1845 Autograph Letter Signed from Artist John Mackie Falconer to Hudson River Artist Jasper Cropsey discussing the “American School of Design” and giving an Overview of the American Art Scene including Observations on such Artists as Emanuel Leutze, Peter Rothermel, and Thomas Sully.

Falconer’s letter discusses the “American School of Design” and gives an overview of the American art scene

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The American Art Scene in 1845
American etcher, painter, and watercolorist John Mackie Falconer (1820–1903) here writes to Hudson River artist Jasper F. Cropsey (1823–1900). In this four-page 1845 letter, Falconer discusses foreign influences on American art and writes about such artists as Emanuel Leutze, Peter Rothermel, and Thomas Sully.

Falconer’s letter mentions ten additional American artists, discusses the collecting policy of the American Art Union in New York, and describes a visit to influential Baltimore art collector, Lewis Warrington Gillet.

New York and Philadelphia
Writing during a break from his art tour, Falconer’s letter mentions New York and describes his recent visit to artists and art collections in Philadelphia, Baltimore, and Washington, D.C.

In Philadelphia, Falconer met with painter Peter Rothermel and engraver John Sartain. Peter Rothermel (1817–1895), noted for his painting Patrick Henry before the Virginia House of Burgesses, spent an evening with Falconer discussing how to build up “an American School of Design.”

Rothermel suggested that there be put in place “…an embargo to prevent the leaving of artists for abroad, for a space of 50 years…” To support his claim, he praises the work of painter Emanuel Leutze (1816–1868) prior to the latter’s recent travel to Europe. Falconer agreed about Leutze, writing that “…having seen 2 of these pictures referred to, I do really think they are far beyond his last, in all the desirable attributes pertaining to colour.”

Falconer suggests that to advance artistic excellence, purchasers of art should exercise “…a more discriminating judgment in purchasing than has lately been current…” He refers to “[t]he dissatisfaction at the [American] Art Union’s acting on principles of buying the best & worst pictures…” and adds that “I do not think [this policy] will advance its interests with the knowing admirers of art.”

He bemoans that good paintings go begging. Falconer opines that artists who only slavishly (and poorly) imitate Europe’s Old Masters just to sell paintings end up sacrificing artistic vigor and “…think comparatively little of home ties & Home subjects.”

Falconer repeats Rothermel’s observations on the New York school of art led by Charles C. Ingham — “the Ingham manifestation”—and the Philadelphia school and their “leading spirit,” Thomas Sully. He writes that Rothermel was anxious to see the works of “[G.F.?] Elliot, [Tompkins H.] Matteson, & yourself [Jasper F. Cropsey].” Other New Yorkers mentioned here include artists “Hicks” and “Duggan” and [John P.] Ridner, a member of the American Art Union’s committee of management.

Baltimore and Washington, D.C.
Bearing a letter of introduction from Cropsey, Falconer next visited art collector Lewis Warrington Gillet (?–1859) in Baltimore. Falconer was “…much pleased with many of his pictures…”

He praises Sully’s Musidora as “the best & most sterling work of his I have met with.” Falconer declares: “…[Gillet’s] Rothermels as a whole I think nearest perfection — the [John Gadsby?] Chapman Boy Snoring has better painting than he now gives us.” Falconer admired paintings in the collection by “…[Thomas] Birch like wise a [Samuel Bell?] Waugh,” adding “[t]he Ruth & Boaz by [Alfred Jacob?] Miller one had at last exhibition.”

Falconer concludes that Gillet was “…a judicious patron of the present school & free from any admiration of the wretched copies of Beatrice Cencis, Titians Daughters &c. That are so plentiful in our city’s west end parlours.” Falconer notes Gillet’s patronage of the American Art Union and that Gillet was planning to move to New York.

The visit to Washington, D.C. included stops at “the National institute” (to see patent models and “objects acquired by the late Exploring Expedition”), the Capitol and the Treasury buildings. Falconer concludes the letter by stating that his “…recollections of the Cary & Town Collections I will likely describe to [Tompkins H.] Matteson.”

American Art
The overall thrust of Falconer’s letter to fellow American artist Jasper F. Cropsey is American art. Falconer is interested in the “American School of Design” and the development of collections of American art.

What he has seen in Philadelphia and Baltimore should give “…encouragement to the young artists to do…everything pertaining to their art & their standing in society to enable them to reap…the approaching harvest.”

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