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Ch 5-Getting Established in the New World--Constantino Brumidi Artist of the Capitol

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Ch 5-Getting Established in the New World--Constantino Brumidi Artist of the Capitol CHAPTER 5 Getting Established in the New World onstantino Brumidi opportunity to paint the first arrived in New York frescoed room in the Capitol Conly a few months (fig. 5–1). after his release from prison As recorded in the Bible in Rome, ready to begin a given to him by the American new career in the United Bible Society upon his arrival States. He later said he emi- (fig. 5–2), Constantino Bru- grated as much for artistic midi landed in New York on opportunities as because of September 18, 1852, coinci- his political exile, “desiring a dentally the fifty-ninth an- broader field and more prof- niversary of the laying of the itable market for his work.”1 cornerstone of the Capitol by He had promises of church George Washington. His commissions through Ameri- commitment to his new can clergymen he knew in country was clear, for, at the Fig. 5–2. Inside cover of Brumidi’s Bible. The artist Rome, and he probably end of November, he filed a recorded the date of his arrival in the United States. Architect heard about the construction statement of intent to be- of the Capitol. at the Capitol from expatri- come a United States citizen.2 ate American artists such as During the next two Thomas Crawford, who served with him in the civic years, Brumidi earned his living chiefly by painting por- guard. In the two years between his arrival in the New traits and decorating private houses in the northeastern World in the fall of 1852 and his coming to Washington, United States. He immediately made connections with D.C., in late 1854, he obtained commissions in New prominent families. His earliest known American por- York, Massachusetts, and Mexico City. The turning point trait, dated 1852, is of Boston merchant Emery Bemis.3 in his career was his introduction to Captain Mont- The next year, he signed and dated a finely detailed por- gomery C. Meigs, who superintended the construction trait of Eveline Fessenden Freeman (fig. 5–3), daughter of the United States Capitol extensions and gave him the of the U.S. marshal for Massachusetts, who in 1860 would marry Thomas U. Walter’s assistant Edward Clark. Brumidi’s portraits are lifelike, well composed, Fig. 5–1. Fresco with profile relief portrait of George Wash- and skillfully painted in a style that shows his neoclassi- ington in Brumidi’s first room in the Capitol. The Italian cal training and his skill at convincingly depicting varied artist was hired as the artist of the Capitol after proving his ability textures of skin and fabric. to work in true fresco, to paint the illusion of three-dimensional For the Bennitt family of New York he painted portraits forms, and to create American subjects and symbols. H–144. and, in 1853, three allegorical images, Progress, Freedom, 49 Fig. 5–4. Progress. Painted for a private home, Progress rides on a dolphin and wears a headdress with feathers and a star, suggestive of America. The cherubs hold symbols of commerce and liberty, while the steam ship Baltic and a locomotive appear in the distance, all motifs Fig. 5–3. Eveline Fessenden Freeman. Miss Freeman, depicted by Brumidi later painted in the Capitol. Architect of the Capitol, do- Brumidi in finely rendered lace and satin, later married Edward nated through the United States Capitol Historical Society by Clark, future Architect of the Capitol. Architect of the Capitol. Howard and Sara Pratt. and Plenty, for their house in South Hampton, Long large canvases of the Assumption of the Virgin and the Island; these are his earliest documented domestic murals Immaculate Conception. In December 1856, he exhib- (fig. 5–4).4 Brumidi continued to paint for domestic set- ited a nine-foot-high Holy Trinity, possibly the altarpiece tings throughout his career, although few examples are itself, as well as a smaller version, probably an oil study securely documented or intact. for it.8 These paintings must have been submitted for the In 1854, before coming to Washington, Brumidi trav- exhibition by friends, for there is no evidence that Bru- eled to Mexico City; he was there by May and left in De- midi returned to Mexico after he left for the United cember.5 There he executed his first church commission States on December 12, 1854.9 in the New World, a Holy Trinity, a large altarpiece or The Holy Trinity for the cathedral in Mexico City was mural, for the cathedral in Mexico City. This work was only the first of numerous major church commissions Bru- mentioned in numerous nineteenth-century articles midi undertook in the New World. He painted murals and about Brumidi, but its present location is unknown. The altarpieces in Washington, Baltimore, Philadelphia, New commission was an outgrowth of the strong ties between York, and Havana after he began working at the Capitol. the art academies in Rome and Mexico City. The best American clergymen whom Brumidi had met in Rome Mexican artists went to study at the Accademia di San were instrumental in his being selected for work in new Luca in Rome, and some of Brumidi’s former colleagues churches being built in the United States. One supporter at the Villa Torlonia taught or exhibited at the Academia was John Norris, who studied for the priesthood in Rome Nacional de San Carlos de México.6 While in Mexico from 1848 to 1851, and with whom Brumidi, before his City, Brumidi sketched Aztec idols and the large calendar arrest, had hoped to travel to America. Brumidi painted stone then displayed at the cathedral; he later incorpo- Norris’s portrait and those of Norris’s mother, sister, and rated these objects in the scene “Cortez and Montezuma brother-in-law, Andrew J. Joyce, with whom Brumidi at the Aztec Temple” for the frieze in the Capitol.7 stayed when he first came to Washington.10 Brumidi may Five paintings by Brumidi were exhibited at the Mexi- also have been helped by his acquaintance with the first can academy in January 1855, among them a portrait and American archbishop, John Hughes of New York, who 50 GETTING ESTABLISHED IN THE NEW WORLD Fig. 5–5. St. Charles Borromeo Giving Holy Com- munion to St. Aloysius Gonzaga. Brumidi’s altar- piece, inspired by a seventeenth-century painting of the subject, includes a self portrait, in the center distance, and the features of the designer of the church, Father Benedict Sestini, in the priest at the far right, while Mrs. Stephen Douglas is thought to be the model for St. Aloy- sius’s mother. St. Aloysius Church, Washington, D.C. Photo: Page Conservation, Inc. was in Rome in 1851. Hughes collected art and preached priest called to Brumidi’s deathbed. 12 It is clear that Bru- at many of the churches where Brumidi painted.11 Bru- midi’s connections with the Roman Catholic Church were midi’s closest and longest personal connection was with important throughout his life. the Reverend Benedict Sestini, S.J., who came from Rome Brumidi’s earliest known church commission in the to Georgetown University. He became a lifelong friend of United States was for St. Stephen’s Church in New the artist and was instrumental in securing at least two of York. This commission was initiated before he left Italy, Brumidi’s church commissions. He recommended Bru- and he mentioned it when he was introduced to Mont- midi to the Church of St. Ignatius in Baltimore. He also gomery Meigs at the Capitol in late 1854. Brumidi designed the Church of St. Aloysius in Washington, D.C., postponed work for the church to paint his trial piece at for which Brumidi painted the altarpiece, in which he in- the Capitol, but by 1855, he had created the design for cluded Sestini’s portrait (fig. 5–5). Father Sestini was the Martyrdom of St. Stephen. The immigrant artist had thus 51 about the same age as Brumidi, whom Meigs simi- larly described as “a lively old man.” Stone had es- tablished himself as a sculptor in Washington and in 1856 would be commissioned to create a mar- ble sculpture of John Hancock for the Capitol. (Ironically, he later formed the Washington Art Association, which attacked Brumidi’s work in the Capitol.13) Brumidi’s arrival in Washington enabled Meigs to realize his grand plans for decorating the exten- sions with murals in addition to sculpture. Meigs felt a strong sense of mission about his role in dec- orating the Capitol: “Although an engineer and ‘nothing more’ I have some feeling for art, some little acquaintance with its principals [sic] and its precepts and a very strong desire to use the oppor- tunities & the influence which my position, as di- recting head of this great work, gives me for the advancement of art in this country.”14 Even before Brumidi’s appearance, Meigs had already envi- sioned fresco painting like that of Raphael and Michelangelo on a grand scale for the interior of the Capitol. The engineer had great confidence in his own artistic judgment and taste, as is shown in comments in his journals. He had a deep and long-standing personal interest in art and had studied art at West Point with Seth Eastman and possibly with painters Charles Leslie and Robert Weir, who taught drawing there during his student years.15 His own landscape drawings and watercol- ors are more than competent (fig. 5–7). He was al- ways interested in increasing his knowledge about art. Meigs also consulted experts in the field of art, such as collector Gouverneur Kemble, who so- licited advice for him from painter John Chapman, Fig.
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