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Pioneers of Artists’ Alley

by Elaine Adams Adapted from the essay, “Three Creators of Artists’ Alley,” by David T. Leary, Ph.D.

t the start of the twentieth century, Alhambra of the 1920s was a California attracted an eclectic array of creative and quiet, middle-class community, Aphilosophical thinkers who were lured out west in roughly seven miles east of down- search of the spirit of adventure that was California. Many of town Los Angeles with a population of only nine-thousand. It had a tem- these individuals formed groups that became colonies of one perate climate and a good view of sort or another. Although settlements devoted to social or spir- the San Gabriel Mountains to the itual causes have historically drawn considerable attention and north, yet there was nothing scholarship, distinct arts groups also existed and are worthy of uniquely scenic or highly cultural examination. about the town. But stories about an almost mythical society of cre- ative people residing in Alhambra turn up in old-timers’ reminiscences, as well as newspaper articles. Indeed, there must have been something in the blend of the locale and its inhabitants that forged cre- ative energy. Surely, an essential ingredient can be found in its three pioneer artists that developed a colony in this unlikely location. The first to arrive was Victor Clyde Forsythe (1885–1962) in 1922. Immediately following Forsythe was Frank Tenney Johnson (1874–1939). Upon Johnson’s urg- ing, came Jack Wilkinson Smith (1873–1949) in 1926. Forsythe was a native Californ- ian, born in Orange, but felt his roots were in the Old West. His parents were from Tombstone, Ari- zona where they operated a store Frank Tenney Johnson (1874–1939) that was located next door to the Somewhere on the Range, c. 1938 OK Corral at the time of the notori- Oil on canvas 24Љ ϫ 30Љ ous gunfight in 1881. While living Private Collection in central Los Angeles young Forsythe grew up with stories about It is no great surprise that artist Francisco, particularly during the the Old West and its wild eccentrics colonies flourished throughout Cal- state’s culturally burgeoning years such as Wyatt Earp, Doc Holliday ifornia in picturesque areas such as from the 1910s through 1930s. and the Clanton-McLowery gang. Pasadena, Laguna Beach, Carmel, Still, Alhambra hardly seems a As a boy at Harvard Military Monterey, Santa Barbara and San likely place for an art colony. School he showed a natural flair for

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cartooning. Later, he enrolled at the tor to the unknown illustrator Nor- he began frequenting Milwaukee’s Los Angeles School of Art and man Rockwell (1894–1978) whom Layton Art Gallery and found his Design where he studied under Forsythe introduced to the Satur- life’s direction. At Layton he appren- Louise Garden MacLeod (1857– day Evening Post, thus launching ticed under the panorama scene 1944). His apparent talent got him Rockwell’s inimitable career. For a painter F.W. Heine (1845–1921), a job on William Randolph Hearst’s time, the two artists shared a stu- whose specialty in horse painting Los Angeles Examiner where he dio in New Rochelle that had pre- was no doubt an education applied briefly worked as a staff artist. viously belonged to Western artist by Johnson for work to come. Then, In 1904 Forsythe headed to New (1861–1909). he studied with Richard Lorenz York where he was accepted at the In his autobiography Rockwell (1858–1915), a former Art Students League and studied comments on Forsythe’s influence Ranger and a member of the Society under Frank Vincent DuMond over his work: “Vic was about the of Western Painters, who shared (1865–1951). The following year only person I knew who would with Johnson his valuable painting he was hired as an illustrator for give me any real criticism.” techniques, as well as his first-hand Hearst’s Evening Jour- Another artist inspired by the experience with the West. nal. Forsythe’s income and celebrity West and who came from the ranks Combining his native talent, status were indeed on the rise, as of the art world was local instruction and jobs in com- was his romantic future. He met Frank Tenney Johnson. Johnson was mercial art, Johnson slowly made Los Angeles native Cotta Owen born near Council Bluffs, Iowa and his way into the art world. A small and soon they were married. raised on a farm located on the old inheritance allowed him to go to Overland Trail literally in sight of New York in 1895 to study at the orsythe gained national westerning wayfarers on horseback, Art Students League for five Frecognition for his cartoons and stage coaches and covered wagons. months. Then, he returned to Mil- comic strips particularly for Joe In 1884 the family moved to Mil- waukee where in 1896 he married Jinks and Way Out West, as well as waukee, Wisconsin where Johnson local girl, Vinnie Reeve Francis, and for his patriotic World War I attended school, though with scant worked as a free-lance illustrator posters. In 1915 he became a men- interest. Then, just in his mid-teens, until he raised enough money to return to New York. In 1902 he and Vinnie moved to New York and Johnson was accepted to the prestigious New York School of Art where he studied under American luminaries, Robert Henri (1865– 1929), William Merritt Chase (1849–1916) and John Henry Twachtman (1853–1902). Johnson won increasingly prof- itable illustration assignments— particularly portraying images of the West for popular publications such as the Zane Grey novels. The editor of Field & Stream, Emerson Hough, sponsored a 1904 trip to a ranch in Hayden, Colorado where Johnson could observe cowboy life firsthand for artistic authenticity. Johnson and Forsythe were close friends in New York and shared an Victor Clyde Forsythe (1885–1962) interest in the Western experience— As the Desert Awakes, 1922 and perhaps even discussed feeling Oil 30Љ ϫ 40Љ misplaced on the east coast. In Photo courtesy of Jean Stern, The Irvine Museum 1922 at the peak of Forsythe’s Collection of Morton H. Fleischer newspaper career and active social

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CALIFORNIA ART CLUB NEWSLETTER Summer 2007 Contents Cover Pioneers of Artists’ Alley by Elaine Adams 10 96th Annual Gold Medal Exhibition Achieves New Heights for Traditional Fine Arts by Beverly Chang 12 Painting the Great Outdoors: A Chat with Landscape Artist Dennis Doheny by Molly Siple Jack Wilkinson Smith (1873–1949) 16 California Art Club Crystal Cove Looks to the Past for a Oil on canvas 52Љ ϫ 70Љ Future Home Collection of The Irvine Museum by Elaine Adams 18 CAC Programs and life that included yachting, golfing family at 29 South Fourth Street Events and a circle of illustrious friends where they lived until 1926. It 19 Collectors’ Circle such as leading artists, Dean Corn- seems that the decision for the Corner well (1892–1960), Charles Dana Forsythes and Johnsons to move to Gibson (1867–1944) and Howard Alhambra may have been at least 20 CAC Chapter News Chandler Christy (1873–1952),he partly due to the wives. 22 CAC News Briefs and Cotta decided to pack up and 24 Donor Recognition head west. It seems Clyde had a uch of southern Calif– 25 Museum/Gallery longing to paint life in the desert, Mornia at this time was ranch- Exhibitions and including the prospectors with land. Clyde and Bernice Champion Lectures whom he would share campsites; raised oranges on their twenty- 35 Membership News and Frank Tenney Johnson soon seven acre property located on the followed his friend to California. west bank of the arroyo that 37 Bulletin Board Both Forsythe and Johnson had divided the two cities of Alhambra 38 New Members in-laws residing in Alhambra. Cotta and San Gabriel. In 1924 the Owen Forsythe’s parents had been Champions decided to subdivide Advertisers living there since 1912; and Vinnie their land. The Forsythes immedi- 34 American Fine Arts Francis Johnson’s parents, sister ately purchased a lot located on the Foundry and brother-in-law moved to southeast corner of Alhambra Road 34 American Legacy Fine Alhambra at about the same time and North Almansor Street where Arts, LLC Frank and Vinnie arrived. The they built their home and named it 20 Art International Forsythes moved in with Cotta’s “Orange Blossom Manor.” The fol- family on South Wilson Avenue lowing year they added a studio 24 Katherine Norris (now Atlantic Boulevard). Also in above the garage. Fine Art 1922, but without giving up their In 1926 the Johnsons purchased 34 On the Wall Gallery New York base, the Johnsons a piece of Champion land and built and Frames leased a residence with Vinnie’s their California-shingle home at 22

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Champion Place with a setback sec- ond story and large windows facing north towards Mt. Wilson. It seems that Alhambra’s own “Little Bohemia” was now effectively underway. Only a block and a half long and barely fifteen feet wide, the colony itself was not especially prepossess- ing at first glance. Situated princi- pally along a cul-de-sac—Champion Place on the map, “Artists’ Alley” in popular lore—the unassuming neigh- borhood was, however, pleasant and overlooked an arroyo amidst a shade of lofty eucalyptus trees. Forsythe and Johnson attracted a host of leading western personalities and artists such as Will Rogers, Charles M. Russell (1864–1926), Edward Borein (1872–1945), and . Clyde Forsythe (on right) at the Uplifters Parade with Arthur Holliday, Mike Lang, Forsythe, along with fellow “Desert U. S. Marshal Robert Clark, and Sheriff Eugene Biscailuz who was Grand Marshal. Painters” James Swinnerton September 16, 1940, Los Angeles. (1875–1974), Nicolai Fechin Photo courtesy of the Los Angeles Public Library (1881–1955) and (1875–1946), shared many painting trips to California’s expansive Mohave Desert. Forsythe immersed himself in the lore of the West, often living in ghost towns while on paint- ing forays. Johnson painted his favorite wilderness themes—Indians, cowboys and early frontier settlers. In time, Johnson’s iridescent paint- ings of moonlit cowboys in contem- plation became known as “The Johnson Moonlight Technique.” The environment at Artists’ Alley was clearly conducive to cre- ativity, as well as to camaraderie. Social life was indeed full for Forsythe and Johnson. In addition to entertaining visiting friends at Artists’ Alley, they joined the Santa Barbara equestrian group, Rancho Visitadores, co-founded by Ed Bor- ein, for the delightful purpose of enjoying a group ride through sce- nic countryside to visit neighboring ranches—a quaint custom that con- Jack Wilkinson Smith in his Champion Place studio, 1923. tinues in Santa Barbara to this day. Photo courtesy of Jean Stern and The Irvine Museum

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ith their Western and Clyde Champion built their home that he met and married Emma B. WDesert paintings escalating in across the street from Smith’s. Troop. Also in Lexington, he held demand, and an apparent shortage Jack Wilkinson Smith was born his first solo fine art exhibition, of places to exhibit them in Los in Patterson, New Jersey. His grand- which drew the attention of car- Angeles, in 1923 Forsythe and father owned an eighty acre farm in toonist Winsor McKay (1867(?)- Johnson helped establish the Bilt- New York, which now includes 1934) who helped Smith get a job more Salon (also known as “Bilt- Madison Square Garden. Jack was as a newspaper artist on the more Galeria Real”) in the newly raised with some degree of artistic Cincinnati Enquirer. While in built palatial Spanish-Italian sensitivity; it is noted that his father Cincinnati, Smith studied under Renaissance style Biltmore Hotel was a decorative painter for the Frank Duveneck (1848-1919) at the located at 506 South Grand New York State Capitol Building in Cincinnati Academy of Art. Then, Avenue. Culture in southern Cali- Albany. In his teens and already an in 1898 during the Spanish-Ameri- fornia was indeed beginning to aspiring artist, Jack dropped out of can War, Smith travelled to Cuba bloom. In 1926 Frank Tenney school and worked his way to to sketch frontline combat scenes, Johnson encouraged his friend Jack Chicago where he attended the Art which brought him national notice. Wilkinson Smith to take a look at Institute of Chicago and apprenticed The western landscape, how- the house next door to his at 16 under George Gardner Symons ever, was beckoning Smith. Champion Place, and introduced (1863–1930). Inspired by photographs, he began him to Clyde Champion. Smith Smith travelled to Lexington, painting the imagery of the West must have been inspired by the Kentucky where he soon estab- before actually having been to the location because he promptly lished himself as a sign and scenic West. Feeling encouraged by the bought the house. Bernice and painter, and it is during this period sale of some of these works, in

Jack Wilkinson Smith painting en plein air in the desert with his horse. Photo courtesy of Jean Stern and The Irvine Museum

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and studio at 130 Champion Place. daily bicycling through the streets Eli Harvey was a highly regarded of Alhambra with his briar pipe in sculptor whose Elk represents the his mouth and his coattails flapping Benevolent and Protective Order of in the wind. He consistently sought the Elks and whose animal figures interesting faces for his Saturday adorn the Lion House in the Bronx Evening Post assignments and Zoo, and are in the collections of the found many locals happy to pose New York Zoological Society and for him. One of his most beloved the Metropolitan Museum of Art— Post covers, titled “Doctor and making him a formidable addition Doll,” features Eli Harvey as the to the colony at Artists’ Alley. doctor and little Libby Beam, Across the street from the Har- another Alhambra resident, with veys lived Alhambra’s first city her sick doll. attorney, Alfred Barstow, whose The Rockwells continued to daughter, Mary, was an attractive, make New York their home base, young teacher. In 1929 Norman but they often travelled to Alham- Rockwell was going through a bra, sometimes spending entire divorce from Irene, his wife of thir- summers there. The Barstows even- Frank Tenney Johnson (1874–1939) teen years, and was suffering from tually built an addition onto their Photo Courtesy of Jean Stern and The depression. So, at Forsythe’s invita- home in 1935 to accommodate the Irvine Museum tion, Rockwell came to Alhambra. Rockwell family visits. The Forsythes introduced Rockwell In addition to living in a commu- to Mary Barstow, who made an nal environment, the artists took 1906 he and Emma moved from immediate impression on Norman. group painting trips. A photo in the Cincinnati to Los Angeles. He was thirty-six, she was twenty- Johnson Collection shows the John- Smith was quickly indoctrinated two. Within three weeks, they were sons, Forsythes and Smiths camping into life at the colony, and eventu- engaged. Three months later on in the Sierras. Their mutual love for ally was the primary organizer of April 17, 1930 they were married the western landscape was being the Biltmore Salon exhibitions, in the Barstow’s garden. satisfied. When asked about Cali- which included works by fellow Norman Rockwell could be seen fornia, Smith responded, “Why go local artists. He had a key role in the start of the Painters of the West group that included twenty-five local artists, and on December 14, 1923 they marked the inaugural exhibition of the Biltmore Salon. Among the exhibiting artists were Forsythe, Johnson and Smith, as well as Franz Bischoff, Carl Oscar Borg, Kathryn Leighton, Hanson Puthuff, Jean Manheim, Donna Schuster and William Wendt. The opening attracted several hundred people and according to the December 15, 1923 issue of the Los Angeles Times social scene writer, Fred Hogue, described the grandeur of the salon as “…spa- cious, velveted and tapestried…a gallery that is said to be second in size only to the Grand Central Gallery of New York.…” New York Sculptor Eli Harvey (1860-1957) and his wife Edith James came out west in 1928 and soon succumbed to the uniqueness of Artists’ Alley. The following year Biltmore Hotel from Pershing Square, circa 1939 they built a Florentine-style home Photo collection of Los Angeles Public Library

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Norman Rockwell (1894–1978) Eli Harvey (1860–1957) Doctor and Doll working on his sculpture, “Alaskan Brown Bear.” Oil on canvas 32 Љ ϫ 26 1/4Љ Photo courtesy of Clinton County Historical Society Saturday Evening Post Cover, March 9, 1929 Private Collection Models for this work were Artists’ Alley sculptor, Eli Harvey, and local girl, Libby Beam. elsewhere? Where are mountains been the support of their col- tured mainly desert scenes. “In nobler than the Sierras? Where are leagues. Johnson put it well when these,” said Millier, “the light and seas bluer than off the California he said that “each work of art is an colour are both convincingly true coast? Where are forests to com- experiment, and the knowledge and harmonious. Many of these pare with our own?” Indeed, he gained by each individual in his will wear exceedingly well, for into said, “Whatever I have seen else- effort at expression, is often times them the artist puts his consider- where I have found in California, of greater value to one’s fellow able knowledge of the desert.” But and more glorious. It is all here.” artists than that gleaned from just the next year, commenting on And Forsythe declared, “The books.” The three surely must have another Forsythe exhibition, Millier Golden State is so different in cli- been exchanging opinions and remarked, “The large portraits or mate and geography from other sharing views in collegial fashion at story-telling pieces would be better portions of the country that she this point. as reproduced than as exercises an influence over her Critical art reviews were gener- framed paintings.” painters which they cannot escape.” ally positive, but on occasion a The same was true even of critic would take a derogatory jab Frank Tenney Johnson, whose can- orsythe, Johnson and at the artists’ illustration back- vases had gained popularity both FSmith were making transitions ground. Arthur Millier, one of locally and nationally. Los Angeles with their work, if not break- southern California’s most impor- Times columnist Fred Hogue com- throughs. Certainly, familial sup- tant critics with the Los Angeles mented, “Frank Tenney Johnson port would have been important, Times, reviewed a Forsythe exhibi- has won with his brush a place in but, more encouraging would have tion at the Biltmore Salon that fea- the front rank of contemporary

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artists. His best is equal to the best in any company.” And art writer Everett Carroll Maxwell declared, “This artist stands alone in his abil- ity to depict an incident in the life of the Old West, or the West of today, without losing sight of mood—the mystery of haunting night, or the stinging heat of desert noonday.” But then Maxwell went on to add, “It is this mystery that saves Johnson’s pictures from being illustrations and makes them fun- damentally works of art.” Jack Wilkinson Smith experi- enced similar treatment. Writing about an exhibit at the Biltmore Salon, Arthur Millier said, “Smith makes a convincing demonstration of his essential poetry and his ideals of craftsmanship.” Nevertheless, Millier added, “When Smith intro- duces figures into his pictures they tend to become illustrations at the expense of art.” Four years later Fred Hogue was not so equivocal. Sam Hyde Harris (1889–1977) “Jack Wilkinson Smith is the pre- Morning Glory, c. 1938 mier painter of California sunlight,” Oil 30Љ ϫ 36Љ he said. “He may violate the classic Photo courtesy of Jean Stern, The Irvine Museum canons of art, but the canvases he Collection of Paul and Kathleen Bagley creates may cause future critics to revise the accepted canons.” Critics aside, many collectors tion, he attended a party on he thought that during his tenure liked what the three artists did. Vin- December 19, 1938 in Los Angeles, there should be featured “amongst nie Johnson kept a record of Frank’s gave a social kiss to a pretty girl other things of interest to Artists, sales, and in 1933, the year the and fell ill the following day. On such activities as would tend to Great Depression was at its worst, January 1, 1939 Frank Tenney increase their knowledge of materi- his paintings grossed over $12,000, Johnson died from meningitis. His als, methods, and means of produc- of which a substantial percent came last painting, Somewhere on the ing the best expression possible in from the Biltmore Salon—an aston- Range, was still on his easel wait- the different lines followed.” In ishing amount in that day. ing for his signature. 1939 a painting by each of the Erstwhile illustrators they may three men was among those shown he self-made businessman have been, but Johnson, Smith, and at the Golden Gate International TAmon G. Carter Sr. (1879–1955) Forsythe were all honoured by their Exposition in San Francisco. was actively acquiring the finest peers as fine artists in various ways. With the death of Frank Tenney examples of western art, primarily The National Academy of Design Johnson in 1939, followed by Jack Remingtons and Russells when in awarded Johnson associate status Wilkinson Smith in 1949, much of 1938 he attended Johnson’s exhibi- in 1929 and full membership in the glory days of Artists’ Alley had tion at the Grand Central Art Gal- 1937. Few other Californians had passed. However, in 1950 a new leries at New York’s Biltmore Hotel been so recognized. The California resident arrived, Sam Hyde Harris and bought out the entire exhibi- Art Club elected Smith its president (1889-1977). Harris and his wife in 1920 and 1921. He rightly tion. Carter’s collection became the bought 16 Champion Place—Jack claimed a role in establishing the impetus behind the Amon Carter Wilkinson Smith’s old home and organization “as a strong civic cul- Museum, which opened in 1961 in studio. Harris was born in England Fort Worth, Texas. Johnson must tural influence in Southern Califor- nia.” The California Art Club to a middle-class family. When he have been in a celebratory mood. was fifteen he and the family Shortly after his successful exhibi- chose Johnson president four times—1935 through 1938—and moved to Los Angeles. The follow-

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ing year, he began studying paint- when she divorced her husband, Notes: ing with Hanson Puthuff (1875- Clarence, a janitor for the Mon- This article was adapted from 1972), and in 1920 began exhibit- rovia school district. The house was David T. Leary’s essay, “Three Cre- ing with the California Art Club. filled with paintings by Frank Ten- ators of Artists’ Alley.” Dr. Leary is His first wife was Phoebe Mulhol- ney Johnson, but nothing was miss- a southern California native. He land, the niece of William Mulhol- ing and the case was never solved. completed his undergraduate work land, superintendent of the Los All three pioneers of Artists’ Alley, at Stanford University and received Angeles Water Company. After Forsythe, Johnson and Smith found a doctorate from the University of twenty-seven years of marriage and their inspiration in interpreting the Southern California. Dr. Leary three sons, Sam and Phoebe West, and in so doing they reflected taught at Pasadena City College for divorced. In 1945 Sam met the public’s sentiment. The West—or many years with a special interest in U.C.L.A. librarian Marion Dodge rather the Frontier West—somehow California history. For his research at an evening art class and they assumed a life of its own in Amer- on “Three Creators of Artists’ soon married. In keeping with ica’s mind. That life was mythic in Alley” and requisite permission to some of the tradition of Artists’ many ways, tending to neglect the Alley, Harris travelled to the desert quote, Dr. Leary especially wishes variety of folk who really occupied with . to acknowledge: The Bancroft the frontier or the hard conditions Artists’ Alley’s peaceful setting Library at the University of Cali- they often faced. But Forsythe, John- with its wispy eucalyptus trees and fornia, Berkeley for their papers on magnificent view of the San Gabriel son and Smith grew up with the phe- Jack Wilkinson Smith; The Mountains was often referred to as nomenon, drew from it, and helped McCracken Research Library at the “the Little Bohemia, the Greenwich sustain it. At age sixty-seven Forsythe Buffalo Bill Historical Center for Village, and the Montmartre of the fulfilled his childhood bond to the their papers on Frank Tenney John- Southwest.” And like so many Old West by painting The Fight at son; and The Smithsonian Institu- Bohemian settlements, Champion OK Corral, complete with his par- tion’s Archives of American Art for Place had its own tragedy. ents’ store, Chandler and Forsythe, items pertaining to Clyde Forsythe In 1957 Vinnie Johnson’s sister, in the background. (there is no single repository on Evalyn Francis Ash Van Wormer, To create, artists have a need to Forsythe). To read Dr. Leary’s origi- was found strangled in her home at belong to a society that nurtures nal, unedited text with detailed 22 Champion Place—Frank Tenney creativity in an environment that attributions, visit www.californi- Johnson’s home. The house was promotes an exchange of knowl- aartclub.org/home/history.shtml willed to Evalyn and her son James edge and inspires new ideas. Artists’ Ash in 1956. Evalyn had been liv- Alley was just such a place. Y ing there by herself since 1952,

Jack Wilkinson Smith (1873–1949) Victor Clyde Forsythe (1885–1962) In the Canyon Two of a Kind Oil on canvas 40Љ ϫ 50Љ Oil on canvas 17Љ ϫ 20Љ Private Collection Private Collection

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