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Norwich, City of Inspiration: Part I the Nineteenth Century by Vivian F

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Norwich, City of Inspiration: Part I the Nineteenth Century by Vivian F The Muse Newsletter of the Slater Memorial Museum Fall 2007 Norwich, City of Inspiration: Part I The Nineteenth Century By Vivian F. Zoë When we think of cities as inspirational muses, we might readily imagine Paris, Venice, London, even New York and Boston. Rarely would Norwich, Connecticut, spring to mind. But relatively cursory research reveals that Norwich has often and long served as grist for the artists’ mill. Deeper inquiry and the inclusion of photography would no doubt produce a nearly endless roster of artists Bridge at Norwich and images, but the limitations of space and readers’ time William Henry Bartlett, pencil on paper, 1836 demand circumspection. A review of museums, private Connecticut Historical Society collections, and libraries both in Connecticut and around Thomas Cole, Asher Durand and Albert Bierstadt have the country reveals artists in many eras have employed a attained the status of popular icons, but may have lost diversity of style and media to portray the Rose City. their connection to a home locale. In contrast, Crocker’s deep sense of place is evident in virtually every one of his The Slater Memorial Museum’s collection includes several canvases. His dramatic and romantic scenes of the city’s paintings by John Denison Crocker (1822-1907) that harbor, mills and farmers’ fields, are well known to Slater clearly reflect his passion for Norwich. Born in Salem, Museum members and regular visitors. Crocker captured Connecticut, as a toddler Crocker was brought to Norwich Norwich and its agricultural environs in the second half of by his family. Many artists of Crocker’s era, talent and the nineteenth century with both accuracy and affection. productivity traveled well beyond their origins, and in so doing, gained financially and critically. A number, like In addition to works owned by the Slater Museum, artwork in other collections document and celebrate Norwich’s golden era that closely matches the “Long Nineteenth Century” of about 1798 to 1914. Before Crocker, William Henry Bartlett (1809-1854), an Englishman who made four visits to the United States between 1836 and 1852, created a series of views that were published around 1840. They were titled “American Scenery,” with a text by Nathaniel P. Willis. Bartlett was a prolific illustrator Norwich Harbor from the South who made sepia wash drawings the exact size to be used in John Denison Crocker, oil on canvas engravings. Other artists often copied his engraved views, Collection of the Slater Museum (continued on page 3) A Message from the Director It’s unbelievable that only a few short months ago, my office windows were obscured by scaffolding and all I listened to the crunching and clanging of the workers restoring the brick of the Slater building. The brick now literally sparkles with clean surfaces and bright black mortar as its original state. Stained glass windows gleam with new lead came, decades of soot and dirt removed. After what is certainly a longer wait for Slater members than for me, the elevator project is finally slated for a Fall 2008 start. The museum’s attendance was up more than 17% percent in the fiscal year ended June 30, 2007 over the previous period and comments from visitors remain glowing. I hope you’ll join in promoting the museum’s successes and its future at the “Centennial of Art” dinner and auction on October 27 … there’s plenty to celebrate! Upcoming Exhibitions, Programs and Events Saturday, October 27, 2007; 5:00 to 9:00 p.m. Slater Memorial Museum Dinner & Auction - Featuring a gustatory grand tour of the Slater Museum. Please call 860-425-5545 for more details. Saturday, December 15, 2007 Wrapped in Pride: Ghanaian Kente and African American Identity opens in the Converse Art Gallery. The Muse is published up to four times yearly for the members of The Friends of the Slater Memorial Museum. The museum is located at 108 Crescent Street, Norwich, CT 06360. It is part of The Norwich Free Academy, 305 Broadway, Norwich, CT 06360. Museum main telephone number: (860) 887-2506. The museum’s Website is linked to that of NFA: www.norwichfreeacademy.com Museum Director – Vivian F. Zoë Newsletter editor – Geoff Serra Contributing authors: Vivian Zoë, Leigh Smead and Patricia Flahive Photographers: Leigh Smead, Alexandra van den Berg, Vivian Zoë The president of the Friends of the Slater Memorial Museum: Patricia Flahive The Norwich Free Academy Board of Trustees: Robert A. Staley ’68, Chair * Steven L. Bokoff ’72, Vice Chair Jeremy D. Booty ‘74 Richard DesRoches * Abby I. Dolliver ‘71 Lee-Ann Gomes ‘82, Treasurer Thomas M. Griffin ‘70 Joseph A. Perry ’60 Dr. Mark E. Tramontozzi ’76 Theodore N. Phillips ’74 (ex officio) David A. Whitehead ’78, Secretary *Museum sub-committee The Norwich Free Academy does not discriminate in its educational programs, services or employment on the basis of race, religion, gender, national origin, color, handicapping condition, age, marital status or sexual orientation. This is in accordance with Title VI, Title VII, Title IX and other civil rights or discrimination issues; Section 504 of the Rehabilitation Act of 1973 as amended and the Americans with Disabilities Act of 1991. 2 but no signed oil painting by his hand is documented. It original pencil drawing. The view shows, nestled into the is likely that his Bridge at Norwich was made during his treetops, City Hall Trinity Episcopal Church. The latter, visit of 1836. Engravings based on Bartlett’s views were built in 1829, was eventually left by the congregation and later used in his posthumous History of the United States became a coffee house, a use that unfortunately may have of North America, continued by B. B. Woodward and led to its destruction by burning. The drawing reveals the published c. 1856. influence of the Hudson River School in many aspects including the detailed but romantic rendering of the leaves Born in Norwich, Daniel Wadsworth Coit (1787-1876) on the trees, each seeming to have its own personality. left for California with the Gold Rush of 1849. Coit was The use of trees as framing devices for the picture plane elected to the National Academy and created some of the is another clue that the work is Coit’s. Coit is purported earliest known drawings of San Francisco. According to a to have been named after Daniel Wadsworth, a friend of Coit’s father. Wadsworth was an amateur artist known for encouraging and supporting the romantic compositional approach of the Hudson River School. He, is significant for his support of Thomas Cole and, especially, for establishing the Wadsworth Atheneum Museum of Art. Fitz Henry Lane’s (1804 - 1865) View of Norwich (1849) was created from the opposite side of the harbor from Coit’s. It clearly shows Trinity Episcopal, Second Congregational, Broadway (now United Congregational Church and the one over which Reverend John Putnam Gulliver, founder of NFA, presided), and East Main Street Methodist Churches. These structures, most still standing, appear in numerous paintings and drawings of Norwich, View of Norwich of many eras and from both sides of the harbor, as distinct Daniel Wadsworth Coit, pencil on paper and useful icons in establishing the subject location as Collection of the Slater Museum Norwich. Fitz Henry Lane (born Nathaniel Rogers Lane) was a born in Gloucester, Massachusetts. An article by “memoir” “retold” by Daniel Coit Gilman, Coit’s brother Kathy McCabe, which appeared in the Boston, Globe Joshua wrote in a letter to family “’You have all witnessed July 1, 2006, deciphers the mystery of Lane’s name. [his] passion for sketching from nature which was one McCabe writes, “Fitz Hugh Lane is really Fitz Henry of the most enduring of his favorite pursuits.’” Gilman Lane. The goof was discovered about 18 months ago writes that on travels through Europe, Coit’s friends saw by city archivists in Gloucester, where his bronze statue him taking off “sketch book and pencil in hand for an overlooks Gloucester Harbor, the inspiration for some artistic point of view and seldom failed to bring away a of his most famous marine scenes…. the mistake…had more or less finished sketch and memento of figure or been perpetuated by scholars, art dealers, and private landscape.’ … [He] bought his own carriage that he might move about at his convenience, stopping when and where he pleased to make sketches or to walk across country and climb mountains in search of picturesque effects. Rising with the sun to secure a view before continuing his journey, or leaving the dinner table to make a sketch from the window of an inn… he succeeded not infrequently in making at least two or three finished sketches in a day.” His pencil drawing of a View of Norwich (nd) from Bean Hill, looking south, was later engraved by Milo Osborne and broadly distributed. Copies of the engraving are held in View of Norwich the collections of the Slater Museum and the Connecticut Fitz Henry Lane, oil on canvas, 1849 Historical Society, and the Slater is fortunate to own the private collection 3 collectors. … John Wilmerding, a top Lane scholar, gave of Norwich of the era and embraces the classic Hudson a lecture celebrating Lane’s 200th birthday…. He… River style of foreground as frame, with well-defined rocks asked people to solve the original mystery about Lane’s and foliage close to the viewer, with the city’s skyline and name: Why did the artist… decide to legally change his harbor shoreline sketched more impressionistically in the name at age 27 and become, or so historians had believed, background. Here one can again clearly see the four spires Fitz Hugh Lane? The Gloucester Archives Committee, of Trinity Episcopal Church, the tall steeple of Broadway Congregational Church, and the Court House imposing on the hill.
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