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A Living Tradition: the Winterbothams and Their Legacy Author(S): Lyn Delliquadri Source: Art Institute of Chicago Museum Studies, Vol

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A Living Tradition: the Winterbothams and Their Legacy Author(S): Lyn Delliquadri Source: Art Institute of Chicago Museum Studies, Vol The Art Institute of Chicago A Living Tradition: The Winterbothams and Their Legacy Author(s): Lyn Delliquadri Source: Art Institute of Chicago Museum Studies, Vol. 20, No. 2, The Joseph Winterbotham Collection at The Art Institute of Chicago (1994), pp. 102-110 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4112959 . Accessed: 27/03/2014 16:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies. http://www.jstor.org This content downloaded from 198.40.29.65 on Thu, 27 Mar 2014 16:47:27 PM All use subject to JSTOR Terms and Conditions A Living Tradition: The Winterbothamsand Their Legacy LYN DELLIQUADRI The Art Institute of Chicago PA U L GA U G U I N. Portraitof a Womanin front of a Still Life by Cezanne, 1890 (pp. 128-29). This content downloaded from 198.40.29.65 on Thu, 27 Mar 2014 16:47:27 PM All use subject to JSTOR Terms and Conditions y the less thana centuryafter its founding, tured his fancy, and he enjoyed frequent travel there, 1920s, Chicago had been transformed from a prairie sending back photographsof himself stepping into Vene- swampland to an exuberant industrial and cul- tian gondolas and browsing in Parisianquarters. By all tural metropolis. Skyscrapers, stockyards, steel mills, accounts,he was intelligentand witty, without pomposity streetcars, wharves, warehouses, locomotives, automo- or pretension. He remained close to his family, brought bile-clogged streets, and lake-going vessels laden with his sons into his businesses, encouraged his daughter grain and coal announced an unprecedentedprosperity. Rue in her passionate involvement with the arts, and Therewas opera,theater, a symphony orchestra,Jelly Roll regularlyinvited his grandchildrenfor Sunday breakfast Morton and Louis Armstrong;the literaryachievements at the VirginiaHotel. of Carl Sandburg,Sherwood Anderson, Theodore Dreiser, Rue Winterbotham(figs. 2-3) inheritedthe indepen- and Edna Ferber; the newly opened Field Museum of dence and energy of her father and undoubtedly helped NaturalHistory; and The Art Instituteof Chicago,whose shape his taste in and commitment to art. She was an Italian Renaissance facade was already blackened and accomplished linguist and talented interior decorator. stained from nearly three decades on Michigan Avenue. With her husband, musician and composer John Alden Some sources attributedthe city's wealth and progressto Carpenter,she spent a greatdeal of time in Europe,becom- "prairieenergy." Frank Lloyd Wright, himself endowed ing acquaintedwith the avant-gardeartists, dancers,and with it, remarked,"The real American spirit . lies in composers of the early twentieth century. the West and Middle West, where breadthof view, inde- Since the Chicago of the WorldWar I era had few art pendent thought, and a tendency to take common sense galleriesand the Art Institute'scollection at that time was into the realm of art, as in life, are more characteristic."1 largely dependent on the taste of its benefactors, who Of such a spirit the Winterbothamswere made. preferredearlier artistic expressions, Rue Winterbotham Joseph Humphrey Winterbotham(fig. i) was born Carpenter took it upon herself to establish a Chicago in Columbus, Ohio, in 1852. He settled in Joliet, Illinois; outpost for contemporaryart. In 1916,more than a decade marriedGenevieve Baldwin of New Haven, Connecticut; before the opening of New York'sMuseum of Modern and raised four children. The Winterbotham family Art, she helped found the Arts Club of Chicago, which moved to Chicago in 1892, where Joseph Winterbotham continues to this day to be a center for the exhibition became engaged in various successful business enter- and discussion of current artistic activity. Rue's father prises.During the course of his life, he organizedno fewer and brothers were among the club's first members. Two than eleven corporations,including cooperage manufac- years later,she became its president, retainingthe office ture, moving and transfer, and mortgage financing. A until her death in 1931. She designed the interiors of the practical-mindedman, he sent his sons, John and Joseph, club's severallocations and took on its mission of foster- Jr., to Yale, and his daughters, Rue and Genevieve, to ing and developingthe highest standardsof art. She orga- Europe. After his wife died in 19o6, he lived in an apart- nized first showings in Chicago of drawings by Pablo ment in the VirginiaHotel, a building at the intersection Picasso;sculpture by AugusteRodin, Gaston Lachaise,and of Ohio and Rush Streetsthat was considered one of the ConstantinBrancusi; paintings by Georges Braque,Marie first and finest of "modern,"luxury apartmentdwellings. Laurencin,and American modernists Arthur B. Davies, Europe, with its rich culturaltexture, seems to have cap- John Marin, Morton L. Schamberg, Charles Sheeler, 103 This content downloaded from 198.40.29.65 on Thu, 27 Mar 2014 16:47:27 PM All use subject to JSTOR Terms and Conditions FIGUREI. Joseph tributed to the museum by Chicago collectors Bertha Winterbotham, Humphrey Honor6 Palmer, Frederic Clay Bartlett, and Mr. and whose initial gift of $50,000 to the Art Institutein 1921 Mrs. Martin A. Ryerson, who gave them in subsequent enabledthe museumto years-1922, 1926, and 1933,respectively. The only works build a collection of thirty- of twentieth-century art by 1921 that were among the five Europeanpaintings. museum's were and Under the terms of Joseph holdings portraits landscapes pri- Winterbotham'sgift, the marily by Americanartists in the previous century'saca- museumwas permittedto demic tradition. changethe composition of Winterbothamdid not offer the Art Institute the WinterbothamCol- Joseph works of art from his own collection-no evidenceexists lection accordingto its needs as long the number that he even collected art-but, rather, he offered the of paintingsdid not exceed museum the opportunity to buy paintingsthat it wanted thirty-five. Photo and neededto broadenthe of its His initial of the scope holdings. courtesy was which he stated was to be Winterbothamfamily. 1921 gift $50,000, invested, with the interest to be used "for the purchase of works of art painted by European artists of foreign subjects."2 and Joseph Stella.During her tenure, Rue Winterbotham He designatedthat the collection of paintings purchased Carpenter produced an astonishing list of one-man with these funds should eventually number thirty-five, exhibitions by European artists Joan Mir6, Georges and that no more than $2,500 should be expended on Rouault, Jacques Villon, and Fernand LUger-all little any one. However, once a collection of thirty-five was known in Americaat the time. Broadeningthe scope of the accumulated, any picture could be replaced by one of club's activities, she also invited to perform there Sergei better quality,for a sum greaterthan $5,ooo. By making Prokofiev, Igor Stravinsky, Martha Graham, Harold this later stipulation,Winterbotham made clearhis inten- Kreutzberg, and Leonid Massine, who made his debut tion to insurethat "thepurchase of paintings,as time goes as a soloist for an Arts Club audience. on, is toward superior works of art and of greatermerit It was in this atmosphere of artistic profusion and and continuousimprovement."3 A letter to Winterbotham excitementthat, at the age of seventy,Joseph Winterbotham from Art Institutepresident Charles L. Hutchinsonreveals conceived a plan in 1921for assisting the Art Institute-- the warm reception to his unique and farsighted offer: one of the youngest of America'sgreat art museums-in "The terms of your splendid gift to the Art Institute have building its permanentcollection of Europeanpaintings. been announcedto the Board of Trustees,and I am writ- Previously, in I890, the museum had purchaseda group ing to tell you that the gift has been accepted with great of Old Mastersfrom the PrinceDemidoff Collection,sold enthusiasm.... There can be no doubt that your gift, that year in Paris,which comprisedworks by Rembrandt which makes possible building up of this much needed van Rijn, Jacob van Ruisdael, Meindert Hobbema, and section of our collection, will have far-reachingvalue in Adriaenvan Ostade. El Greco'smasterpiece The Assump- the developmentof the museum toward a more adequate tion of the Virginhad been bought in 1906,and a Gustave and well-balancedrepresentation."4 Courbet landscape and Henri Fantin-Latour's famous The originalterms of the deed of gift gavethe respon- Portrait of Edouard Manet had been acquired, as had the Henry Field Collection of Barbizon pictures by such mid-nineteenth-century French artists as Camille Corot, Jules Breton, and Jean FrancoisMillet. Following European precedents, an entire gallery was devoted to plaster-castcopies of Classical,medieval, and Renaissance FIGURE 2. Rue and architectural midwest- sculptures fragments, giving WinterbothamCarpenter, ern visitors a concept of the roots of WesternEuropean a founder of the Arts Club art. However, despite the 1913exhibition of the revolu- of Chicago. Her passion- there were few in the ate involvementin the arts tionary "ArmoryShow," examples and her love of the Art Institute of works the produced by contemporary Europeanavant-garde may art movements that had been underway on the Con- have been the guiding tinent since the turn of the century. Although the great force behind her father's French and originalgift to the Art Impressionist Post-Impressionist paintings, Institute.Photo courtesy for which the Art Institute has become renowned, had of the Chicago Historical been regularly exhibited, they had not yet been con- Society.
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