Tuesday, January 12, 2021 – An artist of great skyscrapers in our cities

By admin

TUESDAY, JANUARY 12, 2021

The

260th Edition

From Our Archives

Tonight

TUESDAY, JANUARY 12, 2021

SCANDALS OF THE UPPER WEST SIDE

WITH BETH GOFFE
RIHS LECTURE
WITH THE ROOSEVELT ISLAND BRANCH,
NEW YORK PUBLIC LIBRARY
7 P.M.
ON GOOGLE MEET

https://www.nypl.org/events/programs/2020/01/12/scandals-upper-west-side

‘Colin Campbell Cooper Painter’

“Mountains of Manhattan”

Overshadowed by social realist painters and then the abstract movement early in the 20th century, Colin Campbell Cooper never quite got his due.

by ephemeralnewyork

November 13, 2017

But his evocative takes on New York’s streetscapes and skyline reveal a fascination with the bigness of the city’s architecture contrasted against the smaller personal stories of millions of anonymous New Yorkers.

The bigness you notice first, especially with paintings like the “Mountains of Manhattan” (top) and the “Cliffs of Manhattan” (second), which both depict the city as an awesome and mighty wonder along the lines of the Rockies or the Alps.

When Cooper contrasts the big and the small, as he does here in 1917’s “South Ferry,” he gives us a more humanistic view of Gotham.

We may not be able to read their faces, but every one of those trolley riders and sidewalk vendors has a story.

“Chatham Square,” above, from 1919, is similar. The city’s skyscraper mountains are in the background, while the day-to-day life, its human side, is in the forefront.

Commuters wait for the elevated train to pull in, soldiers march under the tracks, and movie houses attract crowds on the sidewalk. We don’t have to be able to see them up close to know they are us

“New York From Brooklyn” gives us a more detailed and personalized County of Kings. Meanwhile, Manhattan across the river is muted, as if it’s an impenetrable fortress.

Cooper lived in New York from 1904 to 1921. “My pictures are built on these contrasts,” he once said of the juxtaposition in many of his paintings of older, smaller-scale buildings and the modern skyscrapers dominating the skyline. “Columbus Circle” (above), completed in 1923, illustrates this perfectly.

FROM WIKIPEDIA

Colin Campbell Cooper, Jr. (March 8, 1856 – November 6, 1937) was an American Impressionist painter, perhaps most renowned for his architectural paintings, especially of skyscrapers in New York City, Philadelphia, and Chicago. An avid traveler, he was also known for his paintings of European and Asian landmarks, as well as natural landscapes, portraits, florals, and interiors.

In addition to being a painter, he was also a teacher and writer. His first wife, Emma Lampert Cooper, was also a highly regarded painter.
Background and education

Colin Campbell Cooper, Jr. was born in Philadelphia, Pennsylvania, on March 8, 1856, into a well-to-do family of English-Irish heritage.[1] He had four older and four younger siblings. His mother, Emily Williams Cooper, whose ancestor emigrated to the U.S. from Weymouth, England,[2] was an amateur painter in watercolors.[3] His father, Dr. Colin Campbell Cooper, whose grandfather came from Derry, Ireland, was a surgeon] and a lawyer with a great appreciation for the arts. Young Colin had been inspired by the art which he discovered when he attended the Philadelphia Exposition of 1876. Both of his parents were highly supportive of his ambitions, encouraging him to become an artist.

In 1879, Cooper enrolled in the Pennsylvania Academy of the Fine Arts in Philadelphia, studying art under famed controversial realist painter Thomas Eakins[5] for three years. In 1886, he embarked on the first of his many travels to foreign lands, visiting the Netherlands, Belgium, and Brittany.[4] Afterwards, his art education resumed at the Académie Julian in Paris from 1886 to 1890,with Henri Lucien Doucet, William-Adolphe Bouguereau, and Jules Joseph Lefebvre.[6] He also studied at Académie Delécluse and Académie Vitti. His work of this period consisted mostly of landscapes painted in a Barbizon manner.[7] He traveled extensively throughout his life, sketching and painting scenes of Europe, Asia, and the United States in watercolors and oils.

Life and work
Philadelphia and New York

Back in Philadelphia, Cooper taught watercolor classes and architectural rendering at the Drexel Institute of Art, Science and Industry (now Drexel University) from 1895 to 1898. Many of Cooper’s paintings were destroyed in an 1896 fire at Philadelphia’s Hazeltine Galleries; as a result, relatively little of his early work exists today.

While at Drexel, he spent his summers abroad, primarily in the Dutch artists colony of Laren in North Holland and in Dordrecht in South Holland.Among the other artists in Dordrecht at this time was renowned painter Emma Lampert (1855–1920) from Rochester, New York. She and Cooper met, and were soon married, in Rochester on June 9, 1897.

In 1898, the Coopers returned to Europe for a few years. During this period, as Cooper painted architectural landmarks, he developed the Impressionist style which he used for the rest of his artistic career.

Cooper and his wife exhibited together in several two-person shows, including a May 1902 exhibit at the Philadelphia Art Club and a 1915 show at the Memorial Art Gallery in Rochester.] They moved in 1904 to New York City, where he would remain, other than his many travels, until 1921. Here he continued work, which he had begun about two years earlier in Philadelphia, on his famous skyscraper paintings. Cooper said that he was “greatly interested in the skyscraper buildings in Broad Street. It was intensely interesting to watch the freakishness disappear from those queer towering structures in the glory of the right kind of light”. He said that the painting which first brought him great success was 1902’s Broad Street, New York; in 1903, this painting was honored with the W. T. Evans Award[ of the New York Watercolor Club.[In another interview, he had stated that “one of the points that most strikes me about this view up Broad Street is the dramatic contrast between the old, low type of buildings … and the great skyscrapers. My pictures are built on these contrasts.”[

In 1911, The New York Times, citing Cooper as the artist who best captured modern, towering structures on canvas, declared him to be “the skyscraper artist par excellence of America”. In an article the following year, they stated that he was “one of the most interesting figures in American art”, reiterating that “in his particular field he has no superior”. In addition to New York City, his paintings often depict skyscrapers in Philadelphia and Chicago.

Cooper’s painting Fifth Avenue, New York was purchased by the French government for the Musée du Luxembourg. Such an honor was quite rare for an American artist. Critics at the time, and up to the present, frequently compared the works of Cooper and Childe Hassam. They have often been credited as being the two most iconic artists whose paintings began a trend of celebrating the wonders of the modern city, especially New York City. Cooper may have intentionally avoided certain subjects in order to differentiate himself from Hassam. Hassam, unlike Cooper, did not concentrate on the tall buildings in his cityscapes.

Cooper was as proficient painting in watercolors as he was in oils. He would often create a small watercolor study before painting a larger work of the same subject in oils. But the smaller watercolors were not mere sketches for his own use; they were finished pieces which he exhibited, sometimes years earlier than the larger corresponding oil paintings that he would ultimately produce. Cooper was elected to a prestigious membership in the National Academy of Design in 1912 (he had previously been elected an Associate, four years earlier).

Palace of Fine Arts, San Francisco, c. 1915
He and his wife were aboard the RMS Carpathia during its rescue mission for the survivors from the sunken RMS Titanic on April 15, 1912.[He assisted in the effort, and during the rescue operation, he created several paintings which document the events. The Coopers gave up their ship’s cabin so some of the survivors would have berths to sleep in.

Cooper exhibited in San Francisco’s Panama–Pacific International Exposition of 1915, winning the gold medal for oil and the silver medal for watercolor. While there, he created a series of paintings depicting the exposition’s buildings, including the Palace of Fine Arts. He also participated in the Panama–California Exposition in San Diego in 1916. The Coopers spent the winter of 1915–16 in Los Angeles. This time in southern California was undoubtedly a key factor in Cooper’s later decision to move there permanently. His wife Emma died of tuberculosis on July 30, 1920.

Santa Barbara

After his wife’s death, Cooper moved to Santa Barbara, California in January 1921.Santa Barbara would be his home base for the rest of his life, spending two years in northern Europe and Tunisia. He became Dean of Painting at the Santa Barbara Community School of Arts.

 

Cooper said of his new environment: “I find Santa Barbara so conducive to the sort of things a painter most craves – climate, flowers, mountains, seascapes, etc. – with a community interest in all sorts of artistic matters that I am compensated, to a degree, for the isolation from that artistic universe of America.” But he hadn’t abandoned that “artistic universe of America”, New York City, as he continued to maintain a studio there for ten years after his move to California.

Another aspect of his creativity became evident starting in the mid-1920s, as, perhaps influenced by his father’s great love of literature, he began writing plays and books. His plays found their way in the 1920s and 1930 to theater companies in places such as Pasadena, Redlands, and Santa Fe, and were also produced at a theater which he founded in Santa Barbara, called The Strollers. In addition to the plays, he also wrote novels, illustrated books, and an autobiography entitled In These Old Days.

In April 1927, he married his second wife, Marie Henriette Frehsee, in Arizona. Cooper continued to enjoy traveling, and kept painting until prevented from doing so by failing eyesight in his last years. He died in Santa Barbara on November 6, 1937, at the age of 81. In 1938 Santa Barbara’s Faulkner Memorial Art Gallery paid tribute to Cooper’s legacy by presenting a memorial exhibition of his work.

Just several months before his death, however, Cooper initiated the effort to convert the abandoned post office building into an art museum in a letter to the editor of the Santa Barbara News-Press in July 1937. Just four years later that pipedream materialized into the Santa Barbara Museum of Art.

TUESDAY PHOTO OF THE DAY

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MONDAY PHOTO OF THE DAY

Michal Melamed, Rich Weirach,  Howard Polivy, Sharon Bermon, Judy Berdy, Frank Faranace and Ellen Polivy
November, 2012 after Hurricane SandyBlackwell Park Cleanup,

Text by Judith Berdy
Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS
Thanks to Deborah Dorff for maintaining our website
Edited by Melanie Colter  and Deborah Dorff

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