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Josiah Wolcott: Artist and Associationist Nancy Osgood Josiah Wolcott: Artist and Associationist Known largely as an applied artist, Josiah Wolcott brought to his best-known work a profound senseof mission-to “assistmankind in theirforward progress.” he well-known utopian portrait painter working in New England community of Brook in the middle third of the nineteenth cen- Farm was founded in tury, Wolcott is now known to have been 1841 in West Roxbury, personally engaged in Fourierism and Massachusetts.Commu- Associationism, the utopian movements nityT members, led by the transcendentalist that gave life to Brook Farm. For Wolcott, Unitarian minister George Ripley, dedi- Associationism clearly held the promise of cated themselves to creating an ideal com- a better life-spiritually, socially,economi- munity where intellectual life and physical cally-for himself, his family, and his soci- labor would blend harmoniously in an ety. It provided the impetus for his major agrarian setting. John Sullivan Dwight, artistic work, both the historically invalu- Nathaniel Hawthorne, and Charles Dana able topographical views of Brook Farm were members at an early date. and the final scenein his publicly acclaimed As the community grew and became panorama,A4irrorofSluvery. The artists’ per- better known, it attracted a number of sonal interest in these movements and the visitors, inlcuding the artists William art that he made in responseadd an impor- Wetmore Story (181%95), John Sartain tant dimension to Brook Farm scholarship (180%97), and Benjamin Champney and to an understanding of the Associa- (1817-1907). ’ Ifthese artists paintedviews tionist movement, most particularly in of Brook Farm, these works are not known New England. to have survived. Indeed, the only known extant paintings of the community were JOSIAH WOLCOTT: AN OVERVIEW made by the comparatively unknown art- Josiah Wolcott was born in Stow, Massa- ist Josiah Wolcott.* chusetts, in 1814. His father, also named Heretofore familiar only among a Josiah, was a wheelwright descendedfrom few art historians as an ornamental and Captain Jonathan Walcott of Salem Village, Old-Time New England Spring/Summer 1998 Page 5 Massachusetts?In 1820, when rural New Wolcotts’ known landscapepaintings England was in the midst of economic bear similarity to the work of both Doughty depression,4the family moved to Boston and Fisher: like them, he often enlivened and settled in the North End, where the scenes with red-jacketed figures and senior Wolcott continued his trade. depicted skies filled with warm, diffused This move into Boston had a pro- light. In 1837 three of Wolcotts’ paintings found effect on the young Wolcott. Not were accepted for inclusion in the Boston only did it help mold his philosophy, but Athenaeum exhibition. These works, also it helped direct his artistic career. Bos- described in the Athenaeum catalogue of ton in the early decadesof the 1800s had a that date simply as “landscape,” were listed flourishing art, music, and theater culture. for sale by the artist. ’ In 1827, one of the nations’ first public art Two paintings Wolcott created in galleries opened at the Boston Athenaeum, 1837 are candidates for the ones he then located on Pear1 Street just a few exhibited at the Athenaeum. One of blocks from the citys’ North End; between them, identified as a “New England 1833 and 1837 Bostonianscould there view Landscape” in the Inventory of Ameri- the works of Rembrandt, Rubens, Rem- can Paintings, was discovered by a former brandt Peale, Thomas Cole, John Single- owner in fact to be based on the engrav- ton Copley, Chester Harding, Robert ing after William Henry Bartlett, The Salmon, Washington Allston, Alvan Fisher, Lake of Lucernefrom the Righi, from Swit- and Thomas Doughty Fisher and Doughty zerland Illustrated, published in London in had studios in Boston in the 3830s. From 1836 (fig. l).* Like many contemporary 1832 to 1837 Doughty offered instruction artists, Wolcott turned to prints as a in drawing and painting.5Wolcott wrote of source for some of his art. His extremely his artistic training and study with Doughty faithful copy of this engraving suggests in an 1853 letter: not only what subjects appealed to him but also one method he might have used At the age of sixteen I was apprenticedto the to sharpen his artistic skills. chair-paintingbusiness in Boston, under an The second candidate is a similar excellent master. Always having a strong taste subject in what appears to be a genuinely for drawing and painting, I was not long American setting (fig. 2). Here the influ- satisfied with being merely a chair-painter, but ence of Doughty is evident. The composi- sighed for something higher. I obtained some tion of lake, wooded banks, and mountains instruction from Mr. Thomas Doughty, then in revealsWolcott s’ awarenessof the conven- Boston, a gentleman now well known all over tions ofthe picturesquelandscape tradition. the Union as one of our very first artists. My Although no one has fully studied his leisure time was devoted to practicing on his life and work, Wolcott is known to have instructions, instead of being wasted in the low created other landscape or topographical pursuits of my fellow-shopmates.6 paintings, includingMonumentRock, Sierras, which he exhibited at the 1874 Massachu- page 6 Spring/Summer 1998 Old-Time New England Fig. 1. WUiam Henry Bartlett, The Lake of Lucerne from the Righi, in Switzer- land Illustrated (London, 1836); courtesyBoston Athenaeum. Fig. 2. Josiah Wolcott, untitled landscape,1837; courtesyGallery Forty-fur Fine Art, New Hartford, Connecticut. setts Charitable Mechanic Association Art have directed him to seek steady employ- Exposition. He is also known to have ment first in applied art. In 1835 he painted at least two portraits, those of received a diploma from the Massachusetts Emilia and Abel Houghton, now in a pri- Charitable Mechanic Association “certify- vate collection.9 ing,” he wrote in 1853, “to exemplary con- Despite Wolcott’s interest in “some- duct and superior ability as a workman.“10 thing higher,” economic circumstances, his In that year Wolcott listed himself in the 1838 marriage to Mary B. Phinney and the Boston city directory as a painter, suggest- subsequent need to support a family may ing that he may havejust finished his train- Old-Time New England Spring/Summer 1998 Page 7 ing under Doughty” Four years later, how- and illustrator. Sinclair Hamilton has ever, he called himself a chair painter, the traced with great care the work Wolcott did trade in which he had apprenticed, and for The Carpet-Bag,a weekly publication of continued to list himself as one until amusing social criticism first published in 1843.12Wolcott then turned to sign and Boston on March 29, 1851.15 Wolcott ornamental painting, which, he wrote, designed the masthead (fig. 3) and drew “gave me more scopefor tasteand skill than illustrations to complement the “tales, my previous occupation, besides furnish- essays,poetry, mirthful sketches,anecdotes, ing an opportunity to acquire more knowl- oddities, [and] humorous paragraphs”that edge of art, as my ambition was always to filled the paper.I6 In their inaugural issue, excel in whatever I undertook. I never editors S. W Wilder and B. l? Shillaber rested satisfieduntil I had gained some new introduced Wolcott to readers: lesson of an artistic character.“i3 Wolcott was an ornamental painter almost to the The name-“THE CARPET-BAG”-we end of his life. Entries in the Boston Street have adopted as expressing the miscellaneous Books for 1845 and 1846 identity him as a character of a good paper, into which are “journeyman painter,“14 which may indi- crowded a variety of things, necessary for cate that he was then employed in the shop comfort and happiness while on the highway of of another ornamental painter. By 1847 he life. We think the introduction of a picture was associatedwith Lorenzo Somerby in in each number-or at least occasionally-will an ornamental, sign, and standard shop at add to the interest of the Carpet-Bag. For this 5 Water Street in Boston. department we have engaged the services of Mr. Wolcott was also a skilled designer J. Wo~corr, the designer of the heading and Fig. 3. Josiah Wokott, mastheadfor The Carpet-Bagfirstpublished March 29, 1851, showing Mrs. Partington at left; courtesyMassachusetts Historical Society. Page 8 Spring/Summer 1998 Old-Time New England other illustrations of the present number. He WOLCOTT, BROOK FARM, has a peculiar genius for designing, and we AND ASSOCIATIONISM expect many rich things from his pencil.” Wolcott and his art take on special signifi- cance when they are seen from the vantage The illustrations Wolcott made for point of Associationism, a communitarian The Carpet-Bug in its first year show not philosophy that in New England drew on only his ability as a designer but also his Transcendentalism and some of the ideas skill with genre scenes (fig. 4). According of the French utopian socialist Charles to Hamilton, Wolcott was “clearly the crea- Fourier. Reacting in part to the disruption tor graphically of Mrs. Partington and wrought by the Industrial Revolution and hence indirectly of Aunt Polly in The rising immigration upon relatively homo- Adventuresof7ih Sawyer.” The last engrav- geneous, agriculturally oriented societies, ing ofAunt Polly in the American Publish- Associationists sought to answer competi- ing Company’s 1876 edition of Twain’s tive capitalism and social disintegration by book is almost identical to Wolcott’s image establishing cooperative communities of Mrs. Ruth Partington in the June 28, where people of all backgrounds would 1851, issue of The Carpet-Bag.” work together in harmony; by so doing, Yet Wolcott is best known for his two they would achieve human perfection and Brook Farm views, both frequently repro- realize a kingdom of heaven on earth where duced in books and articles about the uto- love and unity would reign.
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