THE GLASGOW SCHOOL ARTISTS OF DENMARK AND SOME OTHERS THE ART INSTITUTE OF CHICAGO NOV. 19 TO DEC. 22, 1895 THE ART INSTITUTE Lake Front, opposite Ada;ns Street, Chicago A COLLECTION OF PAINTINGS REPRESENTING THE GLASGOW SCHOOL ARTISTS OF DENNIARK AND SOME OTHERS COPYRIGHT, 1895, BY CHARLES M. KURTZ THE ART INSTITUTE OF CHICAGO MD CCCXCV TRUSTEES OF THE ART INSTITUTE OF CHICAGO 1895-6 CHARLES L. HUTCHINSON, WILLIAM T. BAKER, EDWARD E. AYER, NATHANIEL K . FAIRBANK, JAMES H. DOLE, ALBERT A. SPJ<AGUE, JOHN C. BLACK, ADOLPHUS C. BARTLETT, JOHN J. GLESSNER, CHARLES D. HAMILl, EDSON KEITH, TURLINGTON W. HARVEY, ALLISON V. ARMOUR, HOMER N. HIBBARD, MARSHALL FIELD, HENRY H . GETTY, R. HALL McCORMICK, BRYAN LATHROP, SAMUEL M. NICKERSON, ROBERT A. WALLER, MARTIN A. RYERSON, OSCAR D. WETHERELL, GEORGE B. SWIFT, Mayor (Ex Officio). Comptroller (Ex Officio). OFFICERS CHARLES L. HUTCHINSON, JAMES H. DOLE, President. V£ce- President. LYMAN J. GAGE, N. H. CARPENTER, Treasurer. Secretary. W . M. R . FRENCH, Director. EXECUTIVE COMMITTEE CHARLES L. HUTCHINSON, CHARLES D. HAMILL, JAMES H. DOLE, JOHN C. BLACK, ALBERT A. SPRAGUE, MARTIN A. RYERSON, WILLIAM T. BAKER. THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the purpose of maintaining a Museum and School of Art. The building erected for the use of both departments of the Institute in the year 1892 is on the Lake Front, at the foot of Adams street. The collections exhibited in this building are indicated in the following pages. They are open to the public every week day from 9 to 5, and Sundays from 1 to s. Admission is free to members and their families at all times, and free to a ll upon Wednesdays, Saturdays and Sundays. The Art School includes departments of Drawing, Painting, Sculpture, Decorative Designing and Architecture. All fri ends of the Art Institute are invited to become members. Annual members pay a fee of ten dollars for the year. Governing Members pay ten dollars a year, and an initiation fee of one hundred dollars. All members are entitled, with their families and visiting friends, to admission to all exhibitions, receptions and public lectures and entertainments of the Institute, and to the use of the reference library upon art. DESIGNATION OF GALLERIES SEE PLAN MAIN FLOOR ROOM I, Elbridge G. Hall Collection of Sculpture, Egyptian and Assyrian. ROOM z, (Corridor) - Same, Asia Minor, and Early Greek. ROOM 3, Same. Age of Pheidias. ROOM 4, Same, Later Greek. .KOOM 5, Same, Roman. RooM 6, (Corridor; - - Same, Renaissance. ROOM 7, 0 ffice of the Director. ROOM 8, (Hall) Elbridge G. Hall Collection, Modern. ROOM 9, - Office of the Secretary. RooM ro, Elbridge G. Hall Collection, Modern. ROOM II, (Corridor) Historical Collection of French Sculpture and Architecture. ROOM Iz, Same. ROOM IJ, (Corridor) Same. RooM f4, Temporary Lecture Room. RooM I 5, - Library and Mrs. D. K. Pearsons Collection of Braun Photographs. ROOMS I6 to 24 are in the part not yet built. PROPOSED IS CAST GALLERY 14 13 2 3 12 10 4 PARTS IN LINE NOT YET BUILT. FIRST FLOOR PLAN. DESIGNATION OF GALLERIES SEE PLAN SECOND FLOOR ROOM 25, Annual RooM 26, - Exhibition if ROOM 27, Oil Paintings and RooM 28, - - Sculpture. RooM 29, (Corridor) Century Drawings. RooM 30, - - The Antiquarians; Decorative Art Collection. ROOM 31, - Higinbotham Collection of Naples Bronzes, ROOM 32, - Greek and Egyptian Antiquities. ROOM 33, (Corridor) Ryerson-Hutchinson Collection o( Metal Work. ROOM 34, Committee Room. ROOM 35, (Hall) Sculpture. ROOM 36, - Committee Room. RooM 37, (Corridor) Braun Photographs and Sculpture. ROOM 38, Henry Field Memorial Collection. ROOM 39· - ROOM 40, Oil Paintings lent by A. A. Munger. ROOM 41, - Same. ROOM 42, Old Dutch Masters. ROOM 43, - - Oil Paintings. ROOM 44, (Corridor) Braun Photographs and Sculpture. ROOM 45. - Glasgow Paintings and Danish Paintings. ROOMS 46 to 53 are in the part not yet built. = 46 45 40 35 L 4 PARTS IN LINE NOT YET BUILT. i 34 llj SECOND FLOOR PLAN. PREFATORY ATthe present time no group of artists, in this country or abroad, is attracting a larger measure of attention than that known as the "Glasgow School," and, under the circum- stances, it is very gratifying to be able to present this first organized exhibit of paintings by the men of this school that has been brought to America. With the exception of three artists, George Henry, Stuart Park and D. Y. Cameron, who had no works at command which could be sent-much to the regret of the management of the exhibit - every painter iden- tified with this new movement is represented adequately and comprehensively. Most of the men work in oil, water color or pastel, as the mood or the characteristics of the subject seem to demand, and nearly every one contributes work in each of these media. The "Glasgow School" is of comparatively recent origin, and most of its n1embers are young men. Some of them are entirely self-taught; others have studied in foreign schools without losing their individua lity-their sturdy Scotch person- ality and feeling. Some of them have exhibited for a number of years at the R oyal Academy (London), others have been represented in the Salons- usually in the Champ de Mars-but the school, as a school, only has been represented adequately, during recent years, at Munich. It made its debut, really, at the last exhibition held at the Grosvenor Gallery, London, in r8go, where it attracted the attention and respect of enlight- ened people, including the directors of the Munich Exhibition. The same year the Glasgow men were invited to exhibit in Munich. They accepted the invitation, and their pictures were received with great favor at the Bavarian capital, many I2 The Art Institute of Chicago. of them finding sale. Following is a quotation from the Neueste Nachrichten, Munich (August z8, r89o): In the past, in Germany, the word art certainly never has been mentioned in connection with Glasgow. Yet, truly, among the fur- naces of the Northern manufacturing town a generation of artists has been developed, in the short space of half a lifetime, which is well qualified to arouse admiration, or, in the minds of those who will not admire, at least astonishment. How could this take place in the utmost quietness- up there in the North- in such a vanishing space of time ; we might say" over night"? What strong, peculiarly vigorous natures these must be, who, in the seclusion of their homes, in scarce fifteen years, have achieved a work-a fact--for the achievement of which, in other cases, under the most favorable circumstances, a long series of decades were necessary? And, really, it is a complete and perfect work they have accomplished; it is, in very truth, a School of Glasgow which exists, proofs of which are now being admired by us in the Glass Palace in Munich. It is not that some few dozen painters have set up studios there and happen all to paint good pictures. They are clo~ely akin to. each other; however different they may be, one feeling, one aim, one power unites them; they have sprung from the same source. This spontaneous growth of so important a school of painting is, perhaps, without precedent in the history of Art. * ~- * The Scottish painter works for the love of his art. Often regardless and indifferent whether what he does will be a picture in the accepted sense, he seizes some momentary impression of Nature, or gives artistic expression in colors to some stirring of his imagination. He works almost always broadly, easily and with great rapidity, because what has been felt so suddenly must also quickly be put into shape. A surprising sense of splendor and power of color-of a real, glowing passion for color-is peculiar to the Scotch painters. * * ·" Neither the English painter nor the Scottish is a realist; reflection- necessity-has drawn the attention of the former from Nature ; the latter has been led by the great power of his own individuality, which feels the impulse to give something from his own treasures of imagination and stored-up impressions-something more than the mere copy of inanimate Nature. And the fact that the Glasgow masters, nevertheless, particularly as landscape painters, have the merit of being eminently natural, proves the greatness of their tal. ent, proves that they are destined for great things, and that their appearance is not that of a meteor in the art-heaven, but an event of lasting glory. The Art Institute of Chicago. Every year since 189o, the Glasgow painters have been represented more generally at Munich than elsewhere- dur- ing the past two years in the "Secession" exhibition. The men of the Glasgow School are especially noteworthy for their strength and refinement in color, their keen appre- ciation of values, and the feeling for decorative qualities which they involve in their work. They are not copyists of Nature; from Nature they obtain impressions and suggestions, and upon these they graft much of themselves- and the result is their very own! They are neither realists, romanticists, ideal- ists, impressionists or symbolists, but partake, in a measure, of all- and yet remain themselves- related in serious endeavor, in feeling, and, to some extent, in expression- yet each an individual ! In this connection one may be pardoned-perhaps thanked -for quoting an expression concerning the Glasgow School, from an article on "The Scottish School of Painting" in Blackwood's Magazine for March, 1895 : Of late years the most vital art movement in Scotland has been in the west. Although the coterie of painters known at "the Glasgow school" does not include all the artistic talent in that city, the name, in virtue of combination and unity of purpose amongst the members, has become a convenient descriptive term.