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Carl Gutherz and the Northwest Landscape / Marilyn Masler

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Carl Gutherz and the Northwest Landscape / Marilyn Masler Cad d^titkei'Z mb tke fioUkmft Lmb^eafiie Gutherz, about 1884, the year he left Minnesota for Europe Ms. Masler is curatorial associate at the Memphis Brooks Museum of Art. Her research has included cataloging the nniseunis works by Gutherz. which number more than one thousand. ^*aB tamatmmaif^ • Stream with Wooded Banks, Minnesota, watercolor, about 1873-83 urely St. Paul, the beautiful city at the navi- Minnesota from Memphis and St. Louis to spend sum­ I gable head of the greatest of rivers, should mers with relatives while he painted and exliibited his 7 become to the Northwest what Paris is to the work. Although allegorical painting was his passion and world—the great art city," declared Carl K. Gutherz in the source of his later success in the international art 1897. An established artist then living in Washington, world, Gutherzs early career in the United States con­ D.C, Gflitherz wrote from the perspective of three sisted of teaching and of executing commissions for por­ decades of connection with the art scene in the "pic­ traits, magazine illustrations, and carnival designs. But turesque" capital city of Minnesota, a connection that exclusive to his travels north were landscapes that he began when he first traveled up the Mississippi River produced in Minnesota and on excursions farther west from Memphis in the summer of 1866. i into Dakota Territory. This relatively unknown series of In the last half of the nineteenth century, Swiss-born pictures in the collection of the Memphis Brooks artist Carl Gutherz (1844-1907) was a frequent visitor Museum of Art, Memphis, Tennessee, was painted over to St. Paul. Between 1866 and 1884 he journeyed to a nineteen-year period as the western frontier yielded to 1 Carl Gutherz,'"St. Paul as an Art Center," St. Paul Dispatch, Dec. 18, 1897, p. 11. WINTER 1993 313 tlie onset of the industrial age m America. A discussion ciQ|« and members of the Hudson River School that of the pictures reveals an often overlooked aspect of this flourished in America in the midnineteenth century. artist's career in the Mississippi River valley and pro­ English art critic and social reformer John Ruskin vides us with yet another glimpse of lands that were (1819-1900) linked art, nature, and morality^ his five- inevitably changed as settlement continued westward.^ volume work Modern Painters (1843-60) and other Gutherz was the second oldest df she children in the writings. Artists of the Hudson River School painted family of Heinrich and Henrietta Gutlierz, who immi­ highly romanticized views of the American landscape, grated to the United States from Switzerland in 1851. particudarly along that river in New York State. Although They first settied in Cincinnati, Ohio, where Heinrich, the connection that Gutherz recognized betv^een who had been a schoolteacher in Switzerland, estab­ nature, religion, and art would substantially influence lished a terra-cotta works that failed after a few years. his later work, its effect on his early landscapes is not as The family moved to Memphis in 1859-60 and apparent. Rather, he produced only simple visual remained there throughout the Civil War; Heinrich accountings of the countryside around him, and, as Gutherz.died during this period. In 1860 Carl began might be expected from an artist in the J^ssissippi val­ work as a mechanical draftsman at a foundry while his ley, the river was a compelling subject.'* older brother, Gottfried (Fred) G. Gutherz, joined the On his early trips to St. Paul from 1866 to 1869, First Tennessee Volunteer Regiment and fought for the Gutherz sketched the scenery as he traveled by steam­ Confederacy. During the Northern occupation of the boat up the Mississippi from Memphis. He later city, Carl's sister, Lena, met and married Mark Delos recalled the look ofthe state's capital city at that time: Flower, a Union soldier, in 1864. The couple moved to St. Paul shortly after the war, and it was a visit to their There was little then of note at St. Paul beyond the home that first brought Carl Gutherz north in 1866. By river front. Third Street and the old capitol. this time he had a proven talent for drawing and an Dayton's Bluff was far away, and the trip to Fort interest in pursuing a career as an artist.3 Snelling, Minnehaha, and St. Anthony, was accom­ phshed and enjoyed by wagon road along the river, As a young boy Gutherz had developed a deep love crossing the stream by the old ferry, picturesque to of nature, a passion instilled in him by his parents. ideahty. FoUovxing this impulse he turned to the landscape when he began to practice his art, stating in his journal, Once in the city he toured the surrounding areas, paint­ "Natwe to me [was] always beutiful [sic]—when I com­ ing sites liRe Minneopa Falls (west of Mankato) and menced to study her for the purpose of reproducing or Fort Snelling, which had long been popular among portraying her she became Devine." Such comments artists. Although he shared a studio in Memphis with suggest a spiritual approach toward the landscape, simi­ portrait painter M. W. Clark, his own work was still that lar to the view espoused by advocates of Ruskinian prin- of a self-taught amateur. These early pictures were small 2 Gutherz designed costumes, floats, and printed material for the Memphis Mardi Gras in 1873-81 and also for the Carnival of the Veiled Prophet in St. Louis in the 1880s. , General information on Carl Gutherz has been gathered from the following sources: Lilian Whiting, "The Art of Carl Gutherz," IntematiSnal Studio 24 (1905): Ixxxi-lxxxvii; Douglas Hyland, "Carl Gutherz and His Utopian Vision," Interpretations (Memphis, Tenn.) 13 (Spring 1982): 4.5-92; Marilyn Masler, "Carl Gutherz; Memphis Beginnings," West Tennessee Historical Society Papers 46 (1992): .59-72; the extensive Gutherz collection of original art and archival material in the Memphis Brooks Museum of Art (MBMA), given to the museum by Marshall F. Goodheart (the artist's son) and his wife, Elizabedi, during the last twenty years; "Gutherz, Carl," Dictionary of American Biography, ed. Allen Johnson and Dumas Malone (New York: Charles Scribner's Sons, 1960), 4:58-59; Isaac Oliver Peterson, "Art in St. Paul as Recorded in the Contemporary Newspapers" (Master's thesis. University of Minnesota, 1942). Newspapers on microfilm and other information were obtained from the Minnesota Historical Societ)', with special thanks to curator Thomas O'Sullivan for his assistance. All artwork cited, unless otherwise noted, is in the collection ofthe MBMA. •5 Another Gutherz sister, Anna, also married a Union soldier—William Delos Hawkins, a cousin of Mark Flower in Memphis in 1864. She and her five children eventually lived in St. Paul as well. Virginia Dahleen Brooks, Markell Conley Brooks: Her Ancestors and Descendants (N.p., 1973), 5, .35, 40-41, 4.3-45, 47, 50, 55-58. •• Carl Gutherz, Black Book (unpublished journal, ca. 1891-92), 18-19, MBMA collection, gift of Marshall and Elizabeth Goodheart 86.22.572. The idiosyncratic spelling is typical of Gutherzs journal writings. For Ruskin's influence on American artists, see Linda S. Ferber and William H. Gerdts, The New Path: Ruskin and the American Pre-Raphaelites (New York: Schocken Books, 1985). 314 MINNESOTA HISTORY Gutherz's popular allegorical oil on canvas. Awakening of Spring, 1872 renderings in pencil and watercolor executed with a artists who sought the romance, wilderness, and beauty cautious hand.5 of the western territories. Earlier, Karl Bodmer It was only after a sojourn abroad, studying in Paris, (1809-93) and George CatUn (1796-1872) had docu­ Munich, Brussels, and Rome, that Gutherz's work took mented lands up the Missouri River, and contemporary on a more polished and professional character. On the artists like Thornas Moran (1837-1926) and Albert advice of family and friends he studied art in Europe Bierstadt (1830-1902) continued to accompany govern­ from 1869 to 1872. The European academies sharpened ment and commercial expeditions to the West. If his skills and his intellect, and the tutelage of French Gutherz had formed any serious intention of taking up masters Isidore Pds (1813-75) and GuOlaume-Alphonse the profession of an artist^reporter, he probably could Cabassoii (1814-84) detferniined the romantic turn tiiat have found help through his brother-in-law, Mark his art would take in the years to follow. Flower^ Flower, a Republican politician, served as state adju­ •4W II hen Gutherz arrived back in the United States tant general from 1870 to 1875 and held other govem­ mJkM in September 1872, he had hopes of building a ment appointments thereafter. He also engaged in a IW w new career in the Mississippi River valley. This variety of businesses, including owning a steamboat and region, which bordered the quickly diminishing frontier, a fleet of barges that operated on the Mississippi River still served as a gathering and departure point for those and its tributaries in the niid-1870s. No doubt Flower's 5 Gutherz, "St. Paul as an Art Center"; "Fine Art in Memphis," Commercial Appeal (Memphis), Mar. 19, 1867. '' "Personal," Commercial Appeal, Sept. 28, 1872; Howard R. Lamar, "An Overview of Westward Expansion," in The West as America: Reinterpreting Images ofthe Frontier, 1820-1920, ed. William H. Truettner (Washington, D.C: Smithsonian Institution Press, 1991), 7, 20-'^l. WINTER 1993 315 connections in government and tiie river trade xvould the|piite explorer, the mystique of the Indian, and slave have proven helpful to Gutherz if topographical illustra­ culture. But Gutherz, who was now thoroughly enam­ tion had interested him.
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