For the Masses Or the Classes? Fine Art Exhibits at the Minnesota State Fair 1885–1914 Leo J

Whither the Passenger Train? St. Paul Union Depot: Decline and Rebirth John W. Diers —Page 12

Summer 2013 Volume 48, Number 2 For the Masses or the Classes? Fine Art Exhibits at the Minnesota State Fair 1885–1914 Leo J. Harris Page 3

This is an oil painting of an Irish wolfhound named “Lion,” painted in 1841 by Charles Deas (1818–1867), an early Minnesota artist. The painting was a first prize winner in the 1860 Minnesota State Fair. In the article beginning on page 3, Leo J. Harris provides the background on this painting and considers fine art exhibitions at the Minnesota State Fair later in the nineteenth and early twentieth centuries. Photo courtesy of the Minnesota Historical Society. RAMSEY COUNTY HISTORY RAMSEY COUNTY President Chad Roberts Founding Editor (1964–2006) Virginia Brainard Kunz Editor Hıstory John M. Lindley Volume 48, Number 2 Summer 2013 RAMSEY COUNTY HISTORICAL SOCIETY the mission statement of the ramsey county historical society BOARD OF DIRECTORS adopted by the board of directors on december 20, 2007: Paul A. Verret Chair The Ramsey County Historical Society inspires current and future generations Cheryl Dickson to learn from and value their history by engaging in a diverse program First Vice Chair of presenting, publishing and preserving. William Frels Second Vice Chair Julie Brady Secretary C O N T E N T S Carolyn J. Brusseau Treasurer Thomas H. Boyd 3 For the Masses or for the Classes? Immediate Past Chair Fine Arts Exhibits at the Minnesota State Fair, 1885–1914 Anne Cowie, Joanne A. Englund, Thomas Fabel, Howard Guthmann, Leo J. Harris Douglas Heidenreich, Richard B. Heydinger, Jr., John Holman, Kenneth H. Johnson, 12 Whither the Passenger Train? Elizabeth M. Kiernat, David Kristal, Carl Kuhrmeyer, Father Kevin M. McDonough, St. Paul Union Depot: Decline and Rebirth Nancy W. McKillips, Susan McNeely, James Miller, Robert Muschewske, John W. Diers Richard H. Nicholson, Jeffrey Slack, Ralph Thrane, Jerry Woefel. 24 Book Reviews Director Emeritus W. Andrew Boss Publication of Ramsey County History is supported in part by a gift from EDITORIAL BOARD Clara M. Claussen and Frieda H. Claussen in memory of Henry H. Cowie Jr. Anne Cowie, chair, James B. Bell, and by a contribution from the late Reuel D. Harmon Thomas H. Boyd, John Diers, Douglas Heidenreich, James Miller, John Milton, Laurie M. Murphy, Paul D. Nelson, Richard H. Nicholson, Jay Pfaender, David Riehle, Chad Roberts, Steve Trimble, Paul A. Verret, A Message from the Editorial Board Mary Lethert Wingerd. HONORARY ADVISORY BOARD s the St. Paul Union Depot reopens with fanfare and hope for a revitalized William Fallon, William Finney, George Latimer, Joseph S. Micallef, Marvin J. Pertzik, Afuture, John Diers takes us on a tour of its past—not just the romanticized James Reagan. version, but with a clear-eyed view of its strengths and weaknesses. After its RAMSEY COUNTY COMMISSIONERS completion in 1926, the Depot was managed by nine railroads and anchored by Commissioner Rafael Ortega, chair Commissioner Toni Carter a massive postal operation. But already, the availability and use of automobiles Commissioner Blake Huffman was making inroads in rail passenger service, and soon air travel would do the Commissioner Jim McDonough Commissioner Mary Jo McGuire same. The fascinating business story of the Depot over its working life has not Commissioner Victoria Reinhardt often been told, and Diers does a great job. Leo Harris also shares with us the Commissioner Janice Rettman Julie Kleinschmidt, manager, eclectic history of the fine arts exhibit at the Minnesota State Fair, which began Ramsey County as a tribute to European artists before the rise of local museums. Later, it evolved Ramsey County History is published quarterly as a display of home-grown talent, reflecting popular Victorian pastimes—think by the Ramsey County Historical Society, 323 Landmark Center, 75 W. Fifth Street, St. Paul, MN china painting—as well as paintings by Minnesota artists. Finally, check out 55102 (651-222-0701). Printed in U.S.A. Copy- our book reviews for tales of two murders, 130 years apart, and John Milton’s right © 2013, Ram sey County His torical So ciety. ISSN Number 0485-9758. All rights reserved. complete examination of the life and times of Nick Coleman, former Minnesota No part of this publication may be reprinted Senate majority leader. Take this issue to the cabin or the beach and enjoy. or otherwise reproduced without written permission from the publisher. The Society assumes no responsibility for state ments made by Anne Cowie, contributors. Fax 651-223-8539; e-mail address: [email protected]; web site address: www.rchs.com Chair, Editorial Board

2 RAMSEY COUNTY HISTORY

RCHS_toc_2.indd 2 8/9/13 9:02 AM For the Masses or for the Classes? Fine Art Exhibits at the Minnesota State Fair, 1885–1914 Leo J. Harris ust as the Biblical Moses sought the Promised Land for many years, so too did the Minnesota State Fair. The first fair held in Minnesota was in JBenton County in 1852. The first state- wide territorial fair in Minnesota was held in Minneapolis in 1855, and there were 28 annual territorial and state fairs thereafter, until 1884. Fairs were not held each year, and those fairs which were held migrated among Minneapolis, St. Paul, Fort Snelling, Rochester, Winona, and Owatonna.1 The first Minnesota art exhibit was held in be located concerning their content. The St. Paul at the 1857 territorial fair. Artists second period, starting in 1885, the year could enter categories which included when the fair obtained its permanent lo- “Paintings, Ambrotypes, Daguerreotypes, cation north of St. Paul, and ending in Photographs, Printing and Book Binding.” 1914, witnessed the blossoming of fine Prizes were offered in best and second art exhibits into interesting, varied dis- categories for oil painting, watercolors, plays of which Minnesotans could be and crayon drawings. Winners received a proud. The third period, from 1915 to Russell C. Munger was the art department superintendent at the 1885, 1888 and 1889 diploma and an award of $5.00.2 date, encompasses a great wealth of ac- tivity over nearly a century of exhibiting Minnesota State Fairs. Drawing from the There are three periods of the September 15, 1885 St. Paul Globe. Minnesota State fairs during which ex- the fine arts. The latter would require a hibits of the fine arts have been held. book rather than an article to fully ex- Fairs in the first, or migratory period plore those developments. For a number item should be in competition. But what (1855–1884), did include a few art ex- of reasons the author considers the sec- was art? Did it include museum quality hibits, but they were singularly unim- ond period the most interesting and one old masters, or merely art for competi- portant and little definitive comment can that is largely unknown. tion? Did the art have to be done by professionals or by amateurs? Or did it have Preface to the Story to be done by residents of the State of In 1884 the Minnesota State Agricultural Minnesota? Did the art include sculpture Society established a committee to select or even the arts and crafts? Succeeding a permanent site for the state fair. After superintendents of the art department much discussion, the committee selected wrestled with these issues and, over time, the site that the Ramsey County Poor Farm occupied, which was north of St. Paul and came up with different answers in their roughly halfway between Minneapolis search for exhibits that would please both and St. Paul. The first Minnesota State the public and the critics. fair held at this location opened to the The First Art Department public on September 7, 1885. The Minnesota State Agricultural Superintendent Society appointed superintendents to The first superintendent of the fine arts oversee and manage the various depart- was Russell C. Munger (1837–1901). ments that would be part of the fair. The One of several brothers from Duluth, superintendents appointed to be in charge Russell C. Munger was best known at the Allegorical figure welcoming visitors to the of livestock, or farm produce, or horse time as “the music man of St. Paul.” He agricultural, mechanical, and fine art wonders racing, for example, had a simple job. originated several bands, the most well- shown at the 1889 Minnesota State Fair. Sketch from the September 1, 1889 St. Paul They knew what their category was, what known of which was the Great Western Globe. to display or to run, and whether or not an band, which he directed for many years.

RAMSEY COUNTY HISTORY 3 for competition in prizes.”8 Munger died feature a statue of Governor Henry H. in 1901 after a brief stay in the Rochester Sibley in a ten- acre park.15 Hospital for the Insane.9 In addition to works of art entered for competition, Larpenteur borrowed art from The New Art Gallery Building local and national collectors. Minneapolis A new, one- story art gallery building was and St. Paul newspapers described this barely completed in time for the 1886 display, which included, among others, fair. It was 90 feet long and 40 feet wide, paintings by George S. Inness, Caducius made of brown stone, red brick, iron, and Plantagenet Ream, J. Appleton Brown, glass. The floors were concrete. No wood Verbeck Horan, and Max Lebling. The was used in the construction so that the Minneapolis Tribune noted that railroad ty- building was fireproof. The St. Paul Daily coon James J. Hill and Governor William Globe noted that “the walls are unusually R. Merriam16 also “contributed valuable thick and strong and valuable paintings works of art from the masters.”17 The will be as safe here as if locked in the Pioneer Press commented that “a visit to stronghold of a bank. The main gallery Artist’s drawing of the entrance to the new art the art gallery found everything in perfect gallery building at the 1886 Minnesota State will afford hanging room for some 4,000 order and the paintings most admirably ar- Fair. From the August 38, 1886 St. Paul square feet of canvas, while two smaller ranged. The collection has been made with Globe. galleries will provide space for thousands the greatest care, many of the paintings of photographs, crayons, architectural being originals by masters, and formerly and mechanical drawings.”10 exhibited in the Paris Salon.”18 He was involved in the founding of the The art gallery building was located St. Paul Opera House, which he man- to the east of the Manitoba railroad depot aged until 1872. He owned a store in and to the south of the oval race track.11 St. Paul that sold musical instruments. Inside, the gallery was divided into two He organized the first baseball club in St. parts. The first room held works of fine 3 Paul. He had also been in charge of the art loaned by local collectors; the second 4 art exhibits at several earlier State fairs. displayed art that Minnesota residents His artist brother, Gilbert Munger had created and had entered in compe- (1836 – 1903), worked and exhibited in tition for prizes. For the 1886 fair, John Europe and the United States. For brief Phillips, a portrait artist from New York periods he lived in St. Paul and com- City, was the art superintendent. He was pleted several enormous canvasses of Minnesota scenes, such as a 10- by 7- in the Twin Cities to paint portraits of the Ryan family.12 R.C. Munger assisted foot depiction of Minnehaha Falls.5 The 13 Tweed Museum in Duluth has in its col- Phillips in preparing the exhibits. lection 22 paintings by Gilbert Munger. The Third Art Department In 1885 Russell C. Munger was in Superintendent charge of exhibiting, among other things, James Desvarreaux-Larpenteur was the professional art works, clocks, jewelry and Phillips was followed by the nephew of an early, well- known St. Paul settler, Auguste art department superintendent at the 1887 plated ware, sewing machines, and natural Minnesota State Fair. Drawing from the curiosities. The categories of fine art had Louis Larpenteur (1823–1919). This new St. Paul Pioneer Press, September 10, 1887. to be original works, done by Minnesota superintendent was James Desvarreux- residents, subject to the admonition that Larpenteur (1847–1937), who had studied “no premium will be awarded to unworthy art and painted for some eighteen years The 1887 exhibit also included 143 work.” Specific types of art included por- in Paris. He returned to St. Paul in 1883 works of art by local artists. Gold and traits, seascapes, interior studies, animals, and engaged in various art- related activi- silver medals were awarded to the best and scenes from life, all in oil or in water ties. In addition to serving as the State fair entries. The judges included Douglas colors, as well as wood engravings.6 In art department superintendent in 1887, Volk (1856–1935), the first director 1885 the art department building did not he served as the curator of James J. Hill’s of the Minneapolis School of Art. The exist, and there was “no art hall or gallery art gallery. He was also hired by Thomas Minnesota State Agricultural Society where it was safe to exhibit a valuable pic- McLean Newsom, local newspaper pub- proudly stated that: ture.”7 Nevertheless, “under the most dis- lisher and editor, to illustrate an impres- couraging difficulties in the main building sive 1886 prospectus for real estate de- So, too, in the art gallery was a grand collec- Mr. Munger made a very handsome and velopment in the Pilot Knob area,14 where tion of choicest paintings and works of art, tasteful display of those pictures offered Newsom hoped, among other things, to the finest, by far, ever seen at one of our State

4 RAMSEY COUNTY HISTORY fairs, and reflecting greatest credit on the in- were twelve paintings from the collec- Ivan Pokitanow and to Thomas B. Walker defatigable superintendent, who had brought tion of old masters owned by a Baltimore (1840–1927), the most prominent art col- treasures not only from the private collections resident, Dr. George Reuling. Noted were lector in Minneapolis.24 of many of our wealthy citizens and artists, but works by Edward Dubufe, Rosa Bonheur, An article in the Taylors Falls Journal also some of the rarest and best to be found in and Linden Schmidt. The St. Paul Daily of August 9, 1889, provided a tantalizing Boston, New York and Philadelphia.19 Globe went on in some detail to de- prediction of things to come at the next The St. Paul Daily Globe, known at scribe these paintings, and concluded fair. It said that: the time for its humorous asides, noted by describing “a marvel in miniature by In connection with the management of the the following conversation at the door- Pokitonow, the Russian painter. . . . It is art department it might be stated that Mr. way of the art gallery, “where two pretty only a few inches of canvas, but a mas- R.C. Munger spent four months in Paris at maids, with black eyes, dark hair, and ter’s hand has transformed it to ‘a thing the Exposition, as agent for this Society, never- dying smiles sit and hold up the of beauty and a joy forever.’ It belongs to and while there met the Sultan of Turkey people and relieved them of their umbrel- the Walker collection—a gem in a gem and received from him many valuable hints las and canes as they attempted to pass corner of the art gallery.”23 The refer- in regard to the hanging of paintings at the through”: ences here are to Odessa- born painter State Fair. The loveliest gem of the Art col- “Get your umbrella checked here, sir!” “Oh, never mind, I’d jest ez leves carry it.” “You can’t take it into this building.” Prize-Winning Portrait at the 1860 Fair “Why not?” Discovering information about early now in the collection of the Minnesota “Because you’ll be sticking it into some of fine arts exhibits in Minnesota is diffi- the pictures.” Historical Society. It is reproduced on cult enough, but to be able to document the front cover of this magazine. The newspaper then went on to explain, a prize-winning portrait and its original According to art historian Rena Place a farmer ten feet from an oil painting owner is a significant breakthrough. Neumann Coen, there is an interesting and he doesn’t appreciate it, but let him get The very first premium winner in the story associated with this portrait. She two feet from the end of his nose and he’ll Minnesota State Agricultural Society’s reports: fifth annual fair, held at Fort Snelling discover more beauties in it than the painter Local tradition has it Sibley owned as himself could find, and this is why the man- on September 26–28, 1860, was the oil painting by Charles Deas of a dog many as ten of these large dogs, whom agement will not permit people to carry he kept around the house before his mar- canes and umbrellas into the art gallery.20 named “Lion.” Deas (1818–1867) was perhaps the best-known early Minnesota riage in 1843 to Sarah Jane Steele. That painter among his contemporaries, the lady showed an understandable lack of The Next Two Exhibitions so-called “artist-explorers.”1 enthusiasm for maintaining a large ken- In 1888 the art gallery, with R.C. Munger The Minnesotian Daily described nel in her home and insisted that the dogs again as its superintendent, maintained the painting as follows: establish residence in the carriage house. its former good reputation for a first-class Lion, so the story goes, was so incensed In the department of painting the display display of paintings and other works of at the loss of Sibley’s favor to Sarah that, is creditable. One picture indeed, No. 43 art. The competitive gallery contained 75 in a fit of jealous rage, he jumped into the (“animal in oil,” by Deas—an Irish wolf- entries.21 The judges regarded the com- Minnesota River and swam across to Fort hound) we regard as of peculiar excel- petitive exhibit as generally meritorious, Snelling on the opposite shore. There he lence. It was produced here at an early day, but “not sufficient for them in according spent the rest of his years sulking over the all of the medals.” Among the medals not when artists were few. But it preserved with truthfulness, we are told the features fickle nature of man and the intransigence awarded were the medals of honor and of woman.3 the grand gold and silver medals.22 This of one well known at Fort Snelling years feeling of the judges, unfortunately, was ago, in himself the embodiment of fidel- Whether this account is apocryphal to be a harbinger of things to come in the ity—a faithful dog. As a work of art, we or not, the Lion portrait is inextricably following decade. think it entitled to the first place.2 tied to the Minnesota State Fair. On the other hand, “of the many and Probably painted in 1841, this por- various exhibits on the grounds none so trait was owned by Henry H. Sibley Endnotes much show the cultured taste and pro- (1811–1891), who was then a supply and 1. Rena Neumann Coen, Painting and Sculpture in gressive tendencies of the age as the ex- purchasing agent of the American Fur Minnesota, 1820–1914 (Minneapolis: University of hibit in the art gallery which greets the Company. Later Sibley was the territo- Minnesota Press, 1976), 13. eye as a cynosure of panoramic beauty.” rial governor and then the first governor 2. Undated clipping, Minnesotian Daily. Included in this separate gallery, curated of the state of Minnesota. The painting is 3. Coen, 14. by St. Paul artist Vincent De Gervion,

RAMSEY COUNTY HISTORY 5 lection, and the most wonderful painting ever brought into the Northwest, will be Mr. Julius Kessler’s painting, Venus and Tannhauser. It represents the soul touching, parting scene between the German Bard of the Kartz (sic; should read Hartz) Mountains and the beautiful Queen of love. The painting cost $5000, and is as large as one side of an ordinary room. Once again R.C. Munger was deeply involved, and the 1889 exhibition included the usual competitive exhibition by amateurs, plus a fine gathering of world- class fine arts. In addition to Kessler’s Venus and Tannhauser, which was now valued in the newspapers at $10,000, the latter included mountain scenery and landscapes by Chicago- born The new Art Gallery, which opened at the 1886 Minnesota State Fair. O.C. Gregg, ed., Minnesota artist Henry A. Elkins (1847–1884); Farmers' Institute, (1888), 19. Illustration courtesy of the Minnesota Historical Society. a fine collection of paintings loaned by Governor Merriam; and still others painted by Gilbert Munger. Also shown tints of a surprisingly unnatural hue. . . . If scant information has been located con- were works by Julius Legall, a young the former, the managers of the exhibit, must cerning fine art activities at the fair. French artist who had just taken up resi- be credited with having done the best in their In 1890 the art gallery building was powers by their comparative isolation of the dence in St. Paul.25 Selected works of art filled with chairs for the audience and a 27 were for sale. In the competitive section real from the sham art. platform for the exhibit of livestock. The art department had just been ousted from the gold medal for landscapes (presum- Although the particular process by which its specially designed premises! Hand- ably a scene of Fort Snelling, now in the the Smith Portrait Company produced painted china headed the 1890 premium collection of the Minnesota Historical likenesses of Minnesotans in its premises Society) was awarded to Alexis Jean list of fine art works, which was open to at 451 Wabasha Street is now shrouded in 30 Fournier (1865–1948) of Minneapolis. amateurs only. the clouds of time, its realistic portraits The St. Paul Daily Globe had this to Fournier, perhaps more than any other were extensively praised in the society local painter at this time, set the standard say about the 1891 exhibit: “The art de- and news pages of the St. Paul Daily Globe partment is not up to standard. The pic- for Minnesota’s artists.26 during the late 1880s.28 Notwithstanding The exhibit also included a display tures for the most part are hopelessly bad. the judgment of the Globe, a writer for 31 of specimens of solar- painted portraits The china painting is excellent.” the St. Paul Dispatch commented gener- The 1892 exhibition was only open to of prominent citizens in the Twin Cities, ally that the art department was a credit to contributed by the Edgar B. Smith amateurs, and the list of art work created the state, not only from the comprehen- by crafts persons was headed by “Hair Portrait Company of St. Paul. These were siveness of the collection, but the taste free- hand drawings in pastel on canvas as work (ornamental, etc.)” and “Hand- and knowledge shown by both manage- painted china.” By far the largest category well as by crayon. Referring to this par- ment and exhibitors.29 ticular exhibit, the St. Paul Globe com- were paintings on glass, satin, silk, vel- According to the Premium Lists for vet, tile, chamois and bolting cloth.32 The mented that the fair from 1889 to 1914, no other art solitary comment that year by the St. Paul The question arises, however, as to whether department superintendents were ap- Daily Globe concerning the fine art de- this alleged art exhibit at the fair is a thing pointed until the 1912 fair. During these partment was that in “the Main building especially designed to please artists and missing years, exhibition of the fine arts (where the art exhibits had migrated to) lovers of art, or to excite admiration by the was a part of the Women’s activities there are one or two attractive little heads festive granger who predominates largely department. done in water color and in pastel. . . . A over any other class of citizen during that cabinet in the art department contains a particular season. . . . If the latter, the object Art at the Fair in the 1890s very fine exhibit of painted china pieces was certainly attained as the delighted ex- Between 1890 and 1899, the superinten- by two St. Paul ladies.”33 clamations of any clique of countrymen and dents of Women’s activities focused their The 1893 fine arts division was again women would show, when surveying solar- attention on holding competitive exhib- open only to amateurs. Liberal cash printed and pink tinted representations of its of art by amateurs. In these years the prizes, from $5.00 to $20.00 were of- fat babies and décolleté maidens with flesh trail gets murky and the record dim; only fered for collections of oil paintings; and

6 RAMSEY COUNTY HISTORY for single paintings of crayon, pastel, and sepia the prizes ranged from $2.00 to $20.00. Special premiums included a sewing machine, gold watch, fur cape, bronze figures, and art lessons.34 In 1895 the St. Paul Dispatch commented on the premises then available to the art department when it said, One thing is missed, as it has ever been missed since it was abandoned and that is the art gallery. Even a practical man like C.W. Horr deplored the spirit which killed off the art gallery and handed it over to silo and silage when St. Paul and Minneapolis have turned out so many clever artists.35 Charles W. Horr was the assistant Super- intendent of the Main building of the fair. In 1886 there were only two public spaces from which to view the fine arts, at the Minneapolis An examination of various successive Industrial Exposition and at the Minnesota State Fair. The reverse side of this business enve- listings of awards is instructive. The 1897 lope carries a hand-stamped advertisement for both events. Courtesy of Leo J. Harris. and 1898 categories of “Fine Art Work” include winners for hand- painted china, collections of paintings, Minnesota land- movements, with its emphasis on hand- Super intendent of the Main building, had scapes, figures, animals, or flowers, as crafted, individually designed objects.37 the following to say regarding art depart- well as painting on various types of cloth. Many Minnesota women took up the ment premises: decoration of ceramics as both a hobby The 1899 categories were “Hand-painted The art department, placed in a wing of the and a profession. One local woman, china” and “Fine Art (For Professionals)” annex, was altogether inadequate for the Henrietta Barclay Paist (1870- 1930), which included hand- painted china. No, exhibits offered. Your superintendent would earned a national reputation. For a period repeat no, paintings were included. The recommend that this entire building, at next of over twenty years, Paist, a St. Paul de- comparable 1900 category was “Fine state fair, be devoted to the women’s and art signer, multitalented artist, teacher and Art Work” and it included only hand- exhibits. I believe that both of these exhibits author, served as a porcelain judge at the painted china, hand- painted figures, and can be very largely increased in size and at- 36 Minnesota fair. She also won medals for paintings on tapestry. The complete tractiveness, to the great benefit of the visi- her oil paintings and watercolors in ear- transition away from the traditional oils tors and of the agricultural society.41 on canvas was apparently not explained, lier years.38 She was well-known nation- but the morphing toward interest in hand- ally for china painting and design.39 Instead the Society decided to confine the painted china requires some explanation. The 1896 Report to the Superintendent miscellaneous exhibits to the Main build- Art author and critic Cynthia from the two assistant superintendents of ing and to use the dining hall for ladies’ Branimarte wrote that “It became an the Women’s exhibit, Adelaide Crossley and art exhibits.42 axiom of American art that men created and Jonathan C. Crossley noted strongly fine art and most women artists dabbled that the room assigned for the display of Agitation and Negotiation in handicrafts and decorative arts. . . . Men the fine arts was altogether ill- adapted There were no competitive fine art exhib- painted on canvas; women decorated for that purpose: its at the fair from 1899 to 1904. The fine wooden screens, paper fans, and ceramic arts had hit rock bottom. Nevertheless, There is no sufficient hanging space; the vases.” The painting of china became small steps were simultaneously being walls are too low; the light is miserable, the quite fashionable in the early 1870s when taken, albeit hesitantly, by the State latter so much so as to cause adverse criti- wealthy young women of conspicuous Agricultural Society to increase the ex- cism from exhibitors and the public. If a leisure took up china painting as a hobby. posure of the fine arts. In 1903 there painting has any good points, it is marred by China painting, first in Europe and then was a small display sponsored by the the poor light. These defects in the art room in America, achieved artistic and social Minnesota State Arts Society. This can be remedied by raising the roof and hav- status by the mid-1870s. Juried shows of Society was established by the legisla- ing the light come from the roof. A number this material soon followed, commenc- ture of the State of Minnesota to encour- of the pictures had to be placed in the main ing with the Centennial International age the arts and crafts within the state. In room for lack of space in the art room.40 Exposition of 1876, held in Philadelphia. 1903 there was also a special exhibit of The decoration of ceramics must be seen In his 1896 report to the State Agri- student art collections, one each from the within the context of the arts and crafts cultural Society, D.R. McGinnis, the St. Paul and the Minneapolis Schools of

RAMSEY COUNTY HISTORY 7 Fine Arts. These consisted of works of art in oil, watercolors, and plaster from Minnesota artists, as well as architectural designs, bookbinding, needlework, metal work, wood carving, and artistic cabinet wares.43 In 1904 a space of 30 by 18 feet in the Main building was allocated to the Minnesota State Arts Society. This was en- closed and equipped with showcases for the display of articles of virtue and value, and the walls lighted, such as any well-planned gallery for the display of pictures. The exhibit featured two pictures belonging to Minneapolis businessman B. F. Nelson, one by James McDougal Hart (1816– 1901), and the other by Louis Matthieu Didier Guillaume (1816–1892), which had been hanging in the Minneapolis Public Library. The Minneapolis School of Fine Arts shared this space.44 In 1904 the Minnesota State Arts Society urged the Minnesota State This photo from 1913 is of the Pioneer Portrait Gallery at the Minnesota State Fair. Judging Agricultural Society to provide better from what can be seen here, the photographer probably took this shot at a time when the Fair accommodations for the display of fine was not open to the public and the gallery’s floor space was used for storage and other activi- art, specifically referring to the so-called ties. Charles J. Hibbard photo. Photo courtesy of the Minnesota State Fair. Institute Hall building. In exchange, it would assume the responsibility to man- building in which to place our exhibit for special art exhibit in 1909, which was age these premises and to secure exhib- 1905. With a suitable place like this, it can mounted in the Farmer’s Institute hall. its.45 Robert Koehler (1850–1917), a easily be made one of the great attractions of Thomas B. Walker, lumber tycoon and prominent Minneapolis artist and the sec- the fair. . . . 46 prominent collector of Minneapolis, had ond director of the Minneapolis School commissioned artist Henry H. Cross of Fine Arts, stated the following in his Perhaps the lobbying of the Minnesota State Arts Society had succeeded since (1837–1918) to portray famous Indians presentation, on behalf of the Minnesota and Indian fighters and scenes of his- State Arts Society: the art department sponsored competitive exhibits of oil paintings, watercol- toric Western events. The Cross subjects That for a number of years there has been no ors, pastels, crayons, and charcoal works included, among others, Indian chiefs attempt at having any exhibition of art at our of art during the ensuing years of 1907, Geronimo, Yellow Hand, Sitting Bull, state fair has been a matter of regret to all 1908, and 1909.47 The utilization of and Old Roman Nose as well as Buffalo who know how the success of the industries space for art continued, however, to be an Bill and Kit Carson. Walker had at one of a state depends on the art education of its issue. The 1908 board of directors meet- time intended to use these paintings as the citizens. The exhibitions of art were discon- ing of the State Agricultural Society set nucleus of works at a new public museum tinued because of the difficulty experienced aside the art gallery “for the use of the la- of Native American Art in Minneapolis. in getting really good material. dies for the first three days of the fair, and This did not occur, however, and the paintings were eventually sold to the … the “Pioneers” for the last three days of the fair week.” The south side of the wall Gilcrease Institute of American History Our committee having the matter in charge was “to be used by the ladies for pictures, and Art in Tulsa, Oklahoma.49 are of the opinion that for the next exhibition and the north side was to be used by the During 1911, a new fine arts building, the so- called “Institute Hall” should, if pos- Pioneers.”48 The Minnesota Territorial initially referred to as the annex to the sible, be secured. Since this is the original Pioneers is an active organization of Women’s building, was constructed be- purpose for which it was designed, it is spe- descendants of those who settled in the tween the north entrance of the Women’s cially suited for such use. As it is fire-proof, Minnesota Territory prior to 1858. Then building and the south entrance of the the expense of insuring the exhibits would and now, the Territorial Pioneers main- Manufacturers’ building. The new gallery be much less than in any of the other build- tained a collection of portraits of many of was 28 by 74 feet. “That year,” the State ings. We desire hereby to make formal ap- these early settlers. Agricultural Society reported, “the artists plication to the Agricultural Society for this State fair goers were treated to a certainly showed their appreciation of a

8 RAMSEY COUNTY HISTORY suitable place to hang pictures, as every foot of wall space was utilized, and the collection showed the work of some of the best artists in the state.”50 In both 1912 and 1913 the fine arts were included in a department superin- tended by E.J. Stilwell of Minneapolis, and Dr. Clara M. Luther of Lake Minnetonka. The relevant category was “painting, drawing, decorated china, handicraft and needlework.” Both professional and amateur classes existed, and the categories were oil paintings, miniature paintings, watercolors, and pastels, and black and white works. Only residents of Minnesota were eligible.51 The fine arts were once again being recog- nized as suitable for exhibition. In 1912 the art gallery was well filled, and contained the works of some of the best artists and art schools, including the St. Paul School of Fine Arts and the Artists’ Club. A curious assertion in the 1912 report of Clara M. Luther, Assistant Superintendent of the Art Department, An interior view of one of the new galleries at the Minnesota State Fair for the State Fair Art Exhibit given by the Minnesota State Art Society in 1914. This view shows the Minnesota Art which cannot, in view of a continuing Gallery. From the Minnesota State Art Society Catalogue, Eleventh Annual State Art Exhibit past history to the contrary, be explained (1914), no page number. Photo courtesy of the Minnesota Historical Society. at this late date, was that “… this was the first year we were permitted to have a jury to pass on art work in this department.”52 . . . It is believed that marked impetus will be York, which depicted subjects he drew in A “Special Announcement” in the given to the cultivation of the fine arts in the the Twin Cities the previous year.56 1913 Premium List indicated that the Northwest. A jury of noted American artists The jury in 1914, which came from Annual State Art Exhibition sponsored will pass upon the art subjects at fair time Chicago to evaluate all of the art objects, by the Minnesota State Art Society would and award the prizes. Whenever desired, a opined that the work of Minnesota artists be assembled and displayed at the forth- criticism of any exhibits will be made by the was of higher standard and more substan- coming 1914 fair.53 jury. Competent specialists will be placed in tial than in previous years and awarded charge of the exhibits, at all times to explain prizes totaling $625.00.57 This was a Ending With an Upper! to the thousands who throng the galleries the huge sum compared to the paltry awards The art exhibit at the 1914 fair was held principles underlying the exhibits.55 of earlier years. Docents furnished by the under the auspices and direction of the Women’s State Federation Art Committee Minnesota State Arts Society. On the In the competition class of Minnesota explained the value and importance of the opening day of the fair Maurice L. Flagg, artists, well- known painters and sculp- art exhibit.58 And, for the very first time, director of the Society, placed counters tors included Nicholas Brewer, Frances local newspapers contained photographs at the two entrances to the new art gal- Cranmer, Edwin Dawes, Ada Wolf, of the winning entries. lery. Over 43,000 persons visited the Alice Hügy, and John Karl Daniels. One Only an examination of the next hun- gallery on that day.54 Five new galler- hundred and twenty thousand people dred years would determine whether ies for the accommodation of a quarter- visited the art galleries in one week. the future art exhibition activities at the million- dollars worth of art were built, Overhead daylight conditions, indirect Minnesota State Fair had risen to the and they were designed to contain nearly lighting for evening display, and ap- acme of excellence that was demon- 10,000 feet of wall space. Exhibited, in propriate color schemes for the back- strated in 1914 in the galaxy of fine art addition to the traditional wall art, was ground walls aided in the presentation. exhibiting. That is a task, however, for sculpture, industrial art, and handicrafts. Other special exhibits included a loan another author to consider. Also planned were a series of art lec- of American Contemporary Art cour- tures. Speaking of how the new premises tesy of the American Federation of Arts, Some Conclusions would encourage Minnesota artists, the Washington, D.C., and lithographic During the thirty year period between Minneapolis Morning Tribune swooned: prints by Vernon Howe Bailey of New 1885 and 1914 at the State fair there

RAMSEY COUNTY HISTORY 9 were competitive art exhibits featuring the work of amateurs and professionals; there were special shows put on by particular groups; there were competitive exhibits of amateur work combined with fine art lent by local or national collectors; and, finally, there were four years in which there was simply no art exhibit at all. During this three- decade period a number of factors affected the great diversity of the art exhibitions at the Minnesota State fair, as well as influenc- ing their notable successes or failures. Perhaps one of the most important factors which influenced both attendance and interest in the fair art exhibits were conflicting, far better art exhibitions tak- Front view of the Fine Arts Galleries building of the Minnesota State Fair, in use beginning in 1911, on a sunny day when the nearby trees had no leaves and the fair was probably not ing place elsewhere during the September open. Michael Nowack Photo. Photo courtesy of the Minnesota Historical Society. days of the State fair. These were the World’s Columbian Exposition of 1893, held in Chicago. That exposition, with foodstuffs, and livestock displays had to of the fine arts. Public museums simply a dedicated art building and world- be favored. They appealed to the grangers did not then exist, even in the state’s larg- class art exhibits, was viewed by many and most of the city folk. est cities. Minnesotans during the nine-month pe- What was certainly intended as a riod it was open. More important, how- flip comment, made in 1904 when the Epilogue ever, and even far closer to home were the Federation of Women’s Clubs was asked The Minneapolis Institute of Arts build- competing fine art exhibitions held in the to participate in the Women’s work of ing opened in 1915, ushering in a major galleries of the Minneapolis Industrial the State fair, was: “This is a fair for the renaissance of the fine arts in Minnesota Exposition building. That facility held masses and not for the classes.”60 Quite during the remainder of the twentieth annual expositions every autumn from possibly there is some truth here, ap- century and beyond. Other major muse- 1886 through 1892.59 These Minneapolis plicable as well to the difficulties faced ums in the Twin Cities include the Walker exhibits featured art loaned by local col- by the art exhibitions at the fair. On the Art Center and the Weisman Art Museum lectors as well as a grand assortment of other hand, many years earlier, a writer at the University of Minnesota. Today fine arts loaned by national and inter- for the Minneapolis Tribune considered students are educated in the fine arts at the national collectors. Without question, the the art displayed at the 1886 Minneapolis Minneapolis College of Art and Design quality and range of these exhibits were Industrial Exposition. This was his vision as well as in art programs at a number far superior to the ones at the State fair. of the purpose of a fine arts gallery: of other colleges and universities across There undoubtedly were circumstances The gallery is not intended to give enter- the state. Many well- known professional which dictated what art was shown to the tainment merely to a small circle of critics, and amateur artists produce work that is public at the State fair. The taste, or lack of it, by superintendents and those who patrons and connoisseurs, but should have widely known and discussed. In addition, the far higher aim of instructing in the true judged the entries, may have been a prob- today there are art dealers who success- principles of right art the masses of a large lem. However, the local artists and the fully market the fine arts, and, above all, and liberal minded, but hitherto somewhat viewing public were clearly aware of the there are many Twin Cities residents who art starved, public.61 inconsistency in quality of the exhibits, are interested in and are involved in sup- and the apparent mind- changing by fair Finally, what would the reasonable porting the arts.62 All of these numerous officials. In addition, funding or the lack expectations be for fine art exhibitions at art opportunities and activities are regu- of it for running a fine arts program was the fair? During the late nineteenth cen- larly supplemented by the annual exhi- also an issue. tury and the first decades of the twentieth bition activities at the art gallery of the On the other hand, if the success of the century, Minnesota was an agricultural Minnesota State Fair. Thus we need to re- entire fair was to be judged by popular- state, and appreciation of the fine arts was member that the initial years of this effort ity, which obviously affected attendance seemingly far removed from the experi- to encourage the public exhibition of art and the bottom line of the fair’s profit ence of most persons in the rural com- clearly traveled a long and tortuous path and loss statement, then clearly the other munities. And, other than the handful of before it reached the superior quality and competitive events, such as horse racing, professional or amateur artists, most city easy access that is available to members farm produce, preserving and canning of dwellers had little comprehension, either, of the public today.

10 RAMSEY COUNTY HISTORY Endnotes 1. J. H. Hanson, “Fairs of Minnesota,” St. Paul Daily 21. Annual Report of the Minnesota State Agricultural 42. Ibid., 13. Globe, September 16, 1885, p. 9. Society for the Fiscal Year 1888–1889 (St. Paul: 43. Annual Report of the Minnesota State Agricultural 2. Third Annual Fair of the Minnesota Agricultural Pioneer Press Co., 1889), 9, 51. Society for the Year 1904 (Minneapolis: Great Western Society (St. Paul: Goodrich, Somers & Co., 1857, 23. 22. “High Art Awards,” St. Paul Daily Globe, Printing Co., n.d.), 273. 3. “Types of Traders,” The St. Paul Daily Globe, September 15, 1888, p. 6. 44. Minneapolis Journal, August 20, 1904, p. 11. August 1, 1886, p. 13. 23. St. Paul Daily Globe, September 12, 1888, p. 1 45. “An Art Building Wanted,” The Minneapolis and September 19, 1888, p. 3. 4. St. Paul Daily Globe, August 30, 1878, p. 4. Journal, October 7, 1904, p. 6. 24. Catalog of the Art Collection of T. B. Walker 5. Michael D. Schroeder and J. Gray Sweeney, Gilbert 46. Annual Report, 1904–1905, 273. (Minneapolis: T. B. Walker Galleries,1907), 127. Munger: Quest for Distinction (Afton, Minn.: Afton 47. Annual Report of the Minnesota State Agricultural Historical Society Press, 2003), 31. 25. St. Paul Dispatch, September 5, 1889, pp. 2, 5 and Society for the Year 1907 (St. Paul: Syndicate Printing September 6, 1889, p. 5. 6. Premium List Rules and Regulations. The 27th Co., 1908), 88; Annual Report of the Minnesota State Annual Fair. Minnesota State Agricultural Society (St. 26. See generally, Rena Neumann Coen, In the Agricultural Society for the Year 1908 (St. Paul: Paul: Halls Printing House, 1885, 40, 41. Mainstream: The Art of Alexis Jean Fournier (St. Syndicate Printing Co., 1909), 80; and Annual Report 7. Darwin Scott Hall, History of the Minnesota State Cloud: North Star Press, 1985). of the Minnesota State Agricultural Society for the Year Agricultural Society from its Organization … (St. 27. “The Twin Sciences,” St. Paul Daily Globe, 1909 (St. Paul: Syndicate Printing Co., 1910), 109. Paul: McGill Warner Co., 1910, 211. September 22, 1889, p. 3. 48. Ibid. 8. “Mr. R. C. Munger,” The St. Paul Daily Globe, 28. See, for example, St. Paul Daily Globe, December 49. “Portraits of Famous Indians and Scouts at the September 15, 1885, p. 4. 9, 1887 and December 25, 1887, p. 3. State Fair,” Minneapolis Morning Tribune, August 22, 9. San Francisco Call, November 27, 1901, p. 9. 29. St. Paul Dispatch, September 12, 1889, p. 1. 1909, p. 9; Leo J. Harris, Before the Museums Came: 10. “New Art Gallery,” St. Paul Daily Globe, August 30. Twenty- Third Annual Report of the Commissioner A Social History of the Fine Arts in the Twin Cities 28, 1886, p. 1. of Statistics of the State of Minnesota for the Year (London: Versita Ltd., 2013), 47, 48. 11. O. C. Gregg, ed., Minnesota Farmers’ Institute, 1891 (Minneapolis: Harrison & Smith, 1892), 88, 50. Annual Report of the Minnesota State Agricultural Report of the Second Annual Farmers’ Institute (St. 235. The Art Building was later known as the Pioneer Society for the Year 1911 (Minneapolis: Syndicate Portrait Hall. Paul: State of Minnesota, 1888), 23. Printing Co., 1912), 185. 31. St. Paul Daily Globe, September 8, 1891, p. 1. 12. New Ulm Weekly Review, September 1, 1886, p. 1. 51. Premium List. Minnesota State Fair, September 32. Twenty- Fourth Annual Report of the 2–7, 1912, [No publisher], 123–26; Premium List. 13. “The State Capital,” Minneapolis Tribune, August Commissioner of Statistics of the State of Minnesota Minnesota State Fair, September 1– 6, 1913, [No pub- 26, 1886, p. 3. for the Year 1892 (Minneapolis: Harrison & Smith, lisher], 136–39]. Copies available at the Minnesota 14. Twenty- three- page brochure, “Pilot Knob: the old- 1893), 181,182. History Center Library, St. Paul, Minn. est stone dwelling in the state of Minnesota…” 33. St. Paul Pioneer Press, September 6, 1892, p. 2. St. Paul Daily Globe, August 28, 1887, p. 1. 52. Annual Report of the Minnesota State Agricultural 34. “Some Rich Prizes,” Minneapolis Tribune, April Society for the Year 1912 (Minneapolis: Syndicate 15. Various activities of James Desvarreux- Larpenteur 30, 1893, p. 6. Printing Co., 1913), 185. are considered in the Hill Family Collection at the Minnesota Historical Society; in Michele Murnane, 35. St. Paul Dispatch, September 10, 1895, p. 1. 53. Premium List. Minnesota State Fair, September 1– 6, 1913, [No publisher], 162–66. “From Thomery to ‘The Anchorage.’ The Larpenteurs 36. Annual Report of the Minnesota State Agricultural and Their Journey to St. Paul,” Ramsey County Society for the Year 1896 (St. Paul: Pioneer Press 54. Annual Report of the Minnesota State Agricultural History, 46:2 (Summer 2011): 8; and in Michael Printing Co., 1897), 90; Annual Report of the Society for the Year 1914 (Minneapolis: Syndicate Conforti, Minnesota 1900: Art and Life on the Upper Minnesota State Agricultural Society for the Year Printing Co., 1915), 12. Mississippi, 1890–1915 (Cranbury, N.J.: Associated 1898 (St. Paul: Pioneer Press Printing Co., 1899), 55. “Art Subjects to be Shown at State Fair,” University Press, 1993), 110. 106, 107; and Annual Report of the Minnesota State Minneapolis Morning Tribune, June 14, 1914, p. E10. Agricultural Society for the Year 1900 (St. Paul: 16. William Merriam (1849–1931) was governor be- 56. Catalogue of Eleventh Annual State Art Exhibit Pioneer Press Printing Co., 1900), 103. tween 1889 and 1893. At one time, Governor Merriam Given in Connection with the Minnesota State Fair had a fine library and “paintings of world- wide re- 37. Cynthia Branimarte, “Somebody’s Aunt and and Exposition (Hamline, Minn.: The Minnesota State nown and great value,” but his mansion, including his Nobody’s Mother: The American China Painter and Art Society, 1914), 7, 10, 11, 14–17. art collection, was destroyed by fire in 1896. St. Paul Her Works, 1870–1920,” Winterthur Portfolio, 23:4 57. “Minnesota Artists and Craftsmen Contribute to Globe, November 22, 1896, p. 21. (1988): 203–24. Annual Exhibit at State Fair Grounds,” Minneapolis 17. “The State Fair Opened,” Minneapolis Tribune, 38. Annual Report of the Minnesota State Agricultural Journal, September 6, 1914, p. 3. September 10, 1887, p. 6. Society for the Year 1908 (no publisher), 81. 58. “Club Women to Explain Art Exhibit to Visitors,” 18. “The Art Gallery,” Pioneer Press, September 10, 39. “Curator’s Choice,” Minnesota History, 57:7 (Fall Minneapolis Tribune, September 9, 1914, p. 10. 1887, p. 4. 2001), inside front cover. 59. Harris, 21, 31. 19. Annual Report of the Minnesota State Agricultural 40. Annual Report of the Minnesota State Agricultural Society for the Year 1887 (St. Paul: J. W. Cunningham, Society for the Year 1895 (St. Paul: Pioneer Press Co., 60. Minneapolis Journal, August 20, 1904, p. 11. 1888), 64, 65, and 142. 1896), 99. 61. “The Art Gallery. First Visit,” Minneapolis 20. “Among the Paintings,” St. Paul Daily Globe, 41. Ibid., 102. The annex to the Women’s building was Tribune, September 25, 1886, p. 5. September 10, 1887, p. 1. later known as the Education Building. 62. See generally, Harris, 94–96.

RAMSEY COUNTY HISTORY 11 NON-PROFIT ORGANIZATION U.S. Postage PAID Published by the Ramsey County Historical Society Twin Cities, MN Permit No. 3989 323 Landmark Center 75 West Fifth Street Saint Paul, Minnesota 55102

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Railroads spared no expense promoting their postwar streamliners in newspaper and magazine ads, on radio and television, and in colorful timetables such as these from the 1950s and ’60s. All the rail lines represented here served the St. Paul Union Depot. Regrettably, many members of the traveling public found the competing appeals of Chevrolet, Ford, and Northwest Airlines were more persuasive. For more on the St. Paul Union Depot and passenger travel by train, see page 12. Timetables courtesy of John W. Diers.