The Smithsonian Institution

Arthur Schwieder, 1884-1965Source: Archives of American Art Journal, Vol. 8, No. 1 (Jan., 1968), pp. 23-24Published by: The Smithsonian InstitutionStable URL: http://www.jstor.org/stable/1556901 .

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sculptor, including a limited quantity of business and family correspondence (1908-1947), sketch- books, photograph albums, biographical and family information, scrapbooks, statements on art, exhibi- tion catalogues (1912-1966), and a list of photographs of works. The collection also contains a series of diaries kept by Mrs. Beach between 1929 and 1951.

Clarence Carter (1904- ) Owner: Clarence Carter

Business, professional and personal correspond- ence of this New York painter whose records of his work with government art projects are already a part of the Archives. This new material, chiefly letters from dealers and museums during the period after 1945, together with a few retained copies, consists of over 400 items.

Eliot Clark (1883- ) Owner: Eliot Clark

Papers of a painter and writer on American art. Correspondence, notes and exhibition catalogues are supplemented by copies of a number of Clark's magazine articles published between 1918 and 1961.

Paul Manship (1885-1966) Owner: John Manship

An addition to the Paul Manship Papers filmed in 1959, this collection comprises a series of calendar notebooks, 1925-1965, and a small group of clippings and miscellaneous publications.

Walter Murch (1907-1967) Owner: Mrs. Walter Murch

An addition to the Walter Murch Papers, this group consists of business and family correspond- ence, 1932-1967, notes, biographical information, sketches, photographs, exhibition catalogues and clippings. Most of the material covers the years since 1945.

Museum of Graphic Art Owner: Museum of Graphic Art

Official records of this recently established insti- tution, including documents relating to the founding of the museum, minutes of the Board of Directors, correspondence relating to the operation of the museum and its exhibitions, reports, lists, photo- graphs, press releases and clippings, 1964-1966.

Ethel (1881-1960) and Jerome Myers (1867-1940) Owner: Mrs. Virginia Downes

A small collection of correspondence, notes, sketches, photographs, biographical information, catalogues and clippings. The manuscript of Jerome

sculptor, including a limited quantity of business and family correspondence (1908-1947), sketch- books, photograph albums, biographical and family information, scrapbooks, statements on art, exhibi- tion catalogues (1912-1966), and a list of photographs of works. The collection also contains a series of diaries kept by Mrs. Beach between 1929 and 1951.

Clarence Carter (1904- ) Owner: Clarence Carter

Business, professional and personal correspond- ence of this New York painter whose records of his work with government art projects are already a part of the Archives. This new material, chiefly letters from dealers and museums during the period after 1945, together with a few retained copies, consists of over 400 items.

Eliot Clark (1883- ) Owner: Eliot Clark

Papers of a painter and writer on American art. Correspondence, notes and exhibition catalogues are supplemented by copies of a number of Clark's magazine articles published between 1918 and 1961.

Paul Manship (1885-1966) Owner: John Manship

An addition to the Paul Manship Papers filmed in 1959, this collection comprises a series of calendar notebooks, 1925-1965, and a small group of clippings and miscellaneous publications.

Walter Murch (1907-1967) Owner: Mrs. Walter Murch

An addition to the Walter Murch Papers, this group consists of business and family correspond- ence, 1932-1967, notes, biographical information, sketches, photographs, exhibition catalogues and clippings. Most of the material covers the years since 1945.

Museum of Graphic Art Owner: Museum of Graphic Art

Official records of this recently established insti- tution, including documents relating to the founding of the museum, minutes of the Board of Directors, correspondence relating to the operation of the museum and its exhibitions, reports, lists, photo- graphs, press releases and clippings, 1964-1966.

Ethel (1881-1960) and Jerome Myers (1867-1940) Owner: Mrs. Virginia Downes

A small collection of correspondence, notes, sketches, photographs, biographical information, catalogues and clippings. The manuscript of Jerome Myers' Artist in Manhattan, a list of his works, and a fragment of Ethel Myers' diary are also included. Some of the correspondents are Louis Eilsliemius,

Myers' Artist in Manhattan, a list of his works, and a fragment of Ethel Myers' diary are also included. Some of the correspondents are Louis Eilsliemius,

Leon Kroll, Walt Kuhn, Henry McBride, Walter Pach and Mahonri Young.

Helen Appleton Read Owner: Helen Appleton Read

Five scrapbooks containing Miss Read's art columns from the Sunday Brooklyn Eagle during the years 1932-1935. Other material includes a lecture, "New Horizons in American Art," on the subject of art in federal buildings, reports on a survey of art in federal buildings, notes on the Hudson River School, and articles on American art from various periodicals.

ARTHUR SCHWIEDER, 1884-1965

The historian seeking an accurate impression of past men and events often finds his view distorted by the weight of documentary evidence dealing with those prominent individuals who enjoyed a good press in their own day. History, we are told, is written by the victors. In a related sense, cultural history is written about the select few who capture the public relations mills of their time. This is especially true of art scholarship. Like Hollywood, the art market operates on the star system, and the brighter the star, the greater the light projected into the future.

Yet a valid account of an epoch requires that a knowledge of glittering reputations be balanced by an awareness of less publicized contributions. A repository of documentary records, therefore, must provide the future scholar information on some of the contemporary figures whose creative talents were acknowledged to a more limited degree than those of the great names.

One such figure was the New York painter and teacher Arthur Schwieder. He was born in Bolivar, Missouri in 1884 and studied at the Chicago Art Institute School in the early years of this century. Like many other mid-western artists and writers of the World War I period, he moved to New York where he acquired a reputation as a book illustrator. Continuing to paint as well, he worked with a marked feeling for color, which, together with a certain experimental quality, prevented his being taken on by orthodox dealers. The Macbeth Gallery thought a series of sketches called "Moods of Nature" held promise, but the vivid color in his oils proved to be unacceptable. "I am afraid these are a little too strong for us yet awhile," Robert Macbeth wrote in 1923 in reference to six paintings submitted for comment.

During this period Schwieder became acquainted

Leon Kroll, Walt Kuhn, Henry McBride, Walter Pach and Mahonri Young.

Helen Appleton Read Owner: Helen Appleton Read

Five scrapbooks containing Miss Read's art columns from the Sunday Brooklyn Eagle during the years 1932-1935. Other material includes a lecture, "New Horizons in American Art," on the subject of art in federal buildings, reports on a survey of art in federal buildings, notes on the Hudson River School, and articles on American art from various periodicals.

ARTHUR SCHWIEDER, 1884-1965

The historian seeking an accurate impression of past men and events often finds his view distorted by the weight of documentary evidence dealing with those prominent individuals who enjoyed a good press in their own day. History, we are told, is written by the victors. In a related sense, cultural history is written about the select few who capture the public relations mills of their time. This is especially true of art scholarship. Like Hollywood, the art market operates on the star system, and the brighter the star, the greater the light projected into the future.

Yet a valid account of an epoch requires that a knowledge of glittering reputations be balanced by an awareness of less publicized contributions. A repository of documentary records, therefore, must provide the future scholar information on some of the contemporary figures whose creative talents were acknowledged to a more limited degree than those of the great names.

One such figure was the New York painter and teacher Arthur Schwieder. He was born in Bolivar, Missouri in 1884 and studied at the Chicago Art Institute School in the early years of this century. Like many other mid-western artists and writers of the World War I period, he moved to New York where he acquired a reputation as a book illustrator. Continuing to paint as well, he worked with a marked feeling for color, which, together with a certain experimental quality, prevented his being taken on by orthodox dealers. The Macbeth Gallery thought a series of sketches called "Moods of Nature" held promise, but the vivid color in his oils proved to be unacceptable. "I am afraid these are a little too strong for us yet awhile," Robert Macbeth wrote in 1923 in reference to six paintings submitted for comment.

During this period Schwieder became acquainted with N. E. Montross, whose gallery, one of the most influential in New York, later handled the artist's work. A one-man show held there in 1933 was a

with N. E. Montross, whose gallery, one of the most influential in New York, later handled the artist's work. A one-man show held there in 1933 was a

23 23

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critical success. His semi-abstract forms led Henry McBride, the most erudite of the New York critics, to compare him with Kandinsky. "Both in still-life and landscape he wields a fluent brush and never makes stilted statements," McBride wrote. "In such works as Landscape Design and Inwood Land- scape he goes far on the path traversed by Kandin- sky. Mr. Schwieder, in fact, is an excellent new acquaintance."

A second one-man show with Montross took place in 1936. With the demise of that gallery, Schwieder shifted to the Rehn Gallery where four further exhibitions of his work were held between 1944 and 1959. He was also represented in group shows at both galleries as well as at the Carnegie Institute, The National Academy of Design, and the Pennsyl- vania Academy of the Fine Arts.

Although his paintings were shown, reviewed, and sold throughout the period from 1930 to 1960, it was as the head of the Schwieder Group that he became best known to the New York art com- munity. His teaching began in 1928 when he estab- lished a summer art colony at Inwood Park on the upper end of Manhattan Island. He also opened an art school at the Beaux Arts Studios, and the first Schwieder Group exhibition appeared at the Mont- ross Gallery in 1933. These shows, held annually without interruption until the late 1950's, became a feature of the New York art season. Reviewers invariably commented on the remarkable individ-

uality displayed by Schwieder's students.

A conscientious teacher, Schwieder followed simple rules which he summarized in a statement written shortly before his death:

As drawing is the foundation of all real art, the first step is to demonstrate the meaning of three-dimensional art-in contrast to flat two-dimensional-by relationship of line. Relationship of values in application of color has that same importance and is also vital in teaching.

When all this is mastered the designing of a canvas is next, making the light and dark patterns exist in space. In my teach- ing over a long period of years I have never deviated from these basic rules . . . After learning the foundation, one can deviate from reality wherever feeling leads.

When he died in 1965, Arthur Schwieder had achieved what most artist-teachers would aspire to- a solid body of work and a loyal group of students.

The Arthur Schwieder Papers, presented to the Archives of American Art in 1963, reflect his dual

critical success. His semi-abstract forms led Henry McBride, the most erudite of the New York critics, to compare him with Kandinsky. "Both in still-life and landscape he wields a fluent brush and never makes stilted statements," McBride wrote. "In such works as Landscape Design and Inwood Land- scape he goes far on the path traversed by Kandin- sky. Mr. Schwieder, in fact, is an excellent new acquaintance."

A second one-man show with Montross took place in 1936. With the demise of that gallery, Schwieder shifted to the Rehn Gallery where four further exhibitions of his work were held between 1944 and 1959. He was also represented in group shows at both galleries as well as at the Carnegie Institute, The National Academy of Design, and the Pennsyl- vania Academy of the Fine Arts.

Although his paintings were shown, reviewed, and sold throughout the period from 1930 to 1960, it was as the head of the Schwieder Group that he became best known to the New York art com- munity. His teaching began in 1928 when he estab- lished a summer art colony at Inwood Park on the upper end of Manhattan Island. He also opened an art school at the Beaux Arts Studios, and the first Schwieder Group exhibition appeared at the Mont- ross Gallery in 1933. These shows, held annually without interruption until the late 1950's, became a feature of the New York art season. Reviewers invariably commented on the remarkable individ-

uality displayed by Schwieder's students.

A conscientious teacher, Schwieder followed simple rules which he summarized in a statement written shortly before his death:

As drawing is the foundation of all real art, the first step is to demonstrate the meaning of three-dimensional art-in contrast to flat two-dimensional-by relationship of line. Relationship of values in application of color has that same importance and is also vital in teaching.

When all this is mastered the designing of a canvas is next, making the light and dark patterns exist in space. In my teach- ing over a long period of years I have never deviated from these basic rules . . . After learning the foundation, one can deviate from reality wherever feeling leads.

When he died in 1965, Arthur Schwieder had achieved what most artist-teachers would aspire to- a solid body of work and a loyal group of students.

The Arthur Schwieder Papers, presented to the Archives of American Art in 1963, reflect his dual role as painter and teacher. They form a useful

documentary record of an important aspect of American art in this century. 24

role as painter and teacher. They form a useful

documentary record of an important aspect of American art in this century. 24

Arthur Schwieder Arthur Schwieder

RECENT PUBLICATIONS RECEIVED

E. Maurice Bloch, George Caleb Bingham: The Evolution of an Artist; A Catalogue Raisonne. 2 vols. Berkeley and Los Angeles, University of California Press, 1967.

Fielding Dawson, An Emotional Memoir of Franz Kline. New York, Pantheon Books, 1967.

Agnes Halsey Jones, Hudson River School. Geneseo, New York, State University College of New York, 1968.

Claes Oldenburg, Store Days. New York, Something Else Press, Inc., 1967.

Glenn A. Wessels, Education of an Artist. With an introduction by Stephen C. Pepper. An Interview Conducted by Suzanne Bassett Riess. Berkeley, California, University of California, 1967.

SHAKERS. First Conference on the Cultural Heri- tage of an American Communal Sect. Sessions will be devoted to Shaker sites, architecture, arts, his- tory, literature and theology.

September 6 and 7, 1968, Hancock Shaker Village, Pittsfield, Massachusetts. Preceding the conference the restored round stone barn will be dedicated on Thursday, September 5; following the conference special tours to sites and collections will be arranged for Sunday, September 8.

For information regarding all of these activities write to Hancock Shaker Village, Box 29, Pittsfield, Massachusetts 01201. Limited to the first 100; deadline August 1.

RECENT PUBLICATIONS RECEIVED

E. Maurice Bloch, George Caleb Bingham: The Evolution of an Artist; A Catalogue Raisonne. 2 vols. Berkeley and Los Angeles, University of California Press, 1967.

Fielding Dawson, An Emotional Memoir of Franz Kline. New York, Pantheon Books, 1967.

Agnes Halsey Jones, Hudson River School. Geneseo, New York, State University College of New York, 1968.

Claes Oldenburg, Store Days. New York, Something Else Press, Inc., 1967.

Glenn A. Wessels, Education of an Artist. With an introduction by Stephen C. Pepper. An Interview Conducted by Suzanne Bassett Riess. Berkeley, California, University of California, 1967.

SHAKERS. First Conference on the Cultural Heri- tage of an American Communal Sect. Sessions will be devoted to Shaker sites, architecture, arts, his- tory, literature and theology.

September 6 and 7, 1968, Hancock Shaker Village, Pittsfield, Massachusetts. Preceding the conference the restored round stone barn will be dedicated on Thursday, September 5; following the conference special tours to sites and collections will be arranged for Sunday, September 8.

For information regarding all of these activities write to Hancock Shaker Village, Box 29, Pittsfield, Massachusetts 01201. Limited to the first 100; deadline August 1.

This content downloaded from 62.122.73.250 on Thu, 12 Jun 2014 19:46:31 PMAll use subject to JSTOR Terms and Conditions