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WILLIAM MERRITT CHASE, N.A.,LL.D.

 

Privately Printed
Limited Edition

This Copy is No.—

NEWHOUSE GALLERIES
SAINT LOUIS
MISSOURICopyricut 1927
BY
M. A. Newuouse & Son, Inc.

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PRINTED IN U.S. A.
BY
Paut MoeELLerR CorPorATION
SAINT LOUISae 1927 Ss

 

 

 

 

 

 

It is our honor and privilege to present for your inspection
and enjoyment a collection of the works of William Merritt
Chase, N. A., LL. D. from the Munich period to that shortly
before his death in 1916.

Anything we would or could say is in our opinion more
beautifully contained in the foreword by Mr. Royal Cortissoz
and expressions by Mr. Elliott Daingerfield, N. A., Mr. Irving
R. Wiles, N. A., Mr. Harry Willson Watrous, N. A., Mr. Henry
R. Rittenberg, A. N. A. and Mrs. William Merritt Chase.

NEWHOUSE GALLERIES,

Saint Louis, Missouri.FOREWORD

By Royat Cortissoz

 

 

 

 

 

 

The term “painter’s painting” was invented to designate a
kind of art so rich in the elements of technical virtuosity as to
make an especially strong appeal to a member of the craft. It
was Chase’s distinction to practice “painter’s painting,’ to
inculcate it in the American school, and to rouse an interest in-
it outside the studios. I know nothing more significant about
his work than the effect it had upon the development of taste
in the United States. When he went to Munich to study in
1872 our ideas of art appreciation were in a transitional state,
still hampered by outworn modes. When he returned and
began to teach at the Art Students’ League in New York, in
1878, we were ready for a new gospel and he was ideally fitted
to extend its influence. It was the gospel of pure painting, of
flashing brushwork, of technique exercised for its own sake.
Chase revived it with remarkable power.

He had in his blood one of the most precious factors in
artistic authority, a flair for his medium. You realize this the
more keenly if you realize how important the medium is, how
emphatically it possesses a character of its own, a peculiar
genius. Memorable light is thrown on the subject by Vasari.
Speaking of what linseed oil did for the painter when it took
the place of the egg medium, he says: ‘““This manner of painting
kindles the pigments and nothing else is needed save diligence
and devotion, because the oil in itself softens and sweetens the
colors and renders them more delicate and more easily blended
than do the other mediums. While the work is wet the colors
readily mix and unite one with the other.” Among other
things, the greater flexibility which linseed oil gave to the
painter was an immensely enhanced manual dexterity. The
brush became more than ever a magic wand.Rembrandt and Hals were mighty masters of such a wand.
With his comrade, Frank Duveneck, in Munich, Chase sat at
their feet. In his first paintings he brought back something of
their tradition. There is a distinct flavor of the old masters
about them. But the important point is that he soon emerged
from emulation of specific types and as he got into his stride
affirmed an absolutely modern point of view. He taught there-
upon not so much the lesson of Dutch art as that of good paint-
ing in general. He had later other sympathies. He was
touched by more than one current in modern art. But always
it was the same, a current tending toward the craftsmanship
that delights in its own efficiency.

He painted portraits, still life, interiors with figures, land-
scapes. Whatever he did was painted, in the truest, most ex-
hilarating sense of the word. He loved sound drawing, pure
and harmonious color, the right play of light, intelligent com-
position, and, with these things, a swift, confident, powerful
and direct movement of the brush. What he loved he put upon
the canvas with a wonderfully engaging touch and the élan
of his spirit is clearly manifest in his works, so that they not
only evoke respect for their artistic rectitude but give a vivid
pleasure. They keep his name alive but in a very special sense
Chase’s fame is also maintained by his followers. He is remem-
bered both for what he did and for what he taught others to do.
He was a constructive figure in his generation. The whole
generous force of the man was spent in fostering the growth of
good painting in American art.

N4 -< Cae
=aAn exhibition of the work of William M. Chase at any time
is an event of interest and value. He was a figure of very real

 

 

 

 

 

importance in our art history. When he returned to America in
the early eighties from his studies in Europe, and especially
Munich, art in America was somnolent, hardly awake.

He organized classes, schools, opened exhibitions, was a
leader in forming the “Society of American Art’’, and in every
way drew attention to the value of art in a people’s life.

His studio in the old Tenth Street building, New York,
and his Saturdays there, were influences of rare potency.

He surrounded himself with beautiful things. A visitor was
ushered into this studio by liveried boys, and the artist was
found surrounded by Russian greyhounds and cockatoos of
vivid colors. When he showed a picture or portrait it was an
event. When he walked up Fifth Avenue with white grey-
hounds in leash, he was the observed of all persons.

This was all part of his belief that people had to be taught,
and attention must be drawn to those who created works of
art.

At his easel he was a master. His portraits were of first
rank and painted with the suavity of a master.

One can trace in his early pictures the Munich influence,
which is an envelope of brown tones and a rich impasto of
color.

In this group there are examples. That one in which he has
painted the studio of Duveneck and the surroundings there is a
free and powerful work and all the still-life is rendered with a
brush as firm and as light as any master’s.For long years Chase loved and painted all forms of still-
life, and he painted fish in a way which has never been equalled.

He died far too soon, and no one has arisen to take his
place, for he was ever ready to do the most extreme work in the
cause of art.

He collected beautiful things as naturally as one eats, and
they were as necessary to him.

His fame was international, and he has been honored and
medalled in many countries.

His portrait is, I believe, in the great collection of the
Uffizzi Gallery in Florence, and he was the friend of all the
great men in all lands. A traveller, a painter, a connoisseur
and a man of genius! Our debt to him is great and permanent,
and the flowing years will add to the value of his work and the
glory of his name.

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December, 1926.SUAUCEM GEYSER ER ED

William M. Chase, both as artist and as man, was to me
particularly inspiring for I was his pupil in my youth and in
common with the others in his classes came quite under the
spell of his delightful personality and his brilliant work. Even
now, in those moments when a canvas nears completion, there
comes to me the question, what would HE say of it, for to draw
from him his ‘‘good”’, with the quick nudge of his elbow, the
picture must be well painted; it must be fine “in the make”’, as
he would say.

 

 

 

 

 

In the works by Chase there is always the sure, beautiful
painting to express his thought. Like many artists, he had
several so-called periods; the Munich Manner, which was
really not a German method but originated with the Ameri-
cans, Chase, Currier and Duveneck, students in Munich; the
light, plein air period and lastly the rich, luminous method that
we see in his later portraits and still-lives, works that are
joyous, vital and beautiful.

There is no doubt, that Chase by his fine achievement in
painting, his great enthusiasm and joy in his profession, as well
as his never failing effort to help others along the path to
successful accomplishment did more to place American painting
on the high level which it occupies today than any other one
man.

Of Chase may be said that to call him ‘Master’ is par-
ticularly appropriate.

ohn fi Le

December 9, 1926.Ne

The History of Art will tell so much of Chase, the Painter,
and his great influence on Art in America that I will speak of

 

 

 

 

 

 

him only as Chase my friend. I always recall the picture he
made, a gallant gentleman, the cynosure of all eyes, with
mustache slightly tilted, sauntering down the Avenue wearing
a flat brimmed French silk hat, a broad black ribbon hanging
from his glasses, and accompanied by a beautiful white Russian
wolfhound, that seemed proud of his Master. Chase was an
artist with a touch of poetic realism, whatever he painted was
lifted from the commonplace. His portraits lived, and you
wanted an introduction. One was at home in pictures of his
studio, and even his dead fish smelled strongly of the market.
He was one who added and bequeathed beauty to the world of
Art in which he lived and loved,—and was loved. His niche in
Art is undisputed, ‘‘A Place on the Line’’. “On earth he lived,
he did not merely stay’. God Bless his memory.

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December, 1926.SS EAU CUCL CALEY Gf

Any canvas by William M. Chase should be interesting, for
no matter what he painted, the technical magic and ease that
goes to make a great work of art is ever present.

 

 

 

 

 

Chase at his best was not only a great technician, but a
magnificent colorist. Sargent appreciated it and proclaimed
him the greatest American painter. He was a great champion
for his profession and ever lived in the glory of it.

It is interesting to imagine what a handsome figure he
would have made in the days of court painters of silks and
satins, and what a glorious time he would have had in painting
them. It was the lack of splendour and the cold practicability
of the day that drove him to the extreme of silk hats, spats,
Russian Wolf Hounds, and so forth, for behind the fol-de-rol
of all this was the great spirit of a great painter; and those of
us who were fortunate enough to be under him appreciated this.
We loved him and worshipped him; he was a wonderful teacher.

When the turmoil of the uncertain, wobbly days of supposed
modernism, where profound mastership is brushed aside, blows
over, Chase will loom up,—the great giant that he is, in
American art.

January 3, 1927.UALR SR CREA) Cb

My husband was, one might almost say a painter of to-
morrow, too close to the people of his country, America, to
understand the masterful hand felt in the work.

 

 

 

 

 

 

How often one hears, ‘“Why didn’t I have him paint my
family” or “If I had only studied with him.” So close was this
Master of the Brush, that they had not the courage to say, “I
will understand what we have,” and point to some picture on
their wall with pride, and say, “By a master who is one of us.”
No, these same people wake up now, only to find the Great
Man passed while they slept.

Mr. Newhouse is putting in the hands of the people a book
which will carry its own message—a splendid thing to do.

William Merritt Chase was a wonderful teacher, whom
hundreds have to thank for a something so worth while they
cannot lose it. He gave all there was in him to give, never fail-
ing in understanding and courage to any who came his way.

The first painter to have a summer school in America, that
never to be forgotten school on the Shinnecock Hills; some of
his finest work was done there in his own studio.

When you who are fortunate enough to hold this book in
your hand—I may say, I wish, on it were the words Mr. Chase
often said he would like to see written over the door of an Art
Exhibition, ““These pictures were put here for your pleasure,
not your criticism.”

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January 28, 1927.No. 1 Dorotuy, HELEN AND Bos Size 72x48 inchesNo. 2 MONKEYING WITH LITERATURE Size 5714x45 inchesSize 20x26 inches

ER’S SHOP

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No.Master ROBERT CHASE Size 48x36 inchesNo. 5 Stitt Lire wiTH Brass KETTLE Size 24x25}4 inchesLapy AT THE WINDOW Size 20x16 inchesTHE SPANISH Hat Size 30x24 inchesSELF PORTRAIT Size 20x16 inchesSize 8x12 inches

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No. 26No. 27

Mrs. CHASE AND Cozy

 

Size 55x26% inchesNo. 28 A STREET IN HOLLAND Size 12x10 inchesNo. 29 SELF PorRTRAIT Size 1834x15% inchesNo. 30 THE First PorTRAIT Size 70x4044 inchesLADY WITH ORCHEDS Size 2014x15 inchesNo. 32 Mrs. CHASE IN PINK Size 48x38 inchesSize 1734x14¥% inches

No. 33 My DauGHTER DoROTHYLapy IN BLack Size 30x24 inchesFRANK WADSWORTH Size 20x16 inchesSize 22x18 inches

DorOTHYSize 2344x334 inches

VILLA IN FLORENCE

 

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FRANK CURRIERPorTRAIT OF A VIOLINIST Size 22x20 inchesBaron Huco Von HABERMANN Size 29}4x24 inchesSize 28x24 inches

ALICE FERNANDEZNo. 44 DorotTHY AND HER SISTER Size 40x40 inchesMrs. CHASE AS A SPANISH GIRL Size 3134x244 inchesNo. 46 DorortHy IN PINK Size 40}4x36 inchesTHE PEWTER JUG Size 22x16}4 inchesNo. 48 VIRGINIA GERSON Size 28x23 inchesi
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No. 49HELEN CHASE Size 20x16 inchesSize 16x24 inches

ForMAL GARDEN

No. 51Mrs. Wn. M. CHASE Size 20x16 inchestits

Size 4Ux4U inches

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OcTOBER

No. 53Size 24x20 inches

No. 54 PorTRAIT OF A LADYLesA PorRTRAIT Size 16x20 inchesINDEX TO ILLUSTRATIONS

Frontispiece
Dorothy, Helen and Bob .
Monkeying with Literature .
Back of a Fishmonger’s Shop
Master Robert Chase
Still Life with Brass Kettle .
Lady at the Window.

The Spanish Hat

Self Portrait 5 ak ee
The Black Gondola—Venice
Red Snapper and Still Life
Levy im WANT 5 6 5 6 ¢
Swollen Stream—Shinnecock
Christopher Columbus before

The Spanish Council

Christopher Columbus before
The Spanish Council

Hilda Spong . :
Lettuce and Tomatoes .
Mrs. Wadsworth

Chase Homestead — Shinne-
cock eae

Mrs. Chase

In the Studio .

Bass and Still Life .
Spanish Girl

Fish and Still Life

Still Life . ee
Duveneck—In the Studio
Fish and Still Life

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WiLitrAM Merritt CuAsE, N. A., LL. D.
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A Street in Holland .
Self Portrait

The First Portrait
Lady with Orchids
Mrs. Chase in Pink .
My Daughter Dorothy.
Lady in Black

Frank Wadsworth
Dorothy .

Villa in Florence

The Belgian Melon
Onions

Frank Currier ‘
Portrait of a Violinist .
Baron Hugo Von Habermann
Alice Fernandez

Dorothy and her Sister

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Mrs. Chase as a Spanish Girl 45

Dorothy in Pink . 46
The Pewter Jug =~ 47
Virginia Gerson . 48
Still Life . 49
Helen Chase . 27150
Formal Garden . ; a Ol
Mrs. Wm. M. Chase 52
October . ee 53
Portrait of a Lady . 54
> A Portrait . OONAREEIRCULATING ©

DATE DUECX O00 74a 556