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1873 AD (search for this): chapter 7
ho cared for him as Damon did for Pythias, and who served to counteract the ill-omened influence of Cranch's brother-in-law. The Century Club purchased one of his pictures, an allegorical subject, which I believe still hangs in their halls. From 1873 to 1877 Lowell would seem to have frequented Cranch's house in preference to any other in Cambridge. When Cranch first went to live there he occupied a small but sunny and otherwise desirable house on the westerly side of Appian Way,a name thatay in jest that he was descended from Lucas Cranach, but that the second vowel had dropped out. He cared as little for the fashions as poets and artists commonly do, but there was no dandy in Boston who appeared so well in a full dress suit. In 1873 the Velasquez method of painting was in full vogue at Boston. Cranch did not believe in imitations, or in adopting the latest style from Paris, and he set himself against the popular hue-and-cry somewhat to his personal disadvantage. Charles Per
1870 AD (search for this): chapter 7
the foliage lead up, as it were, like a flight of steps to this final glory,--a restful and impressive scene. This landscape is not painted in the smooth manner of the Two Oaks, but with soft, flakelike touches which slightly remind one of Murillo. Its coloring has the peculiarity that artificial light wholly changes its character, whereas Cranch's paintings, previous to 1875, appear much the same by electric light that they do in daytime. It is called the Home of the Wood Duck. Between 1870 and 1880 he published a number of poems in the Atlantic Monthly as well as a longer piece called Satan, for which it was said by a certain wit that he received the devil's pay. His two books for young folks, The last of the Huggermuggers and Kobboltozo, ought not to be overlooked, for the illustrations in them are the only remains we have of his rare pencil drawings, as good, if not better, than Thackeray's drawings. It is likely that the parents read these stories with more pleasure than
January 20th, 1890 AD (search for this): chapter 7
; but Cranch did not care for celebrity. He was content to live and to let live. Men of great force, like Macaulay and Emerson, who impress their personality on the times in which they live, communicate evil as well as good; but Cranch had no desire to influence his fellow men, and for this reason his influence was of a purer quality. It was like the art of Albert Durer. No one could conceive of Cranch's injuring anybody; and if all men were like him there would be no more wars, no need of revolutions. Force, however, is necessary to combat the evil that is already established. He died at his house on Ellery Street January 20, 1890, as gently and peacefully as he had lived. There is an excellent portrait of him by Duveneck in the rooms of the University Club, at Boston; but the sketch of his life, by George William Curtis, was refused on the ground that he was an Emersonian. The same objection might have been raised against Lowell, or Curtis himself with equally good reason.
1863 AD (search for this): chapter 7
him in a London chop-house, when Thackeray said: Have you read the last number of The Newcombs?-if not, I will read it to you. Accordingly he gave the waiter a shilling to obtain the document, and read it aloud to Cranch and a friend who was with him. Both mentioned in Hawthorne's Notebook. Cranch could never understand this, for it was the last thing he would have done himself without an invitation; but he enjoyed the reading, and often referred to it. When he returned to America in 1863 he went to live on Staten Island in order to be near George William Curtis, who cared for him as Damon did for Pythias, and who served to counteract the ill-omened influence of Cranch's brother-in-law. The Century Club purchased one of his pictures, an allegorical subject, which I believe still hangs in their halls. From 1873 to 1877 Lowell would seem to have frequented Cranch's house in preference to any other in Cambridge. When Cranch first went to live there he occupied a small but su
1832 AD (search for this): chapter 7
been appointed to his position through the influence of John Quancy Adams. His mother, Anna Greenleaf, belonged to a well known Boston family. Pearce, as he was always called by his relatives, indicated a talent for the fine arts, as commonly happens, at an early age, and united with this a lively interest in music, singing and playing on the flute. These side issues may have prevented him from entering college so early as he might otherwise have done. He graduated at Columbia College, in 1832, after a three-year course. He wished to make a profession of painting, but Judge Cranch was aware how precarious this would be as a means of livelihood, and advised him to study for the ministry,--for which his quiet ways and grave demeanor seemed to have adapted him. He accordingly entered the Harvard Divinity-School, and was ordained as a Unitarian clergyman. For the next six years Cranch lived the life of an itinerant preacher. He preached all over New England, making friends everyw
1851 AD (search for this): chapter 7
to perfect his art. He studied there at a night-school, painting in water colors from nude models and arrangements of drapery, but not taking lessons from any regular instructor. He never applied himself much to figure-painting, however. He sold his paintings chiefly to American travellers, and when the Revolution broke out in 1848, he returned to Sorrento, where his second child, Mrs. Leonora Scott, was born. His first child was born the year previous, in Rome, but afterwards died. In 1851, he returned to New York and Fishkill, but not meeting with such good appreciation there as he had in Italy, he went to Europe again in the autumn of 1853, and resided in Paris. One cause of this may have been the unfriendliness of his brother-in-law, who was a leading art critic in New York City, and who disliked Cranch on account of his wife, and never neglected an opportunity of disparaging his work. One of his early landscapes is now before me. I think it must have been painted anteri
1853 AD (search for this): chapter 7
om any regular instructor. He never applied himself much to figure-painting, however. He sold his paintings chiefly to American travellers, and when the Revolution broke out in 1848, he returned to Sorrento, where his second child, Mrs. Leonora Scott, was born. His first child was born the year previous, in Rome, but afterwards died. In 1851, he returned to New York and Fishkill, but not meeting with such good appreciation there as he had in Italy, he went to Europe again in the autumn of 1853, and resided in Paris. One cause of this may have been the unfriendliness of his brother-in-law, who was a leading art critic in New York City, and who disliked Cranch on account of his wife, and never neglected an opportunity of disparaging his work. One of his early landscapes is now before me. I think it must have been painted anterior to his sojourn in Rome, owing to the coldness of the coloring. It represents a scene on the Hudson near Fishkill, with some cattle in the foreground, a
1856 AD (search for this): chapter 7
iver. The clouds above the mountain are light and fleecy; the foliage soft and graceful; the cattle also are fine, but the effect is like a chilly spring day when one requires a winter overcoat. An allegorical piece, illustrating Heine's fir-tree dreaming of the palm, has a much pleasanter effect, although it represents a wintry scene. His art improved greatly in Paris, and he also wrote a number of short poems which his friend, James Russell Lowell, published in the Atlantic Monthly. In 1856 George L. Stearns sent him an order for a painting, which Cranch executed the following year, and wrote Mr. Stearns this explanation concerning it, in a very interesting letter dated Paris, March 18, 1857: Your picture is done and is quite a favorite with those who have seen it. In fact, I think so well of it that I shall probably send it to the Exposition, which opens soon. After that it shall be sent to you. It is an oak and a sunset — a warm and low-toned picture — and I am sure you
March 18th, 1857 AD (search for this): chapter 7
allegorical piece, illustrating Heine's fir-tree dreaming of the palm, has a much pleasanter effect, although it represents a wintry scene. His art improved greatly in Paris, and he also wrote a number of short poems which his friend, James Russell Lowell, published in the Atlantic Monthly. In 1856 George L. Stearns sent him an order for a painting, which Cranch executed the following year, and wrote Mr. Stearns this explanation concerning it, in a very interesting letter dated Paris, March 18, 1857: Your picture is done and is quite a favorite with those who have seen it. In fact, I think so well of it that I shall probably send it to the Exposition, which opens soon. After that it shall be sent to you. It is an oak and a sunset — a warm and low-toned picture — and I am sure you will like it. This landscape represents two vigorous oak trees by the bank of a river, with a sunset seen through the branches, and reflected in the water. The scene is remarkably like a similar
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