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Charles Breglers Thomas Eakins Collection Pennsylvania Academy of Art

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American painter

Portrait of Thomas Eakins (1920s) past Susan Macdowell Eakins, Philadelphia Museum of Fine art, 1939 gift of Charles Bregler

Charles Bregler (May 1864–September 24, 1958)[1] was an American portrait painter and sculptor, and a pupil (and disciple) of artist Thomas Eakins.[2] Bregler wrote nearly Eakins'due south teaching methods, and clustered a large collection of his minor works, memorabilia and papers.[iii] Following Bregler's expiry, his widow safeguarded the Eakins drove for decades before selling information technology to the Pennsylvania Academy of the Fine Arts.[4]

Biography [edit]

Bregler's father died when he was three, his female parent died when he was 12, and he was raised by his paternal grandmother.[five] He apprenticed as an artisan, learning to decorate fancy leather goods.[v] As a teenager, he won a scholarship to the Franklin Institute's evening drawing classes.[5]

Bregler enrolled at the Pennsylvania University of the Fine Arts in 1883.[5] Eakins, who had trained at the École des Beaux-Arts, was director of the art school and its instructor in painting and drawing. In early Jan 1886, Eakins had a male model remove his loincloth during an anatomy lecture before either an all-female person or a mixed male-and-female person course.[6] Using a fully nude male model was reverse to PAFA policy, and Eakins received a January 11 letter of reprimand. The "loincloth incident" ignited a firestorm of sordid accusations confronting Eakins, and he was forced to resign.[7]

All 55 of the school's male person students and 18 of the 30 female students signed petitions threatening to withdraw from PAFA unless Eakins was reinstated.[8] PAFA's lath declined to do and then. Bregler was 1 of 16 students (all men) who left to form the Art Students' League of Philadelphia, with Eakins as their unpaid instructor.[ix] The League's tuition was initially prepare at $25, merely was raised to $twoscore for the 8-calendar month 1886-87 flavour, and finally $50. The schoolhouse never had more forty-one students, and sometimes had every bit few as twelve.[10] Bregler was enrolled for all seven years of the League's existence.[11]

Bregler returned to PAFA in 1894 later on the League's demise,[5] and exhibited in PAFA's annual exhibitions: 1892, 1896, 1898 and 1903.[12] He exhibited a portrait at the 1893 World's Columbian Exposition in Chicago,[xiii] and one at the 1904 Louisiana Purchase Exposition in St. Louis.[14] He was one of four former Eakins students who held a joint exhibition of paintings in Philadelphia in 1924.[15] Bregler considered Eakins to have been an boggling teacher. In 1931, he published two articles describing Eakins's teaching methods in the magazine The Arts.

Bregler's first wife was Elizabeth Yohn (1871–1944), with whom he lived at 4935 N. 11th Street, in the Logan department of North Philadelphia.[sixteen] In the 1950s he married Mary Picozzi (1907–1987), who was more twoscore years his younger.[5] They sold the North Philadelphia house and he moved into her rowhouse in South Philadelphia.[17]

Bregler Collection [edit]

Self-portrait (c. 1902) by Thomas Eakins, Hirshhorn Museum and Sculpture Garden

Following Eakins's 1916 death, Bregler acted as assistant to his widow, Susan Macdowell Eakins (1851–1938), helping to catalogue, frame and clean his paintings.[xviii] She gave Bregler a number of her husband'south works, including one of only two known self-portraits (the other was Eakins's "diploma" portrait for the National Academy of Design). She too painted at to the lowest degree two portraits of Bregler.[xix]

Post-obit Mrs. Eakins'due south 1938 expiry, her executors emptied the house at 1729 Mount Vernon Street, removing the items that they deemed salable at auction.[xx] Bregler described the aftermath every bit the "almost tragic and distressing sight I always saw. Every room was cluttered with debris every bit all the contents of the various drawers, closets etc. were thrown upon the floor as they removed the article of furniture. All the life casts were smashed... I never desire to see anything like this once again."[21] "He gathered up messages, photographs, glass negatives, drawings, oil sketches, plaster casts, and clothing. Among the assortment of memorabilia he retrieved were the letters Eakins had written from Paris and the Dakota Territory, affidavits from William and Frances Crowell, the artist's paintbrushes and cowboy outfit, and an old leather wallet that Bregler had presumedly made and presented to Eakins."[22]

Bregler rescued a trove of Eakins's minor works, and disobeyed Mrs. Eakins's instructions to burn certain items.[23] Of later importance to scholars, he rescued her journals listing when the works had been painted, where they had been exhibited, and to whom they had been sold or given.[24] She had painted a posthumous portrait of her husband in the 1920s (probably from a photograph). Bregler donated the portrait to the Philadelphia Museum of Art in 1939,[25] and later donated a sketch related to PMA'southward William Blitz Carving His Allegorical Figure of the Schuylkill River.[26]

Bregler helped to organize the 1944 centennial exhibition of Eakins's works at PMA.[27] He sold a number of Eakins works in the 1940s and 1950s, many of which are now in the collection of the Hirshhorn Museum and Sculpture Garden.[28] He also donated a group of Eakins photographs to the Metropolitan Museum of Art.[29]

Post-obit Bregler's decease in 1958, his widow Mary safeguarded the collection in their South Philadelphia rowhouse. She resisted requests from fine art dealers to see the works or offers to broker a auction of them.[4] At the urging of her chaser, William J. Kelly, Mary Bregler allowed PAFA curator Kathleen A. Foster and art historian Elizabeth Milroy to examine the works in 1983.[30] That visit led to PAFA's 1985 purchase of the collection, with grants provided by the Mable Pew Myrin Trust and other funds.[iv]

PAFA's Bregler Collection consists of most 1,600 items—29 paintings (almost oil sketches for larger works), 12 sculptures, 261 drawings, 535 photographs, almost 380 glass-plate negatives, 361 documents, and memorabilia such equally Eakins'south watercolor box and paintbrushes.[4]

Thomas Eakins works once owned by Bregler [edit]

  • Perspective of a Lathe (1860), Hirshhorn Museum and Sculpture Garden

  • Drawing of The Statue of Freedom (1861), Pennsylvania Academy of the Fine Arts

  • Written report for Hiawatha (c. 1871-75), Hirshhorn Museum and Sculpture Garden

  • Perspective cartoon for The Biglin Brothers Turning The Stake (c. 1873), Hirshhorn Museum and Sculpture Garden

  • Sketch for The Surrender of General Lee at Appomattox (c. 1875), deaccessioned from Hirshhorn Museum and Sculpture Garden

  • Sketch for The Give up of General Lee at Appomattox (c. 1875), Museum of Fine Arts, Boston[31]

  • Perspective cartoon for The Dancing Lesson (c.1878-79), Pennsylvania Academy of the Fine Arts

  • Sketch for The Fairman Rogers Four-in-Hand (c. 1879), deaccessioned from Hirshhorn Museum and Sculpture Garden

  • Sketch for Spinning (1881), Pennsylvania University of the Fine Arts

  • Knitting (1881) plaster bas relief, private drove

  • Study for An Arcadian (c.1883), deaccessioned from Hirshhorn Museum and Sculpture Garden

  • Arcadia (1883), Hirshhorn Museum and Sculpture Garden

  • An Arcadian (1883) plaster bas relief, Pennsylvania Academy of the Fine Arts

  • "History of a Bound" (1884) Marey wheel photo, Philadelphia Museum of Art

  • Sketch for The Swimming Hole (1884), Hirshhorn Museum and Sculpture Garden

  • Illustration for The Police force of Perspective (c. 1884-87), Hirshhorn Museum and Sculpture Garden

  • "Thomas Eakins nude, belongings a nude female in his arms, looking down" (c. 1885), Pennsylvania Academy of the Fine Arts

  • Portrait of Frank MacDowell (c. 1886), Hirshhorn Museum and Sculpture Garden

  • Girl in a Big Chapeau (1888), Hirshhorn Museum and Sculpture Garden

  • Study for William H. MacDowell (1890), Hirshhorn Museum and Sculpture Garden

  • Sketch for Portrait of Frank Hamilton Cushing (1895), Hirshhorn Museum and Sculpture Garden

  • Study for Mrs. Charles 50. Leonard (c. 1895), deaccessioned from Hirshhorn Museum and Sculpture Garden

  • Study for Taking the Count (1898), Hirshhorn Museum and Sculpture Garden

  • Portrait of Mrs. Eakins (1899), Hirshhorn Museum and Sculpture Garden

  • Written report for Portrait of Mrs. Joseph H. Drexel (c. 1900), deaccessioned from Hirshhorn Museum and Sculpture Garden

  • Study for Rev. John J. Fedigan (c. 1902), Hirshhorn Museum and Sculpture Garden

  • Study for An Actress (1903), deaccessioned from Hirshhorn Museum and Sculpture Garden[32]

  • Portrait of Maurice Feely (c. 1905), deaccessioned from Hirshhorn Museum and Sculpture Garden[33]

  • Study for Portrait of Charles Fussell (c. 1906), deaccessioned from Hirshhorn Museum and Sculpture Garden[34]

  • Nude Woman Standing (c. 1908), deaccessioned from Hirshhorn Museum and Sculpture Garden[35]

References [edit]

  1. ^ Charles Bregler, Historic period 20, from PAFA.
  2. ^ Glenn B. Opitz, ed., Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers (1986), p. 1081.
  3. ^ Photograph of Charles Bregler, Age 74, Beinecke Rare Volume & Manuscript Library, Yale University.
  4. ^ a b c d Edward J. Sozanski, "Philadelphia Corners Art of Eakins," Knight-Ridder Newspapers, June 24, 1986.
  5. ^ a b c d e f Susan James-Gadzinski and Mary Mullen Cunningham, American Sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts. University of Washington Printing, 1997. pages 147-150.
  6. ^ McKinney states that there were 2 nude models: one male, one female person, and it was Eakins's "side by side ... comparison" that sparked the uproar. McKinney, p. 16.
  7. ^ Foster, Kathleen A. "Thomas Eakins – Scenes from a Modern Life: Biography 1886: Indicted by Rumor". PBS. Retrieved January half-dozen, 2008.
  8. ^ Hendricks 1974, p. 173.
  9. ^ The Evening Bulletin, February 16, 1886, quoted in Hendricks 1974, p. 143.
  10. ^ McHenry, p. 102.
  11. ^ Rosenzweig, p. 120.
  12. ^ Peter Hastings Falk, The Annual Exhibition Tape of the Pennsylvania Academy of the Fine Arts, Volume 2, (Soundview Press, 1989), p. 104.
  13. ^ #200. Portrait of a Adult female - Mrs. William Bregler. Moses Purnell Handy, World'due south Columbian Exposition, 1893, Official Catalogue, (Due west. B. Conkey Company, 1893), p. 14.
  14. ^ #72. Portrait of My Sister. Official Catalogue of Exhibitors. Universal Exposition. St. Louis, U.S.A. 1904. (Official Catalogue Company, 1904), p. 24.
  15. ^ 1924 exhibition from Brooklyn Museum.
  16. ^ Rosenzweig, p. 26.
  17. ^ Fitzpatrick, p.366.
  18. ^ The netherlands Cotter, "Eakins Artifacts Give Context to Works in Philadelphia Evidence," The New York Times, April i, 1992.
  19. ^ Portrait of Charles Bregler (1920s) by Susan Macdowell Eakins, from PAFA.
  20. ^ Rosenzweig, p. 11.
  21. ^ Foster, 1997.
  22. ^ Fitzpatrick, p. 366.
  23. ^ Kirkpatrick, p. 9.
  24. ^ McHenry, p. 58.
  25. ^ Portrait of Thomas Eakins, from Philadelphia Museum of Art.
  26. ^ Interior of a Woodcarver's Shop, from Philadelphia Museum of Art.
  27. ^ Rosenzweig, p. 12.
  28. ^ Bregler sold a number of the works to Baltimore collector Joseph Katz. Joseph Hirshhorn bought the drove from Katz's estate in 1961. Rosenzweig, pp. 11-xiv.
  29. ^ Collection: 48 results for "Charles Bregler", from Metropolitan Museum of Art.
  30. ^ Kirkpatrick, p. x.
  31. ^ Sketch for The Surrender of General Lee at Appomattox, from Museum of Fine Arts, Boston.
  32. ^ Study for An Actress, from Christie's NY.
  33. ^ Portrait of Maurice Feely, from Christie'due south New York.
  34. ^ Study for Portrait of Charles Fussell, from Christie's NY.
  35. ^ Nude Adult female Standing, from Sotheby's NY.

Sources [edit]

  • Charles Bregler, "Thomas Eakins equally a Teacher." The Arts, vol. 17 (March 1931), pp. 376–86.
  • Charles Bregler, "Thomas Eakins as a Teacher, Second Article." The Arts, vol. 18 (Oct 1931), pp. 27–42.
  • Charles Bregler, "Photos by Eakins: How the Famous Painter Anticipated the Modern Moving picture Camera," Mag of Art, vol. 36 (Jan 1943), p. 28.
  • Susan Danly and Cheryl Leibold, Eakins and the Photograph: Works by Thomas Eakins and His Circle in the Drove of the Pennsylvania Academy of the Fine Arts. Smithsonian Institution Press, 1994.
  • Kathleen A. Foster and Cheryl Leibold, Writing almost Eakins: Manuscripts in Charles Bregler's Thomas Eakins Collection. University of Pennsylvania Printing, 1989. ISBN 0-812-28107-1.
  • Kathleen A. Foster, Thomas Eakins Rediscovered: Charles Bregler'southward Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts. Yale Academy Press, 1997. ISBN 0-300-06174-nine.
  • Gordon Hendricks, The Life and Work of Thomas Eakins (New York: Grossman Publishers, 1974).
  • Susan James-Gadzinski and Mary Mullen Cunningham, American Sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts. Academy of Washington Press, 1997.
  • Sidney D. Kirkpatrick, The Revenge of Thomas Eakins. Yale University Press, 2006. ISBN one-499-64807-three.
  • Margaret McHenry, Thomas Eakins who painted (by the author, 1946).
  • Roland McKinney, Thomas Eakins (New York: Crown Publishers, 1942).
  • Phyllis D. Rosenzweig, The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden. Smithsonian Institution Printing, 1977.

External links [edit]

  • Charles Begler'due south Thomas Eakins Drove from PAFA

oneilsaids1967.blogspot.com

Source: https://en.wikipedia.org/wiki/Charles_Bregler

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