoon and men at night. However, this alternative organisation allowed these painters a greater influence on their curriculum and would also allow them greater access to exhibition space.
Theodore Robinson fulfilled one of his artistic goals two years later in 1876 when he went to study art in Paris, a city looked upon at the time as the centre of the world of art. Most American art students during the second half of the nineteenth century viewed their study in New York as a stopping-off point on their artistic journey before they headed to Europe. The first art tutor Robinson studied with in Paris was the French painter, August Carolus-Duran, whose studio was in the Boulevard Montparnasse. Carolus-Duran was renowned for his elegant portrayal of members of French high society and people travelled from far and wide to become one of his sitters.
Carolus-Duran was probably well known to artists in America for his 1890 portrait of the American banker’s wife, Caroline Webster Schermerhorn Astor, the doyenne of American high society in the latter half of the 19th century, who maintained the stance of “old money” in the face of changing times and values when the nouveau riche were coming to the fore. Also, studying under Carolus-Duran, at that time, were John Singer Sargent, the landscape and genre painter Carroll Beckwith and the muralist and author Will Hicock Low. It was Low who recalled being with Theodore Robinson at that time in Carolus-Duran’s atelier, when he wrote in his 1908 book A Chronicle of Friendship, 1873-1900:
“…Among the new arrivals one year was Theodore Robinson, who, timidly, with due respect for my two years experience in Paris student life, sought my acquaintance… Frail, with a husky, asthmatic voice and a laugh that shook his meager sides and yet hardly made itself heard, yet blessed with as keen a sense of humor as anyone I have ever known, Robinson was received at once into our little circle. At first he seemed almost negative, so quietly he took his place among us, but once the shell of diffidence was pierced few of the men had thought as much or as independently…”
Theodore Robinson was only with Carolus-Duran for a short time and rumour has it that they did not agree on some aspects of the artistic training, Robinson moved on and became a student at the École des Beaux-Arts, and a pupil at the atelier of the French painter and sculptor, Jean-Léon Gérome, an artist, who had always been a great believer and follower of the painting style known as Academicism, a style of painting and sculpture produced under the influence of European academies of art. Gérome was noted for his portraiture and his history paintings which often featured Arabian scenes, which was known as Orientalism, and was an art genre of Academic art, popular in the nineteenth century which represented the Middle East. The fact that Robinson was accepted into this atelier is testament to his artistic ability as it was the most admired studio and the one that most American students wanted to attend.
In 1877 Theodore Robinson achieved another of his artistic goals, one which every art student strived for; he had a painting, Une Jeune Fille, accepted at that year’s Salon. One can only imagine how delighted he was to get his painting hung at the Salon. In a letter to his mother he wrote of his joy:
“…My picture is accepted and I tremble with joy…”
Robinson went on to exhibit his works at five more Salons during the 1880’s. Following the time spent on his Salon entry and its inclusion at the 1877 Salon, Robinson decided to take a break from his studies and head out of the city and delve into the nearby countryside around Fontainebleau. He and some of his fellow artists, Will Low, Birge Harrison and Walter Launt Palmer travelled to the village of Grèz which was on the banks of the River Loing on the southern edge of the Forest of Fontainebleau, some fifteen kilometres south of Barbizon. At the time, this was an area that was awash with artist colonies such as those at Barbizon, Grèz-sur-Loing, Montigny-sur-Loing and Thomery but at this time, Grèz was the most popular with artists who wanted to spend the day painting en plein air and the evening spent talking about art. This popular idyll was described in the book Theodore Robinson’s La Debacle, 1892: an American Artist in France by Betsy Kathryn Koeninger, in which she quotes the words of the Scottish painter John Lavery, a student at the Académie Julien who stayed in the village in the early 1880’s. He described the ambience of the village and its surroundings:
“…a pleasant place surrounded by large fields of white and yellow water lilies and poplars and willows. There was also the much-painted bridge… a ruined castle and an ancient church… [and] Madame Chevillon’s Inn with its long garden down to the water’s edge where guests could sit in bathing dress to eat after a swim or a sail in a skiff…”
Robinson’s friend and colleague from the Academy, Birge Harrison, who had travelled to Grèz with him and remembers him, wrote an article in the December 1916 edition of the Century Magazine, entitled With Stevenson in Grèz. He wrote:
“…Robinson was far from handsome in the classic sense. An enormous head, with goggle-eyes and a whopper-jaw, was balanced on a frail body by means of a neck of extreme tenuity; and stooping shoulders, with a long, slouching gait, did not add anything of grace or of beauty to his general appearance.” It was not Robinson’s physical prowess that interested Harrison, but his strength of character. “[Out] of those goggle-eyes shone the courage of a Bayard, and in their depths brooded the soul of a poet and dreamer, while his whole person radiated a delightful and ineffable sense of humor…”
Another visitor to Grèz that summer was the writer Robert Louis Stevenson and he and Theodore Robinson immediately became good friends.
Once summer was over Robinson returned to Paris and his studies at Gérome’s studio and to copying the paintings of the Masters at the Louvre. The climate in Paris during that winter was harsh and Robinson, a poverty-stricken artist, lived in poor conditions and suffered with colds and asthma attacks, all of which affected his work and he wrote to his mother:
“…When I’ve taken cold and cough all night my work is greatly interfered with not to mention the inconvenience it causes…”
In 1878, Robinson decided to send one of his paintings to the Society of American Artists first exhibition. The group had been founded the previous year by artists of attending the National Academy of Design which they believed did not satisfactorily meet their needs, and was far too conservative in its thinking. This was the same reasoning behind the formation of the Art Students League which Robinson helped Wilmarth to organise in 1875. The Society of American Artists was very valuable to those American artists who, having studied art in European cities, were returning home but discovered that there were inadequate prospects to exhibit their work. Robinson became a regular contributor to their annual exhibitions.
In my next blog I will be looking more at Theodore Robinson’s life and a very important and influential friendship he had with his French neighbour.
Apart from the usual internet sources I found many details about Theodore Robinson’s life in an essay written for the catalogue of the Theodore Robinson exhibition held at Owen Gallery, New York in March 2000 by the American writer and art curator, D. Scott Atkinson.