Bluebonnets and Beyond: Julian Onderdonk,
American Impressionist
September 19, 2008 - January 11,
2009
Selected wall texts and labels
-
- "I believe I am the father of more art children
than any other living man, and they are a well-behaved lot."
- -William Merritt Chase, 1916
-
- "I am very glad you want me to go to the summer
school. . . . I long to get out in the open air with my palette in one
hand and brush in the other and be able to smear paint over the whole landscape."
- -Julian Onderdonk, 1901
-
- "While I was still studying . . . it was my one
ambition to return to Texas and to paint some of the things I remembered
having seen as a boy. . . . I found, however, that my memory had played
me false, for it was like stepping into another world, the wonders of which
had been read of, never seen."
- -Julian Onderdonk, 1913
-
- "I like the bluebonnet because a field of this Texas
flower seems just to have burst from the ground and it trembles subtly,
making it very beautiful."
- -Julian Onderdonk, 1914
-
- "I should enjoy to be able to paint one really good
picture, but it seems to get more and more difficult. There was a time
when I was vain enough to think that I might do this some day but that
day draws farther in the distance as time goes on."
- -Julian Onderdonk, 1921
-
- INTRO PANEL
-
- During his short lifetime, Julian Onderdonk (1882-1922)
transformed Texas landscape painting, creating indelible images of his
home state that left a lasting artistic legacy. Although celebrated for
his scenes of bluebonnets, the state flower, Julian's interest in landscape
was as broad as Texas itself. He focused on understanding the ever-fleeting
qualities of nature through exploring specific locations and working in
series. This was the great legacy of his most influential instructor, William
Merritt Chase (1849-1916), with whom Julian studied during one crucial
summer at the Shinnecock School of Art in Southampton, New York. Chase
had also been the instructor of Julian's father, Robert Jenkins Onderdonk
(18521917), an important early Texas artist who had ignited the art
scenes in San Antonio and Dallas.
-
- Julian came to New York in January 1901 to study, like
his father, at the Art Students League. After a somewhat frustrating spring
session, he elected to work with Chase at Shinnecock, where students painted
directly from nature. The experience was transformative. Julian's early
work closely echoed Chase. Indeed, even after Shinnecock, Chase's influence
forever altered the way Julian would approach nature, both on the East
Coast and upon his return to Texas.
-
-
- JULIAN IN THE NORTHEAST: CITY AND COUNTRY
-
- During the first years of the 20th century, Julian's
paintings explored both the urban and rural landscapes in and around New
York City and Staten Island. Around this time he married Gertrude Shipman
and began a family, and he put into practice Chase's advice to go forth
into nature and work directly from it. While some compositions closely
modeled themselves on Chase's own works, others captured a specific location
at different moments in time from varying points of view.
-
-
- JULIAN IN TEXAS
-
- Due to a combination of personal and financial reasons,
Julian returned to Texas in 1909. Once back in San Antonio, he embraced
his native state through working outside with small canvases and panels,
as well as producing larger compositions in the studio. Much as Chase had
done with Brooklyn, Prospect and Central Parks, and Shinnecock decades
earlier, Julian began to interrogate Texas, in unique compositions and
in series that focused intensely upon his new surroundings-such as the
Guadalupe River, his friend Tom Williams' ranch in Bandera County, and
the city of San Antonio itself. Although the subject matter was the vast
Texas landscape, Julian did not leave behind the method of working, application
of paint, and pictorial structures that he learned from Chase back East.
-
-
- THE BLUEBONNETS: VARIATIONS ON A THEME
-
- While Julian did not invent bluebonnet painting, he became
its leading proponent during the teens and left an indelible legacy for
generations of followers, none of whom ever equaled his style. Immediately
popular with the public and collectors, the bluebonnet paintings allowed
Julian to synthesize his vision. Only appearing for a brief period every
spring and dependent upon climate, moisture, and the intangible variables
of weather, bluebonnets offered Julian the perfect subject matter with
which to understand and explore the fleeting effects of nature. At different
times of day, under different atmospheric conditions, in intimate sketches
and grandiose exhibition pieces and commissions, Julian's bluebonnets provided
dazzling color and aesthetic pleasure, underlaid by a deeper project of
artistic curiosity and intellectual rigor.
-
-
- THE LATE WORK
-
- Beginning in 1906, Julian was hired by the Texas State
Fair to bring works of art to the fair for exhibition and sale every October,
as his father had done before him. Requiring frequent visits to New York
and much administrative work, Julian had less and less time to concentrate
on his own work, for which he compensated in feverish bouts of painting.
In the last few years of his life, Julian looked both backwards and forward.
Some compositions returned to the structure of his master Chase, while
others revealed a looser, sketchier style, and greater concentration on
atmospheric effects, suggesting a shift toward a more evocative vision
of the landscape. Tragically, overwork and ill health suddenly took their
toll on Julian, who died in October 1922 after a sudden illness. The great
public outpouring of sorrow at the loss of Texas's most promising young
artist stimulated both the institutional collecting of his works, as well
as artistic prizes meant to reward the best in Texas landscape painting.
Today, Julian is regarded as Texas's Old Master, a highly desirable landscape
painter whose works continue to bring pleasure and pride to generations
of viewers.
- Onderdonk Artist Studio
-
- The Onderdonk studio is a rare example of the specialized
spaces artists used in the early 20th century. Not only used for painting,
the studio also served as a classroom for art instruction.
-
- The room is surrounded with shelves and racks for paints,
canvases, frames, and anything needed for the creation of paintings and
drawings of all kinds. More important to the workspace are the windows.
The north orientation of the large windows provides plenty of ideal light
to work by. All the windows open to allow a cool breeze to flow through
in the summer and to air out the smell of turpentine and linseed oil used
in painting.
-
- The column near the door originally housed a brick chimney
for a stovepipe. The pipe carried away smoke from a wood and coal burning
cast iron stove used for heat on cold San Antonio winter days.
-
-
- Vignette Section
-
- The Gould-Onderdonk Home in the 1910s
- When Julian Onderdonk returned to San Antonio in 1909,
he joined his wife Gertrude and their daughter Adrienne. Shortly thereafter
their son Robert Reid Onderdonk was born, and the entire family lived together
with Julian's parents, Emily and Robert, and his two siblings Eleanor and
Latrobe. This gallery provides vignettes to illustrate the life of the
busy Gould-Onderdonk home.
-
- Card playing was a popular after-dinner activity, and
Julian captured his family on canvas in a rare effort at a domestic interior
scene. The objects in the nursery are typical of the time period, and on
the worktable are artist materials and books that belonged to Julian. For
a more in depth look at Julian's work environment, visit his actual artist
studio, which was recently relocated from the Gould-Onderdonk home to the
backyard of the Witte Museum.
-
-
- (Rail label A)
-
- Bluebonnet Field, 1912
- Julian Onderdonk
- Oil on canvas
- Witte Museum Collection, Gift of the Estate of Grace
Irvin Gosling
-
- The Family at Cards, 1909
- Julian Onderdonk
- Oil on canvas
- Witte Museum Collection, purchased with funds provided
by Mrs. Dick Prassel and the Sarah Campbell Blaffer Foundation, Houston
-
- Fern Stand
- Witte Museum Collection
-
- Card Table, 1850-1860
- Witte Museum Collection
-
- Cane-seated Chairs, 1850s
- Witte Museum Collection, Gift of Colonel and Mrs. Richard
Kimbell
-
- Mantle/ Fireplace surround
- Witte Museum Collection, Gift of the Estate of Virginia
Johnson
-
- (Rail label B)
-
- Wooden Chest
- Witte Museum Collection
-
- Cabinet
- Witte Museum Collection
-
- Children's Books
- Witte Museum Collection
-
- Cradle, 1850s
- Witte Museum Collection, Gift of Gladys Carter
-
- Child's rocker, 1900s
- Witte Museum Collection, Gift of Carl F. Behring
-
- (Rail label C)
-
- Portrait of G. Bedell Moore,
1901-1905
- Robert Onderdonk
- Oil on canvas
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- Portrait of G. Bedell Moore, 1905
- Julian Onderdonk
- Oil on canvas
- Witte Museum Collection, Gift of G. Bedell Moore, son
of the subject of the portrait
-
- A neighbor and distant relative of the Onderdonks, G.
Bedell Moore took an interest in Julian Onderdonk and his career. As a
successful banker and ranching partner in Southwest Texas, Moore realized
he could help the young artist with financial support, and in December
of 1900, an agreement was reached in which Moore would lend Onderdonk $100
to pursue his studies in New York. Onderdonk would receive a like amount
"as necessities require." Although Moore lent Onderdonk $500
over the next several years, when Moore died in 1908, his will cancelled
Onderdonk's debt to him and released him of any financial obligation to
his estate. Julian's portrait of Moore was painted from a photograph in
April 1905. Robert Onderdonk's portrait of Moore, left, was based on the
same photograph
-
-
- Julian Onderdonk's early sketches
-
- With the exception of the letter to Julian on his fourth
birthday, the works on paper here show a sampling of the early output of
the young Julian before his studies in New York. Of note are the broad
range of subject matter, which reflects his willingness to experiment,
and the pursuit of a highly graphic style, which is emphasized by Julian's
use of ink drawing. Julian abandoned ink drawings upon his return to Texas,
but he did continue the practice of study directly from nature that his
first teacher, his father Robert, had so strongly advocated.
-
-
- (Case of Julian's Early Works -- Object ID Labels)
-
- Seascape, 1891
- Julian Onderdonk
- Watercolor on watercolor board
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
- Untitled sketch, 1898
- Julian Onderdonk
- Ink and opaque watercolor on paper
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
- Design for the Huisache (San Antonio High School Magazine),
1903
- Julian Onderdonk
- Ink and opaque watercolor on paper
- Witte Museum Collection, Gift of Ofelia Onderdonk
-
- Tribute, To R. Julian Onderdonk on his 4th Anniversary,
1886
- Ehrhard Pentenrieder
- Lithograph and ink on paper
- Witte Museum Collection, Gift of Ofelia Onderdonk
-
- The Old Mill, 1898
- Julian Onderdonk
- Ink on paper
- Witte Museum Collection, Gift of Bettie Paschal Sanders
in memory of G. R. Sanders, Jr.
-
- House and Trees, ca. 1890
- Julian Onderdonk
- Watercolor on paper
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
- Rock Ruins, 1898
- Julian Onderdonk
- Pencil on paper
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
- Trees and Stream, 1897
- Julian Onderdonk
- Ink on paper
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
- Trees and Stream, 1897
- Julian Onderdonk
- Ink on paper
- Witte Museum Collection, Gift of Mrs. Ethel D. Winn
-
-
- Robert Jenkins Onderdonk
-
- Originally from Maryland, Robert Jenkins Onderdonk (1852-1917)
went to New York City in the 1870s to begin his art training at the National
Academy of Design. Robert later joined The Art Students League, a self-governing
body of artists committed to study directly from life over study from plaster
casts, and studied under William Merritt Chase. By 1879, Robert had relocated
to Texas, where he married neighbor Emily Gould. They had three children,
Julian, Eleanor, and Latrobe. In 1886, Robert helped organize the first
formal art association in San Antonio, the Van Dyke Art Club and, moving
further a field, helped found the Dallas Art Students League. By 1899,
the Dallas Fair Association asked Robert to jury exhibitions for the annual
Fair, and he would travel nationally every year until his death to select
paintings to bring to Texas for display. In 1901, historian James T. DeShields
commissioned Robert to paint a large historical canvas, The Fall of
the Alamo.
-
-
- Eleanor Onderdonk
-
- Eleanor Onderdonk (1884-1964) was born two years after
her brother Julian and like him, went to New York City to study art. In
1913, Eleanor enrolled in the Art Students League, where she studied miniature,
or small-scale portrait, painting. Upon her return to San Antonio in 1915,
Eleanor began working as a teacher in the local community and taught at
home, at Bonn Avon School, and at Saint Mary's Hall. In 1927, she became
curator of art at the Witte Museum, a position she held until 1958. Not
only is Eleanor credited with organizing many exhibitions of local and
national artists, she was also responsible for building the collection
of paintings by Texas artists that has become the core of the Texas Art
Collection at the Witte Museum today.
-
-
- Eleanor and Robert
-
- Wall (Individual ID labels)
-
- San Antonio River
- Eleanor Onderdonk
- Oil on canvas
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- Landscape with Pink Blossoms
- Eleanor Onderdonk
- Oil on canvas
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- Mission Concepción
- Robert Onderdonk
- Watercolor on paper
- Witte Museum Collection, Gift of Mr. and Mrs. Eric Steinfeldt
-
- The Alamo
- Robert Onderdonk
- Watercolor on watercolor board
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- San Pedro Springs Park
- Robert Onderdonk
- Watercolor on paper
- Witte Museum Collection, Witte Picture Funds
-
- The Granary, San Jose Mission, 1890s
- Robert Onderdonk
- Oil on canvas
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- Catholic Sister's Home in Mexico, 1911
- Robert Onderdonk
- Oil on canvas mounted on panel
- Witte Museum Collection, Gift of Albert E. Kuehnert
-
- Guenther's Mill, San Antonio River
- Robert Onderdonk
- Watercolor on paper
- Witte Museum Collection, purchased with Witte Picture
Funds
-
- House and Figure, 1884
- Robert Onderdonk
- Oil on canvas mounted on panel
- Witte Museum Collection, Gift of Robert K. Winn
-
- Villa de Guadalupe, Pocito Chapel, 1911
- Robert Onderdonk
- Oil on canvas
- Witte Museum Collection, Gift of the Estate of Claire
Irvin Hasdorf
-
- Dying Bison
- Robert Onderdonk
- Oil on canvas
- Promised gift of Ted McAlister
-
- Portrait of Theodosia Lane, ca.
1900
- Robert Onderdonk
- Oil on canvas
- Witte Museum Collection, Gift of Edward Harlee
-
- Portrait of Ruth Lipscomb
- Robert Onderdonk
- Oil on canvas
- Witte Museum Collection, Gift of Louis W. Lipscomb, brother
of Ruth Lipscomb
-
- Robert & Eleanor Case (Object ID Labels)
-
- Mary
- Eleanor Onderdonk