--- title: Improvement Era description: Monthly periodical of the Mormon church, 1897 onward. This library holds the issues of November 1897 to December 1930. authors: - Alice Merrill Horne collections: - periodicals tags: - magazine - improvement-era periodical: Improvement Era volume: 5 number: 4 published: 1902-02 publisher: Young Men’s Mutual Improvement Associations publisher_place: Salt Lake City language: en type: magazine reference: 'Alice Merrill Horne, "State Exhibit of Art Fabrics," *Improvement Era* 5, no. 4 (February 1902): 280–287.' source: url: https://archive.org/details/improvementera0504unse transcription: Transcribed from the Internet Archive scan of each issue (the item for each issue is named in the issue's own source); unnumbered advertising leaves are omitted, printed page numbers are kept as page markers. identifier: improvementera0504unse start_page: 280 end_page: 287 rights: status: public-domain basis: US publication 1930 or earlier (published 1902-02) source: https://archive.org/details/improvementera0504unse publication_year: 1902 note: The Internet Archive item metadata carries a blanket "© Copyright by Intellectual Reserve, Inc." notice. The library owner judged it inapplicable because this issue was published in 1902, before 1931; a scan-level notice does not restore copyright. --- # State Exhibit of Art Fabrics STATE EXHIBITION OF ART FABRICS. REVIEW OF THE EXHIBIT, AND STATEMENT OF THE VALUE AND PURPOSES OF THE INSTITUTION. BY ALICE MERRILL HORNE, SECRETARY OF THE UTAH ART INSTITUTE, AND AUTHOR OF THE ACT CREATING THE SAME. [The author, Mrs. Alice Merrill Home, was born in a log cabin in southern Utah, on January 2, 1868. She is a grand-daughter of the late President George A. Smith, and Bathsheba W. Smith, now president of the Relief Society. Her early life was spent on the ranches of her father and mother, the pioneers, Clarence and Bathsheba Merrill, in Fillmore? Millard county, and also in Piute county, where, in accordance with her own way of saying it, she learned to "do things," one of the primary requisites to success. She came to Salt Lake City when fourteen years old, and graduated from the University in 1887. Four years later, she was married to George Henry Home who shortly thereafter fulfilled a mission. During his absence, Mrs. Home taught school, and thus became interested in art and drawing. To further her desires for a central state organization to promote art, -she saw it was necessary to become interested in politics, and was later elected, in 1898, to the State Legis- lature, serving during the third session. It was while acting in this ca- pacity that she introduced the bill which resulted in the present act creating the Utah Art Institute, passed March 9, 1899. The Art, Institute was created by proclamation of Governor Heber M. Wells July 19, and organized July 25, of the same year. It comprises: an "Annual Art Exhibit" to be held in no city twice in succes- sion; a "State Art Collection;" and "A Course of Public Lectures in Art." A state appropriation of $1000 per annum provides for the expenses of the Institute. A board of control is appointed by the governor and Legislative Assembly, consisting of seven persons, — four artists, one STATE EXHIBITION OF ART FABRICS. 281 architect, one person interested in the manufacture of silk, and one per- son interested in education — at present grouped as follows: H. L. A. Culmer, president, Mary Teasdel, vice-president, J. T. Harwood, George H. Taggart, artists; W. E. Ware, architect; Mrs. A. W. McCune, silk; Alice Merrill Home, secretary, education. — Editors.] Art IS the expression of man's joy in his work, and all the joy and love that you weave into the fabric comes out again and belongs to the individual who has the soul to appreciate. Art is beauty, and beauty is a gratification , a peace and a solace to every normal man and woman. Beautiful sounds, beautiful colors, beautiful proportions, beautiful thoughts, how our souls hunger for them! Mattfris only mind in an opaque condition; and all beauty is but a symbol of spirit. Art is the expression of man's joy in his work. — Elbert Hubbard. The recent Exhibition of art fabrics, given in Salt Lake City, at the old Social Hall, in November last, by the Utah Art Insti- tute, proved a rare treat for art-loving people. Among those who thronged the gallery, an early settler was occasionally seen. "Ah, the quadrilles we danced in that corner!'' an interesting old gentleman was heard to remark to a little white- haired lady. "Many's the time you've slept snugly in my big shawl in that window while your father and I danced Sir Roger De Coverly, and the rest," exclaimed a fond mother to her daughter of mature years; and the old hall did so abound with pleasant memories that, at times, the paintings were scarce able to hold their own with those pictures of the past which would steal tender- ly forward. The exhibition was formally opened by Governor Heber M. Wells, at the public reception given on the first evening. All came to admire and praise. The synosure of all eyes was the picture entitled "Harvest Time," by Edwin Evans, which easily took the bronze medal of honor. This medal was conferred by the Institute for the best work of art in the exhibition. This is the one prize which is open to non-resident artists as well as resident artists. The judges of award for this medal were very pleased to be able to confer it for so good a picture, and they were disposed to recommend that the medal should not be conferred except to an exceptionally merito- rious work, thus making its value much greater. "Prayer," by George Henry Taggart, which was accorded the state prize of $300, for best picture in competition, was a general 282 IMPROVEMENT ERA. f ovorite. The head of the old man was beautifully done, showing excellent gradations of light. "Cloudland," by H. L. A. Culmer, carried off the $50 prize offe'red by the Institute for the best water color. The architectural plans for a modern city cottage, to cost about $2000, seemed to possess a charm for a certain class of visitors. Number 161 (the sketch by A. 0. Treganza, to which went the $25 prize,) will no doubt materialize, in numerous sections of the state, in due time, for the coming June weddings. This architectural prize was so favorably received that Z. C. M. I. has determined to carry the idea further; and, as the next exhibition will be held in the country, they propose to offer $25, through the Art Institute, for the best perspective sketch and floor plan of a country home, showing barn, stables and pens, the cost being be- tween $2,500 and $3,000. Mr. Lee G. Richards, a young Utah art student, who has just gone to Paris to study, was accorded the student's prize of $10, for an oil portrait of his brother. Lee Richards is a son of Levi and Lulu Greene Richards, of this young man much may be expected, as he possesses rare artistic ability, and is a serious student. A student's prize of $10 will be given at the next exhibition by W. S, McCornick. A rose design in lace, by Margaret May Merrill, received the prize for best original lace collar ; and a bow-knot scheme for a handkerchief was awarded the prize for best lace handkerchief. The Deseret National Bank has made an offer for the fall exhibition of $25 for lace collar design, the sego lily to enter into the design, which is to be executed in Utah silk. Miss Clara G. Brooks received the prize for best design of a chair. The Co-op Furniture Co., now offers $5 for best design of a dressing table. Some beautiful bits of pyrography were sent by Miss Brooks to receive the prize offered. This lady also took the prize for best design for silk fabric. Mr. Jeppsen was given $10 for best clay modeling. This prize will be offered next year by Zion's Savings Bank. The gallery, in the recent exhibition, was more interesting than ever before on account of the artistic treatment of the walls: STATE EXHIBITION OF ART FABRICS. 283 at the base was a dado of rich, red hop sacking, above which a soft tan covered the walls, forming a fitting background for the pictures. The works of the important artists were grouped so as to give an idea of the style and versatility of the painter. In the cen- ter, on the north side, Mr. J. T. Harwood's work was placed. This collection shows the artist to be a master of his materials. An eastern artist said, "In the line he pursues, Mr. Harwood is second to none in America." The artist named was born in Lehi, and loved to sketch when but a child. A lady who attended school with him when he was but a lad says that his drawing was ad- mired by all his school-fellows. From boyhood, he was a hard ■worker, following the trade of harness-making, in which work he saved money to study art in the California Art School. Taking the honors there, he returned to Salt Lake City, and opened a -class in drawing. By dint of hard work and good management, he was able to go to Paris, where he remained 'three years. One year was spent at the Julien, and two at the Ecoles dc Beaux Arts. Mr. Harwood was married in Paris , to Miss Hattie Richards, daughter of Dr. H. J. Richards of this city. Mrs. Harwood, an art .student herself, was spending some time abroad with her family visiting England, France, Italy, Belgium and Holland; and, upon her marriage, went with her husband to spend a three months* honeymoon in the Pont Aven in Brittany. Here Mr. Harwood painted his "Preparation for Dinner," which took him into the French Salon,- the government annual exhibition. This great honor, Mr. Harwood was the first Utahn to receive. Upon arriving home, a studio was opened, and pupils were taken: meanwhile, the artist produced a great many pictures. Mr. Harwood is a reader of philosophy, and is posted on the high class novels, French and English. He is also an expert gardener, and takes as much pride in scientific study and practical works in this line, as in the production of paintings or etchings. Mr. Harwood conducts the High School drawing of Salt Lake city, and has a private studio in the Templeton building. He is an active member of the governing Board of the Institute. His great success is due to his ability and power to use every waking moment of time in some kind of work; and whether work- ing in his garden, teaching in his school, or sitting at his easel, 284 IMPROVEMENT ERA. the same conscientious, honest, sincere spirit is there. Note, now^ the group of pictures: a "Summer Evening" shows a charming moonlight effect which is broadly painted. "Spring Morning," a little child blowing dandelions, a lamb and a field of grass, with a bank covered with willows, in the background, all unite in giving sentiment and the feeling of "spring morning." Portrait of Miss C, is delicate and poetic. "Maternity," a large picture, is a mother and a young babe, seated by a window in which the Easter lily blooms. Through the window is seen the snow-cov- ered landscape. The writer would call the picture "Purity." "Autumn," is a nook under the trees, in City Creek; through the center runs the stream, which fairly sings. "A Harvest Field,'' "Sunset Glow," "Autumn Haze," and "After the Rain," complete an interesting group. On the right of Mr. Harwood's is seen Mr. George Henry Taggart's productions: in the center is "Prayer," the prize-picture mentioned above; a bust portrait of the late President Snow,, copied from the full length picture by the same artist which hangs in the Temple; a portrait of Brigham Young shows strong char- acter; a portrait of Mrs. C. is full of artistic qualities; a lady in white costume, with a background of crimson, the pose is graceful and the color-scheme quite stunning; Portrait of Miss B., and "The Prospector," form an excellent collection. Mr. Taggart, who is also an active member of the Board, was ap- pointed to fill the vacancy caused by the resignation of John Hafen, who was intending to leave the state for some time. Mr. Taggart came here from Buffalo, N. Y., two years ago. He has exhibited in the Salon and in the World's fair. His work is mostly n the line of portraits. At the left of the Harwood group hang the pictures painted by John Hafen, and which show a stride upward compared with his other year's work. "November," "Summer Shadows," and "Forest Solitude," were much admired. "On Mountains High," a small picture, has qualities that are great; the sparkling light effect, the repose, and the sentiment, are charming. "Lake Mary by Moonlight" is striking, and gives the sentiment of that weird scene. "Lake Mary" portrays the same .scene by the light of day. Mr. Hafen studied in Paris about one year. He possesses STATE EXHIBITION OF ART FABRICS. 285 a natural feeling for art that, coupled with hard work, will make him famous. At the east end, Mr. Culmer's water colors are placed. Three of these— ''Summer Skies," "Twilight," and "Cloudland," the prize- picture — are in advance of Mr. Culmer's previous work. **The Grand Canyon" is a strong water color, which seems to have the oil technique. "Vermillion Cliff," southern Utah, is another strong though small picture. Mr. Culmer is the President of the Utah Art Institute. He began sketching and painting after twenty-five years of age, and his pictures are produced during holidays and between business hours. Miss Mary Teasdel's work occupies the centre of the south wall. "The French Peasant Knitting" was bought by the institute a year ago. This picture is charming in tone, and has strong values. In fact, it is a comphment to Miss Teasdel's work that her collection could hold by the side of Edwin Evans "Grain Field" which is the strongest, lightest, spot in the exhibit. It is pleasant to note that this woman's work has for its best points, broadness, bigness, and strength. Miss Teasdel has a better understanding of tone and composition than most of the artists here. "Mother and Child" has charming color, "A Portrait Study" carries well a great distance, and "French Fishing Boats" is novel and pleasant in composition. She shows a miniature that was accepted in the French exposition, and two miniatures exhibited in the Salon. Miss Teasdel is the daughter of the late S. P. Teasdel, and very early in life determined to pursue the study of art. With rare determina- tion and strength, she has overcome many obstacles, and succeeded in spending one year in New York, and three in Paris; at the end of this time, she had three miniatures accepted at the Salon, also a large portrait picture, making the second Utah artist to be there accepted; beside, as has already been mentioned, a higher honor was bestowed by the acceptance of still another miniature by the Paris exposition. Miss Teasdel is vice president of the Art Insti- tute, and conducts a class in art in her studio at her home. Mr. Edwin Evans sent but two pictures. His "Utah Lake" is strong and characteristic. He was born in Utah County and may be called Utah's painter of sunlight. Two years study in Paris placed Evans in the World's fair, an achievement which no other 286 IMPROVEMENl ERA. artist has made in so short a period Mr. Evans is a psychologistr of no mean order, and is the art instructor in the University of Utah. He is an active worker in the lectureship committee of the Art Institute. Mr. Honri Young showed some good drawings. This young art student, a grandson of President Brigham Young, is now in Paris studying. He is gifted in modeling, and his pencil-work for illustration is very good. His friends predict success for this talented boy. Meritorious work was exhibited by others whom space forbids me to mention in detail. This brief review, for lack of space, is naturally very incom- plete, but will perhaps give some idea of the scope of the exhibit. As to the purpose for which the Art Institute has been established, as the author of the bill, I may say the phase of slavish work, as opposed to pleasureable occupation, which thrusts itself forward on every hand, and which will drag the spiritual down below the physical, was the incentive which caused the author of the art bill to attempt some measure to bring art, which is the element of beauty, into prominence. An important part of the duties of the Art Institute is to advise with superintendents of schools as to courses in drawing, through this means drawing and design are brought to the atten- tion of the teachers; and, with their co-operation, popular instruc- tion in the elements of beauty in design and construction is sought to be secured. It was the hope, also, that the teachers of the state would become interested, and study this subject as they would any other branch of education. This accomplished, the Art Institute, the recognized head of drawing and art, Utah would hold a unique place in art work, and art instruction would then be placed above the limitations of any "system" of drawing. Origin- ality would thus have full swing. So far, this hope is approaching a happy realization. Many teachers, through the combined efforts of superintendents and artists, are studying art practically. This influences the pupils under such teachers, and in this way the masses will be built up. What nobler thing is there than to encourage work that is pleasure- able? Whenever the element of beauty enters into the construe-- STATE EXHIBITION OF ARl FABRICS. 287 tion or design of anything, pleasure is produced. If, in Utah, workers may appreciate the beautiful, and desire to give beauty, whether expressed in strength, color, line or form, to the creations of their hands, then shall work become a pleasure, wealth will fill our coffers being exchanged for our productions which will be sought by others for their art quality. How sad to see people work and take no pleasure in the doing of it. If work is to be thorough and good, it must be enjoyed; bring in the thought of beauty, of being well-done, and work becomes a joy. These exhibitions are designed to place before the people good pictures, good designs, good modeling, and so on; to create a taste for, and a desire to produce, works of art. Prizes are offered to stimulate work in certain lines. Many of these become the property of the institute and are known as the Alice Art Col- lection. These pictures and art fabrics are held, and loaned out for educational purposes, to students in different parts of the state. An extract from a letter written by Elder Samuel Russell, now on a mission in Germany, on the value of art construction, is offered, in conclusion, in the hope that it may be suggestive of help to the hosts of young men who read the Era. He says : It was a pleasure to learn of the Art Exhibit. We have much talent in Utah, and much native force that should be turned to art and kindred accomplishments. Our struggle with the elements, and the soil, has been brought to a successful issue, and the rising generation has a foun- dation which should support them in the attainment of the nobler graces and the culture which make life enjoyable and elevating. In the practical lines, the people are further advanced here than at home, and I must admire the stability of things in general. We are going so fast at home that we do not stop to think, and look whither we are going. Of course, conservatism will come with the times. I wish that more of our young men would give themselves to architecture, engineer- ing, and construction work in general, instead of paying so much atten- tion to dentistry, medicine and law. Every girl here knows how to knit and crochet. The work in lace and silk is very fine, and forms a large part of the exports of this coun- try. Much of the industry is found in the homes of the people who live contiguous to the large factories. Everybody works here, and in many homes are found the old wheels for reeling silk, and hemp, and linen.