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Charles Bein (1891-1966): Graduate and Professor, Tulane School of Architecture--Belatedly

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Charles Bein (1891-1966): Graduate and Professor, Tulane School of Architecture--Belatedly Charles Bein (1891-1966): Graduate and Professor, Tulane School of Architecture--Belatedly Acknowledged Two Tulane graduates live in Charlottesville where they are longtime friends: James Leslie Kelly of New Orleans, who graduated in engineering at Tulane in 1954, later acquiring his PhD at LSU in Chemical Engineering and Roulhac Bunkley Toledano (Newcomb 1960) who studied art and architectural history under Alfred Moir along with painting and printmaking under Ida Kohlmayer and James Steg. Recently Kelly, a relative of New Orleans native, Charles Bein, yet another Tulane graduate and a professor at the Architecture School, inherited a number of Bein’s paintings and an extensive collection of scrapbooks and newspaper clippings about Bein and his successful career in the arts. This mass of art and manuscript material, as well as Mallard and Seigneuret furniture from Bein’s Bay Saint Louis, Mississippi residence along with the Tulane connection, captivated me when I saw them. Subsequently, Jim Kelly showed me the handsome Mexican silver service that had been in Bein’s house, reminiscent of the work developed and popularized by Bein’s friend William Spratling. News clipping with articles on Bein by his good friends William Spratling and Lyle Saxon revealed that Bein had gone to Mexico with Spratling, so well known as the man who revitalized and transformed the silver tradition among the Indians at Taxco, Mexico. More clippings elucidating the amazing life of the architect and artist Charles Bein sent me to Tulane Architecture School, the Louisiana Rare Book Collection and the Southeast Architectural Archives where little information was available beyond the architecture school’s publication Talk About Architecture and a web 1 site partially based on that information. John Shelton Reed, who wrote Dixie Bohemia, A French Quarter Circle in the 1920’s published by LSU Press in 2012, had corresponded with the Kellys, exchanging important information on Charles Bein. The Historic New Orleans Collection provided another jack pot; they have a well-organized and extensive file on Charles Bein relative to his ten years as founding director of the Arts and Crafts Club at the old Seignouret- Brulatour House and Courtyard on Royal Street. But the Kellys own collection here in Charlottesville was quite enough to make me want to clarify the founding history of the “Tulane School of Technology” of which an architecture section had been a part since 1907, due to the efforts of William Woodward, and of Charles Bein’s role therein. Charles Bein was a 1912 graduate of Tulane University where he took as many courses related to architecture that he could in the “School of Technology.” Would-be architects studied first in engineering and “technology” after William Woodward of Newcomb Art School renown established the “School of Technology” for the school year 1907-1908 and brought in Samuel Labouisse, Moise Goldstein and Allison Owen to join the faculty to try to build an architecture school for Tulane. That year, 1912, when Charles Bein graduated from Tulane, Nathaniel Courtland Curtis was appointed head of the burgeoning architecture department. William Woodward and his brother Ellsworth came over to the new department from Newcomb Art School to teach drawing and architectural history. Indeed, William Woodward is most often credited with the founding of the official school of architecture at Tulane. Although the 1912 Architecture School was barely that, Bein was able to get into Columbia’s graduate school in architecture, and 2 afterward he studied at the Atelier Heimann in Munich and the Atelier Colarossi and Académie Grande Chaumière in Paris. Bein returned to the United States in 1917 to head up the new Tulane School of Architecture, replacing Nathaniel Courtland Curtis, educated at Auburn in Alabama where he had married the president’s daughter. By 1919 Tulane began to develop architecture into something to rival the University of Virginia’s new school of architecture, established in 1919. Albert Bledsoe Dinwiddie, a graduate of the University of Virginia, with three degrees from the institution, had become president of Tulane by 1918 and was well aware of the need for Tulane to rival the University of Virginia, his alma mater. Despite some rave reviews throughout the city according to local newspapers, three years later, Bein gave up as chairman and professor at what he called the Tulane School of Architecture in order to become an artist. The newly minted artist, Bein, went to New York and in February of 1925 was “having a first one man show in the New Gallery” of his paintings. Irene Cooper wrote in a New Orleans newspaper about a 1925 exhibition of Bein’s work. “Mr. Bein has handled his subjects with feeling and an indisputable knowledge of technique. Mr. Bein was named in the New York Times only a few months ago as one of the five foremost water colorists in the United states and one senses the touch of the master in these pictures executed with skill and sureness.” Jim Kelly’s scrapbook held an undated article by Lyle Saxon, a personal friend of Bein’s, from The Times Picayune that explained a bit about the fledging school of 3 architecture at Tulane at that time. Entitled Tulane’s College For Architects Has High Rank. Increasing Number of Students Makes Two Professors Necessary, the article revealed the terrible lack of funding for the Tulane School of Architecture. “There has been much comment lately about the remarkable work done by students in architecture at Tulane University. The last three years have seen great changes at this department of the College of Technology, and the work done by students has received favorable notice in Northern and Eastern universities. “And, now, just as this department has reached such a successful period of development—a development reached in spite of great odds caused by lack of finance-- comes the news that the head of the department [Charles Bein] has resigned from the staff of the college. “To continue the work of this department it will be necessary to provide a sum sufficient to pay two men to take his place; for the increasing number of students has made at least two more instructors necessary. “Tulane must be saved. Five instructors have resigned because they were offered better situations elsewhere and because they felt that they could no longer live on their salaries at Tulane. .Professors are paid less than plasterers and bricklayers. .Loyal Louisianians must rally to Tulane’s help. “The College of Technology, of which the School of Architecture is a part, is headed by Douglas Anderson. Charles Bein is the head of the School of Architecture [within the College of Technology]. William Woodward is professor of free hand 4 drawing, and Colonel Allison Owen gives a course in the history of architecture. Richard Kock [Koch], considered one of the city’s coming architects among the younger men, offers a course in criticism of design. ” Tradition in New Orleans has it that when the University of Virginia School of Architecture was established in 1919, headed by Fiske Kimble of Boston who graduated from Harvard and had a Ph.D. from the University of Michigan, Tulanians became jealous and determined to forge ahead with a bona fide architecture school. That is when William Woodward who also taught at Newcomb Art School, Colonel Allison Owen and Richard Koch stepped in, once more, by the fall of 1920, to be paid less than “plasterers and bricklayers.” Bein gave up his position on the faculty of the newly established architecture school early on, by 1922, to become an artist and art instructor. Bein’s friend and associate at Tulane, William Phillip Spratling, who also taught architecture at Tulane as well as sketching at the School of Art at the Arts and Crafts Club traveled down to Mexico where he found his true métier at Taxco working with silver and retraining the natives in the art and craft of silver making. Bein followed Spratling to Mexico in 1925 along with Caroline Durieux and Natalie Scott to hear the new head of the Middle American Research Institute at Tulane, Frans Blom, lecture. Bein returned to Mexico to paint at Orizaba in 1930. Meanwhile in 1927 he had begun serving as the first director of the Arts and Crafts Club at the old Seignouret-Brulatour House and Courtyard at 520 Royal Street. [Undergoing research and restoration by the Historic New Orleans Collection at this 5 time] Then, after developing one of the most important institutions in the art and culture of New Orleans and the South, Bein resigned in 1936 after ten years of fruitful work at the Arts and Crafts Club to devote full time to painting. According to a New Orleans newspaper, May 21, 1936, “Resignation of Charles Bein as director of the Arts and Crafts Club, a position he has held since 1927, to devote further time to painting was announced Saturday by Mrs. Harry Kelleher, secretary of the board. “Mr. Bein, a native of New Orleans, joined the faculty of the club’s school at 520 Royal street in 1926 when the school was conducted by a committee headed by Horace Russ. He taught design and the history of painting. In 1927 he became chairman of the committee and director of the institution, amalgamating classes which formerly had been held separately and enlarging the curriculum. “Mr. Bein is known as an artist for his work in water color, pastel and oils, and particularly for his decorative flower painting. He studied at the Art Students League in New York, [when he was studying architecture at Columbia], in Paris and other European centers. He has exhibited in New York and Chicago, and several years ago won the Blanche Benjamin prize here for painting.” Charles Bein became the first director of the New Orleans School of Art at the Arts and Crafts Club (1922-1951) in 1927.
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