The Mentor: American Mural Painters, vol. 2, Num 15, Serial No. 67, September 15, 1914

In Short

This volume serves as a concise, educational survey of the rise of American mural painting, a movement that gained significant momentum during the 1893 World’s Columbian Exposition. It profiles key figures—such as Elihu Vedder, Edwin Howland Blashfield, and John Singer Sargent—who moved from traditional easel painting to monumental decorative work. By detailing their backgrounds, training in Paris, and specific commissions for government buildings and libraries, the text provides a snapshot of an aesthetic movement intended to make "useful knowledge" accessible and beautiful for the general public.

The Story

The narrative begins by establishing that mural painting in America is a relatively young discipline, barely fifty years old by 1914, yet rooted in ancient global traditions of wall decoration. The history of the craft in the United States finds its true origin with John La Farge, whose work in Trinity Church, Boston, and the Church of the Ascension in New York elevated the status of church decoration. Following this, the account shifts to William M. Hunt, a pioneer whose ambitious murals for the New York state capitol were tragically lost due to poor wall construction—a cautionary tale that highlights the transition from painting directly on plaster to the modern practice of using canvas.

The story truly accelerates with the 1893 World’s Columbian Exposition in Chicago. This event acted as a catalyst, tasking a group of talented, Paris-trained artists—including Edwin Howland Blashfield, Kenyon Cox, and Edward Simmons—with decorating the "White City." This collective effort shifted public perception, proving that native artists could successfully synthesize historical allegory with modern architectural spaces.

The text then moves to individual biographies, framing these artists as scholarly, dedicated professionals. Elihu Vedder emerges as an imaginative figure whose work on the Congressional Library and his illustrations for the Rubaiyat secured his legacy. Blashfield is presented as the quintessential muralist, characterized by his scholarly approach and a prolific output that spanned courthouses and state capitols across the country. Edwin Austin Abbey is spotlighted for his masterful "Quest of the Holy Grail" in the Boston Public Library, which established a standard for popular, narrative-driven mural art.

The narrative also considers the more cosmopolitan figures. John Singer Sargent, though born in Italy and based in London, is included for his profound contributions to the Boston Public Library, where his symbolic, jewel-like decorations challenged traditional notions of religious and historical painting. Similarly, Edward Emerson Simmons is noted for his ability to translate complex themes—such as the "Three Fates" or the concept of Justice—into dignified, formal compositions.

The progression concludes with a discussion of the technical evolution of the craft. It emphasizes that while early artists struggled with the limitations of damp walls and difficult lighting, the modern muralist works in a studio, applying canvas to walls with glue and white lead, thereby ensuring preservation. The text leaves the reader with the impression of a mature, sophisticated American art movement, one that successfully integrated the high-minded traditions of European academic training with the civic needs of a growing, modern nation.

How It Unfolds

The historical context The narrative establishes mural painting as a universal human impulse, linking American efforts to the ancient traditions of Egypt, Rome, and the Renaissance. It positions the American movement as a late but rapid development in this long global lineage.

The catalyst of 1893 The World’s Columbian Exposition serves as the central turning point, where a group of novices and emerging masters were commissioned to transform a temporary city. This event is credited with demonstrating the aesthetic value of public art to the American public.

The individual portraits The text shifts into a series of monographs, detailing the lives, schooling, and landmark commissions of six primary artists. These sections highlight how each painter transitioned from genre or portrait work into the specialized, monumental field of mural decoration.

The technical evolution The final section clarifies the differences between easel painting and mural work, explaining the shift from the challenging fresco methods of the past to the contemporary, more durable use of canvas. It provides a concluding look at the professional standards and methods that defined the era's muralists.

The People

The artists featured are men of significant academic rigor, almost all of whom honed their skills in Parisian ateliers. Elihu Vedder is portrayed as a rugged, picturesque figure who values sincerity and possesses a "gentleness born of a natural sympathy for the under dog." He stands as the imaginative, idiosyncratic outlier. Edwin Howland Blashfield is the tireless, scholarly professional, whose sheer volume of work across state capitols and courthouses makes him the backbone of the movement.

Edwin Austin Abbey is defined by his storytelling prowess; his success is linked to his ability to make Arthurian legends popular and accessible. Edward Emerson Simmons represents the triumph over early disappointment, evolving from a struggling student into a master of symbolic, dignified figures like "Justice." John Singer Sargent stands apart as the most cosmopolitan, a "modern of moderns" whose claim to American identity rests solely on his parentage, yet whose intellect and refined technique brought a new level of sophistication to American walls. Finally, Kenyon Cox is presented as a balanced dual-threat: an accomplished painter of the nude and decorative panels, and an authoritative critic who codifies the standards of the field.

In Its Own Voice

“The picturesque personality of the painter would impress one, whatever and wherever the surroundings.”

This serves as a description of Elihu Vedder, emphasizing the distinct, rugged character of the man behind the complex imaginative works of the Congressional Library.

“John Singer Sargent has been called the most ‘modern of moderns, one of the most dazzling men of talent of the present day.’”

This introduction to Sargent highlights the immense contemporary prestige and technical brilliance he brought to his mural work in the Boston Public Library.

What It's Really About

At its heart, this book is an argument for the civic importance of beauty. It posits that murals are not merely decorative ornaments but essential components of public life, capable of elevating the spirit of those who frequent courthouses, libraries, and government buildings. It asks how a young nation can create a visual language that is both scholarly and accessible, bridging the gap between historical allegory and modern democratic life. The work implicitly questions the relationship between the artist’s individual vision and the collective, often patriotic, requirements of public commissions. It is a defense of the "useful knowledge" that art provides, suggesting that a society is incomplete without these permanent, public reminders of its values and history.

Why Read It Today

Readers with an interest in art history or the evolution of American public architecture will find this an essential, if concise, document. It offers a clear, unvarnished glimpse into the professional lives of artists who were viewed as celebrities in 1914. The prose is warm and instructive, aimed at the general reader, and it effectively conveys the earnest, high-minded tone of the early twentieth-century American art scene.

Readers should be prepared for the period-specific attitudes; the text reflects a 1914 viewpoint that prioritizes the "great man" theory of history, focusing almost exclusively on male artists and their European training. While it lacks the critical deconstruction expected of modern art history, its value lies in its immediacy—it captures how these artists were understood by their contemporaries. The inclusion of specific details about commissions, such as the destruction of Hunt's murals or the specific symbolism in Sargent’s "The Prophets," provides a grounded, tangible sense of the era’s ambitions. For those who enjoy the "backstory" of famous public buildings, this book offers a rewarding, quick, and informative window into a time when American artists were just beginning to claim their place on the world stage.