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Helen M. Turner, American Impressionist Maia Jalenak Louisiana State University and Agricultural and Mechanical College, [email protected]

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Helen M. Turner, American Impressionist Maia Jalenak Louisiana State University and Agricultural and Mechanical College, Mjalen1@Lsu.Edu Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2003 Helen M. Turner, American impressionist Maia Jalenak Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Jalenak, Maia, "Helen M. Turner, American impressionist" (2003). LSU Master's Theses. 2216. https://digitalcommons.lsu.edu/gradschool_theses/2216 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. HELEN M. TURNER, AMERICAN IMPRESSIONIST A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Art History by Maia Jalenak B.A., Sweet Briar College, 1988 May 2003 Copyright © 2003 by Maia Jalenak All rights reserved ii To Jay, Jack and Nina iii ACKNOWLEDGMENTS I am grateful to many people for their help and support of my project. I am fortunate to have H. Parrott Bacot as my advisor. He provided a great deal of guidance in directing my thesis. Louisiana State University professors Mark Zucker and Robert Hausey were also helpful with their suggestions and encouragement as members of my committee. I wish to thank my husband, Jay, and my children, Jack and Nina. Jay provided humor and endless encouragement, as well as serving as my in-house computer expert. I am also grateful to my parents, Thora and Charles Free, for their good thoughts, and for making a pilgrimage to Cragsmoor with me. Lisa and Bill Arnold were very kind for having me as a houseguest during my research trips to New York. Judith Bonner, senior curator at the Historic New Orleans Collection, has been extremely generous in helping with my research of Turner’s life and work in New Orleans. I truly appreciate her enthusiasm for Helen M. Turner’s work and am grateful to her for reading my thesis and providing insights. In addition to her wisdom, her words of encouragement were inspiring. Dr. Thomas Bonner, Jr. also graciously read my thesis. I am indebted to Catherine McKenzie for her encouragement and generosity in taking on the enormous task of editing my thesis. This was a tremendous gift. There have been numerous museum and library professionals who assisted me in my research over a span of several years. At the New-York Historical Society, I appreciate Melissa Haley and Lorraine Baratti for assisting me with the Helen M. Turner Papers in the library. I also appreciate assistance I received from collections manager Denny Stone and Eleanor Gillers in the office of rights and reproductions. iv Eileen Kolaitis, director of the Cragsmoor Free Library was very kind in making the archival materials in the library’s collection available to me. My visit to the charming library on “the Mountain” was very memorable. David Dearinger at the National Academy of Design was very helpful in making the records about Turner available and in answering my questions about Turner’s association with the National Academy of Design. The staff at The Historic New-Orleans Collection was very helpful. In addition to Judith Bonner, I appreciate John Magill, who gave me information about nineteenth-century New Orleans. Pamela Arceneaux, Sally Stassi and Mary Lou Eichhorn at the Williams Research Center were extremely helpful as well. I am appreciative of the delving done by the archivists Stephanie Cassidy at the Art Students League and Carol Solomon at the Cooper Union Library in helping to uncover new information about Turner’s art studies. I also appreciate archivist Katherine Nutter of Smith College who made information regarding Turner’s years at the YWCA available from the college’s holdings of YWCA archival materials in the Sophia Smith Collection. I would also like to acknowledge the following individuals who provided me with information: Arnold Tunstall of the Akron Art Museum; Joan Stahl of the National Museum of American Art and Wendy Hurlock of the Archives of American Art, Smithsonian Institution; Caroline Nutley of The Art Institute of Chicago; Kaycee Benton of The Barnacle; Ruth Janson of the Brooklyn Museum of Art; Jim Crawford of the Canajoharie Library and Art Gallery; Robert M. Hicklin, Jr. of the Charleston Renaissance Gallery; Irene Roughton of the Chrysler Museum of Art; Michael Crane and Sylvia Inwood of The Detroit Institute of Arts; Martha Severens of the v Greenville County Museum of Art; Kristin Law of the Hermitage Foundation Museum; Susannah Koerber and Melody Hanlon of the High Museum of Art; Elaine Smythe of the Hill Memorial Library, Louisiana State University; Thomas Strider of the Jersey City Museum; Frances Huber of the Louisiana State University Museum of Art; Kenneth Lux of the Kenneth Lux Gallery; Marie Via of the Memorial Art Gallery at the University of Rochester; Kip Peterson of the Memphis Brooks Museum of Art; Eileen Sullivan of the Metropolitan Museum of Art; Mara Sulton and Toni Liquori of the Montclair Art Museum; Alice Carter of the Montgomery Museum of Fine Arts; Laura Pasch of the Morris Museum of Art; Lorraine Stuart, Bill Thompson and George Zombakis of the Museum of Fine Arts, Houston; Carol Lowrey of the National Arts Club; Claudia Kheel and Ruth Winston of Neal Auction Co., Inc., New Orleans; Paul Tarver of the New Orleans Museum of Art; Irene Wainwright of the New Orleans Public Library; Marcia Erickson of the North Carolina Museum of Art; Brenda Hanegan of the Ogden Museum of Southern Art of the University of New Orleans; Cheryl Leibold of the Pennsylvania Academy of the Fine Arts; Gilbert Vicario and Stacey Bomento of the Philadelphia Museum of Art; Kara Schneider and Christopher Ketcham of The Phillips Collection; Matthew Herbig of the Rockford Art Museum; Frank S. Schwartz of Frank S. Schwartz and Son., Inc., Philadelphia; Lisa Parrott Rolfe of the Speed Museum of Art; Rebecca Massie Lane of Sweet Briar College; David Prince of the Syracuse University Art Collection; Samantha Kelly of the Newcomb Art Gallery, Tulane University; Peter Spooner of the Tweed Museum of Art at the University of Minnesota; and Dolores Spears of the Zigler Museum. vi I am grateful to Nenette Denegre Reed for showing me her portrait and telling me her memories of Turner. I appreciate the private collectors as well for sharing their works and insights about the artist. Civil War historian William Spedale helped me very much in putting Turner’s life during the Civil War in context. I would like to acknowledge Peter Hastings Falk at Sound View Press for the invaluable resource of the series related to the annual exhibitions held at the National Academy of Design, The Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, The Carnegie Institute, and the Art Institute of Chicago. These publications, used with Turner’s documents at The New-York Historical Society, and information from the museums, were a great aid in creating Turner’s exhibition history. I appreciate Antiques for printing a listing on behalf of my research project in the magazine. This lead to interesting conversations with Turner collectors and an important contact with Charles Gilday, a friend of the late Louis Hoyer Rabbage, who informed me that Rabbage’s research papers are located at the Worcester Art Museum. Lastly, I must acknowledge the tremendous amount of research done by Rabbage, who was incredibly dedicated to building awareness of Turner’s rightful place in American art history. vii TABLE OF CONTENTS Acknowledgments ...................................................... iv List of Figures ......................................................... x Abstract .............................................................. xi Chapter One: Introduction .............................................1 Chapter Two: Early Years: Civil War and Reconstruction ....................6 Chapter Three: St. Mary’s College, Dallas, Texas, 1893-95 ...................26 Chapter Four: Training in New York I. The Art Students League, 1895-99 .......................31 II. The Cooper Union School of Design for Women, 1898-1901 and 1904-05 ..................................38 III. Teachers College, Columbia University, 1899-1902 .............................................39 Chapter Five: Teaching I. Art Department of the YWCA ...........................41 II. Private Pupils ........................................44 Chapter Six: Early Works I. Watercolor—Landscapes and Miniature Portraits ............47 II. Oil Painting ..........................................52 Chapter Seven: Cragsmoor—A Source of Inspiration ........................54 Chapter Eight: Summer Classes with William Merritt Chase, 1904, 1905, and 1911 .....................................69 Chapter Nine: Response to Her Work I. Exhibitions and Commercial Success ......................74 II. Critical Review ...................................... .80 viii Chapter Ten: Return to New Orleans I. Painting Portraits and Involvement in Art Community ........82 II. Later Years ..........................................92 Conclusion ...........................................................100 Select Bibliography ....................................................103 Appendix A. Additional Figures
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