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Show . ' Art In Utah as Disclosed by Many Writers Early Utah Art. ' Art in Utah had a primal manifestation manifes-tation as early as the "fifties" In various forms painting, sculpture, carving and architectural decoration but these were chla!iy the outcome of earlier Influences than can be ascribed to Utah's scenic ones. WUlInm Majors was our pioneer artist, his specialty being landscape and portrait painting, and William Ward's was the first hand which ea-Bayed ea-Bayed sculpture in Utah, some of his work being noted from historic association as well as excellent execution exe-cution -tho figure of the lion, wjilch has given its name to one of Briguam Young's residences on South Temple 3treet being a well knoWn example oi the work of his hands. - Deporativc art hadan exponent In William Morris, Mor-ris, who arrived in Utah from Wale3 In 1852, his specialty being chiefly scroll and other ornamental work. Evidences Evi-dences of his skill still remain in tho Lion and 'Bee Hive houses and in the Devereaux house, the residence of tho late William Jennings. C. C. Chrlstensen, a graduate of the A.rt academy, of Copenhagen, and an Italian, named Cavallach were amongst the pioneer artists of the "fifties", the former a -painter of rural landscape, land-scape, and the latter devoting himself him-self exclusively to portrait painting. Representations of Cavallach's work still remain In portraits of President Brigham Young, D. H. Wells and Mrs. Mary Wheelock, Utah's "star" actrcsa of the period, th0 portrait representing her In the character of the "Lady of Lions." The picture is said to be a notable one, and would be a valuable acquisition to the State Historical society so-ciety were it possible to obtain It. It Is at present In the possession of tho Broomhead family, of Bear Lake, Idaho, Ten Years Later. In the early "sixties' art received something of the nature of a "boom" impetus in the appearanee of three excellent artists in Utah George M. Ottinger, who arrived in 1861 from England, Daniel A. Weggeland, a native na-tive of Norway, and John Tullidgc, an English landscape and portrait painter, paint-er, whose work was considered of a high order. Shortly after their settlement set-tlement here, the first art organization organiza-tion in Utah was established under the name of the Desoret Academy of Art, its object being chiefly instruction instruc-tion in drawing and painting with a'c companylng artists. The academy existed ex-isted some time, but finally dissolved, dissolv-ed, and art throve on what incentive lay in the bent of the artists and the demand of the people for pictures. Occasionally outside artists appeared on the scene and contributed the spur of example and new thought and method meth-od to local endeavor. Advent of Eastern Artists. - In 1866 two artists, Arthur Mitchell, an Englishman, and G. W. Perry, a New Yorker, appeared in Utah, and contributed the Impetus of their presence pres-ence a'nd effort to the local art spirit, while reaping substantial benefits from the local environment. Mr. Mitchell, as a landscape artist, devoted devo-ted himself to the surrounding scenery, scene-ry, and his companion, Mr. Perry, whose specialty was portrait painting, paint-ing, to the people. The latter was a graduate of the National Academy and added to his undoubted skill in portraiture an ability abil-ity to work with marvelous rapidity. Charging from two to three hundred dollars for a picture, and painting four in a week, Mr. Perry, as a result re-sult of less than four months' visit in Salt Lake carried away from thirteen thir-teen to fourteen thousand Deseret dollars. He has since achieved a magnificent fortune and lives in New York In the luxury obtained through his art. The excellent life-sized portrait por-trait of Brigham Young which hangs in the council chamber of the City and County building is one of the pictures painted hy the New York artjst, and in many private residences are portraits of eminent people of the time painted by his hand. A Portrait Painter, A Chicago artist named Cogswell also came to Utah in the "sixties" and evidences of his work also remain re-main in the portraits of well known citizens of the period, which ho painted paint-ed during his stay. These were the "transients" of the period. and amongst the home artists who were the time, besides George M. Ottinger, contributing art productions durlnp whose talent has been steadily developing de-veloping with the years, and whoso work, especially that dealing with types of the ancient American races is destined to become notable were Martin Lenzi, whose excellent paintings paint-ings of still life will be long remembered, remem-bered, Joseph de la Harpe, or Joseph Jo-seph Ursonbach aB he is best known, a scenic artist of exceptional ability, abili-ty, and Phineas Young, a pupil of Weggeland, whose early death cut short a career which his master considered con-sidered of exceptional promise. Speaking Speak-ing of scenic artists, however, It is Interesting to remember that George M. Ottinger painted the first scene for the .Salt Lake theatre, and that "Joe" Ursenbach, whose career commenced com-menced in Utah, a few years ago, obtained ob-tained a commission to paint the on-tlre on-tlre scenery for Daly's new theatre a substantial testimony of the value set upon his ability by critics of the great metropolis. In the Seventies. It was during the late "seventies" and their following decade that indigenous indi-genous art first began to show in Utah. Alfred Lambourue was the first of home artists, who, with some brief training and the Inspiration gained gain-ed through environment and natural talent, began to paint pictures of Utah scenery, his excellent work attracting at-tracting instant and wide recognition. Lambourne's genius possesses the distinctive dis-tinctive gift of laying hold of and portraying the dramatic elements in nature with perfect faithfulness, and without an evidence of offort for sensational sen-sational effect. The field for such dramatic expression is wide indeed, in Utah, and her sunsets and dawns, mountain and sea scenes, with their separate elements of grandeur, together to-gether with those of other localities have found apt expression at his. hands. A little later H. L. A. Culmer, James T. Harwood, J. W. Clawson, Edwin Evans, John Hafen, J. B. Fairbanks and others entered the art field and rapidly proved the worth In them by the excellent work put forth by their hands. Of these, all but Culmer, after a brief homo novitiate, went abroad and spent a period of two or three years in study at the Julian Academy of Beaux Arts under Jules Lefebere, Jean Paul Laurens and Benjamin Ben-jamin Constant. Harwood had the distinct honor of having a picture accepted ac-cepted by the French Salon and also, with Evans and Clawson, the honor of being1 represented at the Art Building Build-ing in Chicago during the World's fair, a notable distinction considering the fact that pictures were submitted from almost every known portion of the globe. J. W. Clawson has recently re-cently been reaping laurels In San Francisco, a recent picture painted by him having created something like a sensation at the art exhibition of tho Bohemian Qlub in that city. J. B. Fairbanks, who also studied In Paris Par-is under the same masters as the oth er Utah artists, had a picture accepted for exhibition at the Omaha exposition exposi-tion and his painting, "A Frosty, Foggy Fog-gy November Morning," took the prize offered at the last state fair for the best landscape. "Evening at Harvest Har-vest Time," which the artist intended intend-ed for the prize competition of the Utah Art Institute, could not be finished fin-ished in time for the exhibition. H. L. A. Culmer some years ago had the advantage of six months' study with a prominent New York painter, William Wil-liam FraBer and, notwithstanding his meager advantages, has steadily progressed pro-gressed to a foremost place amongBt Utah's best artists. His studio is filled with beautiful pictures portray; Ing every phase of nature, and many others have found their way to both local and eastern homes, his favorite favor-ite studies of mountain scenery, which may, perhaps, be called his specialty, spe-cialty, though far from being the only line of effort in which he has achieved excellence, being specially In demand. It was through this younger group of painters that a second sec-ond art organization was formed some time during the early eighties called the Society of Utah Artists. The departure of some of the artists art-ists for Paris caused the breaking up of the society, and it was not until 1S93 that another effort was made ,to establish an art organization. In this year the second "Society of Utah Artists" was Instituted with E. Evans as president; James T. Harwood, vice president; H. L. A. Culmer, secretary secreta-ry and Will Clawson, treasurer. TUis organization existed for six years and during that time annual art exhibitions exhibi-tions were held by the society. The Utah Art Institute. The exhibitions continued till tho Society of Utah Artists stepped aside to make way for a more ambitious art organization which was to fill its place, namely the Utah Art Institute, whose existence has been so auspiciously auspi-ciously initiated in the' art exhibition which has taken place under its direction di-rection during the last three weeks. It Is singularly in line with the seemingly predominant spirit of the age that a woman should haye been the practical founder of this, the most important art organization which has yet existed in Utah. Through the efforts of Mrs. Alice M. Home, who was elected to a seat in the House of Representatives, a bill providing for the establishment of the Art Institute was passed by the legislature, .witha provisional annual endowment of $1000 by;theifate. The $1000 must be expended In furnishing an annual exhibition lectures on art and give prizes; a $300 annual p'rize is given for the best picture In competition com-petition by a Utah resident artist; the picture becoming the property of the state. Pictures thus collected will be known as the Alice Art collection. More about the Institute will be found 'in writing. In sculpture, as in painting, Utah has already made a notable record Dallin's career alone being sufficient to give prestige to the state. From the comparatively humble beginning of his first crude efforts in Sprlng-ville Sprlng-ville he has risen to successive honors through distinction won by eminent achievements in his art. J. II. Brown was another Utah sculptor whose work, so untimely ended end-ed by his death, gave promise of a notable future had not death cut short his career. J. Leo Fairbanks, a son of the artist, art-ist, J. B. Fairbanks, has been recently recent-ly doing some good work it sculpture and critics predict a successful career should he continue his efforts in this line. Luke Crawshaw is another promising promis-ing young Utah sculptor, his model ot "The Ball Pitcher," on exhibition at the Utah Art Institute, having been awarded the prize for the best plaster cast model. With the notable foundation to build upon already furnished by workers In the different lines of art, the Art Institute In-stitute which now Is, and promises to be in future the permanent monument monu-ment of art expression in Utah, may become a splendid institution and if it should not, there will still exist the original incentive and inspiration to art. and material through which to express itself, that has made the present pres-ent results possible, and which will continue to give to Utah as creditable a fame as her record in art, music and drana has achieved In the pasL Cyrus E. Dallln, whose fame as a sculptor, Is by no means confined to his own country, was born In Spring-ville. Spring-ville. Utah, November 22, 1861. His career as a sculptor Is so well known that it hardly needs relating. He has lived a great, part oT his lift In Boston Bos-ton and PaiHs, where some of his finest fi-nest works have boon executed. As is well known he Is the author of the Signal of Peace, the reproductibn ot which stood so long In front of the Hall of Relics and Js now in the City and County building. His statue of the Medlclno Man an Indian doctor doc-tor mounted on a pony is scarcely less famous, while his work ot Paul Revere brought him a great amount of notability. The work In Utah for which JJr. Dallin will be best known Is the statue ot Brigham Young and tho pioneers which stands at the junction of Enst Temple and South Temple streets In Salt Lake City. Mr. Dallin paid a visit to Salt Lake City during the past summer. Harry Culmer. It should be profoundly comforting comfort-ing to Harry Culmer's friends to reflect re-flect that fame came to him before the Inevitable summons that released releas-ed his artistic soul from Its bondage of clay. To few, indeed, is it given to scan in earthly vision their footprints foot-prints upon the sands of time. The rewards so often denied them that express, ex-press, In understandable terms, the beauties that only genius discerns, until death with kindly hand had loaned contemporary clvlllzatlpn the proper perspective, wore reaped to a decree by this talented UtaJin when he could enjoy them. Regret for his passing Is robbed of the supremo sting that admirers of other contributors contribu-tors to artistic advancement have unhappily un-happily experienced. Utah's loss is that of the great west whose rugged charms he interpreted inter-preted with a master hand, for Harry Har-ry Culmer shone pre-eminently in a field which was exclusively reserved to the talents he possessed in a measure meas-ure so marked. Other limners have essayed to enter his domain, but havo conspicuously failed. They enjoyed intellect in-tellect as great as his, their appreciation appre-ciation of the majestic beauties the Creator gave thiB western empire probably equaled tho fine discernment discern-ment of his poet's soul; but they lacked lack-ed the happy combination of concep- , tion and of execution that alono guarantees guar-antees offort the gift ot succcs's. Rising Art'st Lives in Southern City. American Fork As an artist Axel W. Bloomquist; the subject of this sketch, has a brilliant future before him. He was born in Kristiantad, Sweden, jn -1886, and' finished his common school education at the age of 15 years. He"attended a technical school of art three years, where he was accorded distinction by his Instructors. In-structors. While at this Institution he executed oil paintings and landscape land-scape scenes which sold readily. Later La-ter he joined the "Mormon" church and came to America, locating In American Fork. Since arriving here Mr. Bloomquist has done work at the Brigham Young university, and in the Third ward chapel in American Fork three pictures in oil, the work of this young artist, adorn the walls. One is "Christ Walking oh the Water," Wa-ter," and another that lias called forth favorable comment from eminent emi-nent critics, is "Christ and the Rich Young Man." In the opinion of many, especially members of the Church, the most noteworthy painting paint-ing Is "Joseph Smith and Oliver Cow-dery Cow-dery Receiving the Priesthood."' Mr. Bloomquist is the painting contractor contrac-tor for the new stake tabernacle. He is contemplating painting many scenes for the walls of this buildings build-ings some ot which he has at present under way. John Hafen, the Utah Landscapist. (By Alice Merril Home) Mr. Hafen holds a unique place among the artists' of Utah. None can be compared to him in his individed purpose of life. His determination to express himself with paint and brush are unchanged and persistent. John Hafen more than any other of our artists has been his own teacher. teach-er. However, he has spent some time in study In Paris and in art centres of America, but he has grown from within out, what he pictures on his canvas is soul expression, and he has worked out his apprenticeship to art with very little outside help. His landscapes hang In many Utah homes and they are bought by art lovers in the east. , Hafen's recompense for a life's sacrifice sac-rifice for art's sake seemsto be ample. am-ple. His joys are those of the gifted who at last makes himself understood. under-stood. Such is the adequate recompense recom-pense for the life of sacrifice that attends all real gTeatness. Hafen's landscapes have been hung in exhibitions of the Society of American Amer-ican Artists of Paris; in Boston; in the Art Institute of Chicago, at the annual exhibition of contemporary American artists and at the annual exhibition of Artists of Chicago and vicinity; in annual exhibition of the fine arts, Philadelphia; St. Louis Art Museum Midwinter exhibition; and exhibition" of Indiana artists, (by special spe-cial invitation) in the John Heron Art Institute. Mahronri M. Young. (By Alice M. Home) "I am going to use my art in erecting erect-ing monuments to the Utah "pioneers. Back of the Mormon people there is a big Idea; this as manifested in a big idea; this as manifested in their life, migrations and sufferings have always al-ways appealed to my Imagination, and they embody an infinite number of artistic ar-tistic themes." So spoke Mahonri M. Young, in his private art studio, in Paris, 1904. He was at that moment working upon a miniature head of the "Prophet:" "Pro-phet:" Its companion piece-, the "Patriarch," still moist in clay, stood on a nearby shelf, it was impossible impossi-ble for us to anticipate the time, the effort, and the patience that would be required from this sculptor, before be-fore the life size figures of the "martyrs" "mar-tyrs" could bo set free in bronze from the plaster moulds Idealized, spiritualized, spirit-ualized, and actually placed lu the long waiting empty niches by the two entrances at tho east end of the Salt Lake temple. But there they stand completed at last. In the south niche the Prophet Joseph Jo-seph Smith holds, in a grateful grasp, the New Witness for God The Book of Mormon, and typifieB the Instrument Instru-ment of Revelation between God and man. In the north niche stands the Patriarch Pa-triarch Hyrum, typifying the church the followers the believers. Yes, the brothers in bronze havo become an actuality Joseph clothed In leadership, lead-ership, power, and action. Hyrum grounded in faith, loyal to the death, and with a most striking admixture of wisdom and humility and lofty aspiration. as-piration. For the prophet, alone, he made more than thirty drawings, using various va-rious poses. He modeled with great care six different heads, and three of them wore life Blze. He has also modeled three statuettes and two full life sized figures. A Collection of Busts. A group of bronzo buBts executed during the last year or two, is interesting, inter-esting, as they show Mr. Young's power of portraiture. . A searching portrait Is the bust of Brjgham H. Roberts. Mr. Roberts lends himself admirably to the needs of the sculptor: In character and personality he Is intensely unique. In some respects he suggests the Gladstone Glad-stone head. You feel. the modeling of the muscles of his w'hole head are very decided, in fact his head Is modeled mod-eled all over. His Wife. The best stroke for success that Mr. Young has made was In his selection se-lection of a wife one' who admirably fits into the art life a gifted musician. musi-cian. The artist reveals his admira-! tion for her In a bust, the first "from life that came from his hands. It shows a type of a beautiful, spiritual, cifted woman fit to bo placed among the Saints in grace an.d purity. Lamboume In clay is like a bust of Inspiration, and shows the giant struggle of mentality in the subdue-tion subdue-tion of materiality. The on-looker catches an inspirational thought of the superiority of divine, gifts, and also the power that cornea out of the struggle to use the talent. 1 The prospector and the studies of laborers disclose an attitude of the artist which enables him to discover discov-er beauty in homely, lowly life. These 'will appeal to only a small class of the public. Monument to the Sea Gulls. Perhaps his best promise as a sculptor Is In his conception of a monument to the sea-gulls to the birds that saved the Utah pioneers from the famine that swarms of crickets threatened when they were about to consume the first harvest of grain, which came to biess the desert. des-ert. A dark cloud of sea-gulls appeared, ap-peared, and closing down upon the grain patches, they gorged and disgorged dis-gorged the pests of crickets until the fields were rid of them then they flew back, back to their haunts on the shores and Islands of the great Salt lake. Mr. Young has secured, all of the prizes to be awarded In the state, and has taken Tionors away from home. By special invitation he has exhibited in the Pennsylvania Academy Acad-emy of Design, Philadelphia, and the National Academy of Design, New York, and in the Chicago Art Institute. Insti-tute. In Paris he sold the American painter, .Chase a water color and also two wore bought for the Muse Carna-let, Carna-let, Paris. He was recognized in three Salons in Paris in various ways with models in clay, pastels or drawings, draw-ings, but so far, his commissions for the church, of the "Martyrs," and his portrait busts. It Is to be hoped that "Celia," Lamboume, and the monument to the sea-gulls will all be made permanent, either in bronze or marble. n rv |