DOI issue:
No. 214 (December 1914)
DOI article:McCauley, Lena M.: A Western renaissance
DOI Page / Citation link:https://doi.org/10.11588/diglit.43457#0121
A Western Renaissance
Leonard Crunelle or Nellie V. Walker were hon-
oured. On the noble sites at Keokuk, Dubuque,
and Paducah bronze Indians from the hands of
America’s sculptors guarded the flowing waters of
the great rivers at their feet.
In the rural districts, without the cities, art
colonies of painters in Indiana, Wisconsin, Illi-
nois and Missouri, and elsewhere in the Mississippi
Valley, cherished ideals in harmony. Their stu-
dios in the neighbourhood of Chicago, St. Louis,
Indianapolis and Milwaukee increased in fame
every year. The lace makers and craftsmen of
As the source of inspiration, one must look to
the Art Institute in the heart of the city of Chi-
cago. Founded in 1879 and enriched by generous
trustees, it ranks first in age and in treasure among
the museums of the West. Under the guidance of
Director W. M. R. French for thirty-five years,
with whom was associated the astute Newton H.
Carpenter, and one president, Charles L. Hut-
chinson, a generous patron who gave liberally of
his time and his wealth, the institution grew from
a small school of design, and its museum to a com-
pelling influence over the country around it.
THE HACKLEY ART GALLERY, MUSKEGON, MICHIGAN
Minnesota’s foreign-born citizens, and the art
industries encouraged in villages throughout this
broad expanse of country; the travelling exhibi-
tions from town to town, the competitions in
farmhouse architecture and rural schools; the
public schools and professional art societies,
women’s clubs and civic efforts, such as those not
only in the villages of Minnesota, but at Rich-
mond, Indiana, and its circle, of Peoria, Spring-
field and Rockford, Illinois—all these point to a
renaissance, a rebirth of art in the West. Art is
indeed a vital force in these communities, and to
recite its activities in poetic phrases does not em-
bellish the truth.
Within the limits of this brief survey, it is im-
possible to recite the details. A small group of
public-spirited citizens charted its future and
builded better than they knew. Although Director
French has recently died, rich in years and in
honours, the policy of the Art Institute for the
good of the entire community, as he directed it,
must live on.
Visitors from abroad are impressed by the col-
lections. There are the old masters, a Rem-
brandt, Hals, Hobbema; others of the Dutch,
Flemish and Spanish schools of the Prince Demi-
doff collection; the early Italian painters obtained
by Martin A. Ryerson abroad; the Barbizon
XXXVIII
Leonard Crunelle or Nellie V. Walker were hon-
oured. On the noble sites at Keokuk, Dubuque,
and Paducah bronze Indians from the hands of
America’s sculptors guarded the flowing waters of
the great rivers at their feet.
In the rural districts, without the cities, art
colonies of painters in Indiana, Wisconsin, Illi-
nois and Missouri, and elsewhere in the Mississippi
Valley, cherished ideals in harmony. Their stu-
dios in the neighbourhood of Chicago, St. Louis,
Indianapolis and Milwaukee increased in fame
every year. The lace makers and craftsmen of
As the source of inspiration, one must look to
the Art Institute in the heart of the city of Chi-
cago. Founded in 1879 and enriched by generous
trustees, it ranks first in age and in treasure among
the museums of the West. Under the guidance of
Director W. M. R. French for thirty-five years,
with whom was associated the astute Newton H.
Carpenter, and one president, Charles L. Hut-
chinson, a generous patron who gave liberally of
his time and his wealth, the institution grew from
a small school of design, and its museum to a com-
pelling influence over the country around it.
THE HACKLEY ART GALLERY, MUSKEGON, MICHIGAN
Minnesota’s foreign-born citizens, and the art
industries encouraged in villages throughout this
broad expanse of country; the travelling exhibi-
tions from town to town, the competitions in
farmhouse architecture and rural schools; the
public schools and professional art societies,
women’s clubs and civic efforts, such as those not
only in the villages of Minnesota, but at Rich-
mond, Indiana, and its circle, of Peoria, Spring-
field and Rockford, Illinois—all these point to a
renaissance, a rebirth of art in the West. Art is
indeed a vital force in these communities, and to
recite its activities in poetic phrases does not em-
bellish the truth.
Within the limits of this brief survey, it is im-
possible to recite the details. A small group of
public-spirited citizens charted its future and
builded better than they knew. Although Director
French has recently died, rich in years and in
honours, the policy of the Art Institute for the
good of the entire community, as he directed it,
must live on.
Visitors from abroad are impressed by the col-
lections. There are the old masters, a Rem-
brandt, Hals, Hobbema; others of the Dutch,
Flemish and Spanish schools of the Prince Demi-
doff collection; the early Italian painters obtained
by Martin A. Ryerson abroad; the Barbizon
XXXVIII