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Thomas Hovenden
Thomas Hovenden
His Life and Art

A N N E G R E G O RY T E R H U N E

With Patricia Smith Scanlan

Foreword by Elizabeth Johns

A B A R R A F O U N D AT I O N B O O K

U N I V E R S I T Y O F P E N N S Y LVA N I A P R E S S

Philadelphia
Copyright © 2006 The Barra Foundation, Inc.
All rights reserved
Printed in Canada on acid-free paper

10 9 8 7 6 5 4 3 2 1

Published by
University of Pennsylvania Press
Philadelphia, Pennsylvania 19104-4112

Library of Congress Cataloging-in-Publication Data

Terhune, Anne Gregory.

Thomas Hovenden : his life and art / Anne Gregory
Terhune with Patricia Smith Scanlan ; foreword by
Elizabeth Johns.
p. cm.
“A Barra Foundation book.”
Includes bibliographical references and index.
ISBN-13: 978-0-8122-3920-1 (alk. paper)
ISBN-10: 0-8122-3920-2 (cloth : alk. paper)
1. Hovenden, Thomas, 1840‒1895. 2. Painters—
United States—Biography. 3. Genre painting,
American—19th century. I. Scanlan, Patricia Smith.
II. Title.
ND237.H777 T47 2005
759.13B 22
2005045658

Text design by George Lang

Frontispiece: The Old Book Salesman, 1881. Oil on canvas,

19 x 15 in. Private collection.

Page xii: The Poacher’s Story (also known as Hunter’s Tale,

Brittany), 1880. Watercolor and gouache on paper, 14 ⳯
171⁄4 in. Allison Gallery, New York.
CONTENTS

Publisher’s Note vii

List of Illustrations ix
Foreword, Elizabeth Johns xiii

Chapter . Becoming an Artist 

Chapter . From “Picturesque” Brittany to Paris:
Painting Courage and Romance in History and Legend 
Chapter . “What Shall American Artists Paint?” 
Chapter . Painting the “Good Ole Times”: Scenes of African American Life 
Chapter . Images to “Appeal to the National Mind” 
Chapter . Home Life: Center of “Our Joys or Sorrows” 
Conclusion 

Notes 
Index 
This page intentionally left blank
PUBLISHER’S NOTE

Thomas Hovenden: His Life and Art would not have not in a position to carry out the final revisions.
been possible without the persistence and gener- Mr. Robert L. McNeil, Jr., of the Barra Founda-
ous support of the Barra Foundation. Anne Gre- tion suggested that the Foundation find a scholar
gory Terhune submitted a draft of this book to to make the required revisions so that the book
the University of Pennsylvania Press in 1994, could be published. Anne Terhune was able to
when it was approved for publication contingent approve this arrangement before her death in
on acceptance of a revised manuscript. Owing 2005, and Patricia Smith Scanlan of Indiana
to declining health, however, Anne Terhune was University revised the final manuscript.
This page intentionally left blank
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I L L U S T R AT I O N S

All works are by Thomas Hovenden unless noted otherwise.

The Old Book Salesman, 1881. ii 19. Self-Portrait of the Artist in His Studio,
The Poacher’s Story, 1880. xii 1875. 26
1. Thomas Hovenden, ca. 1890. xvi 20. Study of a Bearded Man, ca. 1874–75. 28
2. Broadway Near Grand Street, New York City, 21. Alexandre Cabanel, Othello Relating
1860. 2 His Adventures, 1857. 29
3. Artist unknown, Picture-Gallery of the Fair, 22. Alexandre Cabanel, The Choir Director’s
Fourteenth-Street Building, 1864. 4 Widow (La veuve du maître de chapelle). 30
4. Artist unknown, Funeral Honors to President 23. Artists in Front of Gloanec Pension, ca.
Lincoln, 1865. 5 1876–80. 32
5. Venus de Milo, ca. 1860–63. 6 24. William Lamb Picknell, Road to Concarneau,
6. Engraving of Hovenden’s The Old Nurse’s 1880. 33
Visit, 1873. 8 25. Robert Wylie, A Fortune Teller of Brittany,
7. Engraving of Hovenden’s A Home 1871–72. 35
Missionary. 10 26. Robert Wylie, The Postman, 1868. 36
8. In the Woods, ca. 1873. 11 27. A Sunny Day in Brittany, 1876. 37
9. Winslow Homer, The Initials, 28. The Image Seller, 1876. 38
1864. 12 29. A Brittany Image Seller, 1878. 39
10. Self-Portrait, ca. 1873. 13 30. Church near Pont-Aven from Finistère,
11. Lady Tending Flowers, 1873. 15 1878. 40
12. Eastman Johnson, Catching the Bee, 31. Detail of Church near Pont-Aven from
1872. 16 Finistère. 41
13. A Reverie, 1873. 17 32. Study for A Brittany Peasant Girl (also known
14. Eastman Johnson, Not at Home, as What O’Clock Is It?), 1876. 42
1872–80. 18 33. The Path to the Spring, 1879. 44
15. Alexandre Cabanel, Birth of Venus, 34. Thomas Hovenden painting in the Bois
1863. 22 d’Amour, Pont-Aven, 1880. 45
16. Alexandre Cabanel, Study,Triumph of Flora, 35. Breton Woman Blowing the Dinner Horn,
1870–72. 23 n.d. 46
17. Photograph of lodging on the Seine’s left 36. Pendant le Repos, 1878. 47
bank at 15 rue Jacob. 24 37. One Who Can Read, 1877. 48
18. Study of an Old Lady, ca. 1874–75. 25 38. Vendéan Soldier, ca. 1877. 51
x ILLUSTRATIONS

39. A Breton Interior in 1793 (also known as 66. Winslow Homer, A Visit from the
The Vendéan Volunteer), 1878. 53 Old Mistress, 1876. 98
40. Detail of A Breton Interior. 54 67. Winslow Homer, Sunday Morning in
41. In Hoc Signo Vinces (In This Sign Shalt Thou Virginia, 1877. 99
Conquer), 1880. 55 68. Thomas Eakins, Will Schuster and Black Man
42. Detail of In Hoc Signo Vinces, emblem of the Going Shooting for Rail, 1876. 99
Brotherhood of the Sacred Heart. 55 69. Abolition Hall, Plymouth Meeting,
43. Study for In Hoc Signo Vinces, 1880. 57 Pennsylvania. 101
44. Ernest Meissonier, The Musician, 1859. 59 70. Portrait of Samuel Jones, ca. 1882. 102
45. Costume class, Pennsylvania Academy of 71. Dat Possum Smell Pow’ful Good,
the Fine Arts. 60 1881. 104
46. The Favorite Falcon, 1879. 61 72. Helen Corson, Uncle Ned and His Pupil,
47. “Faint Heart Never Won Fair Lady” 1881. 105
(The Engagement Ring), 1880. 63 73. Engraving of Hovenden’s Never Too Late to
48. Death of Elaine, 1882. 64 Mend, 1882. 106
49. Drawing for Elaine, 1882. 65 74. Thomas Eakins, Negro Boy Dancing,
50. Study for Elaine, ca. 1882. 66 1878. 107
51. Self-Portrait, ca. 1881. 71 75. I’se So Happy! 1882. 108
52. The Puzzled Voter, 1880. 77 76. Dem Was Good Ole Times, 1882. 109
53. William Michael Harnett, Still Life with 77. Henry Ossawa Tanner, The Banjo Lesson,
Letter to Thomas B. Clarke, 1879. 79 1893. 110
54. The Old Version (also known as Sunday 78. Sunday Morning, 1881. 112
Afternoon), 1881. 81 79. Chloe and Sam, 1882. 114
55. The Revised Version, 1881. 82 80. Taking His Ease, 1885. 115
56. Who Shall Eat the Fruit Thereof? 81. An Old Shaver, 1886. 116
(also known as Arbor Day), 1883. 85 82. Their Pride, 1888. 117
57. Study for Who Shall Eat the Fruit 83. Young Woman Holding a Cabbage. 120
Thereof ? 86 84. Youth Blowing Smoke Rings, 1884. 121
58. A Village Blacksmith, 1882. 88 85. Ain’t That Ripe, ca. 1884–85. 122
59. Study for A Village Blacksmith. 89 86. Winslow Homer, Watermelon Boys,
60. The Cabinetmaker, 1888. 91 1876. 123
61. The Traveling Clock-Mender, 1893. 92 87. William Michael Harnett, Attention,
62. George Bacon Wood, Jr., Interior of Company! 1878. 124
Blacksmith’s Shop, 1875. 93 88. The Last Moments of John Brown,
63. James Henry Beard, Goodbye, Ole Virginia, 1882–84. 127
1872. 96 89. In the Hands of the Enemy, 1889. 128
64. William Aiken Walker, Plantation Economy 90. The Founders of a State, 1895. 129
in the Old South, ca. 1876. 97 91. After A. Berghaus’s pencil sketch. Execution
65. Eastman Johnson, A Ride for Liberty: of Brown,Who Is Coming Down the Steps of the
The Fugitive Slaves, ca. 1863. 98 Jail, 1859. 130
 ILLUSTRATIONS xi

92. Unknown photographer, John Brown in Pennsylvania Academy of the Fine

1856. 131 Arts. 158
93. Unknown artist, John Brown Ascending the 112. Francis Coates Jones, Mother and Child,
Scaffold Preparatory to Being Hanged. 132 ca. 1885. 159
94. John Brown After His Capture. 133 113. Edmund C. Tarbell, The Breakfast Room,
95. Currier & Ives, after Louis Ransom, John ca. 1903. 160
Brown Meeting the Slave-Mother and Her Child 114. Robert Koehler, The Strike, 1886. 161
on the Steps of Charlestown Jail on His Way to 115. Peonies, 1886. 163
Execution, 1863. 134 116. Daniel Ridgeway Knight, Hailing the Ferry,
96. Thomas Satterwhite Noble, John Brown’s 1888. 164
Blessing Just Before His Execution, 1867. 135 117. When Hope Was Darkest, 1892. 167
97. James Wallace Black, John Brown, after 118. Frank Bramley, A Hopeless Dawn, 1888. 168
daguerreotype attributed to Martin M. 119. And the Harbor Bar Is Moaning, 1886. 169
Lawrence, 1859. 135 120. Illustration of Walter Langley’s painting
98. Winslow Homer, Prisoners from the Front, “For Men Must Work and Women Must Weep,”
1866. 138 based on Charles Kingsley’s popular poem,
99. John Trumbull, Battle of Bunker’s Hill, “The Three Fishers, ”1883. 170
1786. 139 121. Bringing Home the Bride, 1893. 171
100. John Brown at Harper’s Ferry,1859, 1883. 140 122. Helen Corson Hovenden, photograph of
101. Pascal Adolphe Jean Dagnan-Bouveret, Hovenden, Martha, and Thomas in front of
An Accident, 1879. 144 Bringing Home the Bride in Hovenden’s
102. Douglas Volk, The Pioneer’s Rest. 148 studio. 173
103. Thomas Eakins, Cowboys in the Bad Lands, 123. Otto Erdmann, Bringing Home the
1888. 148 Bride. 173
104. Portrait of Frank Hamilton Cushing, 124. Toby Edward Rosenthal, The Trial of
1890. 149 Constance de Beverly, 1883. 174
105. John Lewis Krimmel, Country Wedding: 125. A Morning in May, 1893. 176
Bishop White Officiating, 1814. 152 126. Springtime, ca. 1893–94. 177
106. Francis William Edmonds, The Image 127. Jerusalem the Golden, 1894. 179
Peddler, 1844. 153 128. Photograph of Thomas Hovenden with his
107. Eastman Johnson, The New Bonnet, painting Jerusalem the Golden, ca. 1894. 180
1876. 154 129. A Study, Cold Point, Pennsylvania, 1895. 181
108. Breaking Home Ties, 1890. 155 130. Self-Portrait, ca. 1893–95. 184
109. Model for Breaking Home Ties and Manikin, 131. Helen Corson Hovenden, photograph of
photograph. 156 Hovenden’s studio with unfinished canvas
110. Helen Corson Hovenden, photograph of The Founders of a State, 1895. 186
Thomas Hovenden painting Breaking Home 132. Photograph of Helen Corson
Ties, with son, Thomas Hovenden, Jr. 157 Hovenden. 187
111. Advertisement for the Sixty-First Annual 133. Photograph of Martha and Thomas
Exhibition, 1891, Archives of the Hovenden, Jr. 188
F O R E WO R D
Elizabeth Johns

Acclaimed during his lifetime but slowly forgot- work led to success and that concern for one’s
ten after his early death, the painter Thomas community was a moral imperative. Born in 1840
Hovenden (1840–95) took an artistic path quite in County Cork, Ireland, and orphaned at age six,
different from those of his peers who are well he served an apprenticeship in carving and
known today. He specialized in narrative scenes gilding, studied drawing, and, as soon as he could,
of domestic rural life. Most of his pictures emigrated to America, following a brother and
addressed issues important to viewers with rural arriving in New York City in 1863. Once in
roots whose family rituals anchored their lives— America, Hovenden widened his skills in drawing
defining moments such as choosing a mate, leav- and watercolor while supporting himself with a
ing home to seek one’s fortune, proudly framing shop. By the time he was thirty, he had
pursuing a hard-learned craft, and reading the begun to grasp at achieving the life of the artist,
Bible in the evening of life. Hovenden’s picture and he found help in the form of friends and a pa-
Breaking Home Ties (see fig. 108), exhibited at the tron who would finance his studies in Europe.
World’s Fair in Chicago in 1893, reveals the From orphan to emigrant to artisan to would-be
artist’s grasp of the needs of the audience he artist, Hovenden saw his life in increasingly pro-
chose. Newspapers reported the awe with which fessional terms. After six years among students,
viewers who had traveled great distances to the teachers, and art colonies in France and Brittany,
fair stood in front of the large painting. As they honing his skills, discovering the subjects that in-
absorbed this scene of a young man leaving his terested him, and exhibiting his work to increas-
home and large family to “make his fortune,” ing approval, he returned to the United States at
viewers traced its story of human relationships age forty. Not until that point, when he was
and marveled at the artist’s knowing depiction of moderately successful as an artist, did he marry.
humble country furnishings. Although Breaking He brought this rich, principled background to
Home Ties might be the only picture most his themes of communal life. Although through-
audiences today know by Hovenden, unless it be out the latter part of the century artists made
The Last Moments of John Brown (see fig. 88), Hov- paintings of peasant life in northern France, as
enden has much to interest us in several respects, did Hovenden during his early years, his
as Anne Gregory Terhune reveals in this first full- colleagues came to this subject from urban
length study of the artist. settings; for them, a peasant was the “other.”
He lived a relatively straightforward life, in- Hovenden, unlike them, painted rural themes
formed by the American convictions that hard with the sensitivity of hardships experienced
xiv FOREWORD

in his own upbringing. Humble people were which they were posing. The experience of the
his own. models themselves would certainly have been top-
Thus when he returned to America in 1880, ics in the guarded hopes of the in-laws of the new
he brought to these subjects not only technical bride in Bringing Home the Bride (1893), the com-
but also emotional expertise. Because of this, he fort with each other of Chloe and Sam in the
turned his back on the American genre painting painting by that name, the complex emotions of
that had prevailed since before the Civil War, the young boy leaving for the city and of his sister
painting that poked fun at “ordinary” citizens. in the background (certain not to leave home) in
Artists such as John Francis Krimmel,William Breaking Home Ties.
Sidney Mount, Francis Edmonds, and George Village life, as well as Hovenden’s experi-
Caleb Bingham had appealed to urban patrons ences while growing up, encouraged him to make
who were eager to leave behind their humble ori- pictures with spaces that viewers could enter
gins and see themselves as superior to rural citi- comfortably. Not simply a “realist” who appeased
zens. In contrast, Hovenden painted in sympathy onlookers’ desire to tell exactly what was de-
with ordinary people, finding in their concerns picted in a picture, nor merely a technician who
the emotional life that flowed in everyone. delighted in his ability to render details precisely,
Settling in the small village of Plymouth he delighted in capturing both human beings and
Meeting, Pennsylvania (fig. 1), the home of his the material universe—in adolescents and parents
bride Helen Corson, who had also studied abroad, and grandparents, and in carpets, tables and
Hovenden merged the simplicity of his own lamps, and mantelpieces. Viewers knew from
domestic life into that of his paintings. He used his their own lives the country chairs in Breaking Home
family and friends as models. The very place he Ties, the wallpaper and home decorations in Sun-
lived—a small, rural village not far from Philadel- day Morning in Virginia (1881), the clothing in
phia, with citizens whose ancestors had long ago The Old Version (1881). In picture after picture,
settled there—inspired thoughtfulness about tra- he conveyed the feelings of human beings for one
ditional ways. Plymouth Meeting was a Quaker another, for the things they possessed, and for the
community, and, although Hovenden was not a rituals that gave them comfort.
Quaker himself, the Quaker conviction of each Hovenden served many constituencies with
person’s “inner light” seems to have infused his these commitments. Early patrons such as Balti-
painting of individuals. His images of African morean John W. McCoy saw and encouraged
Americans were a natural interest in Plymouth Hovenden’s talent for appealing to a wide rather
Meeting, for Hovenden’s painting studio had been than an elite audience. Journalists new to art
the site of meetings of abolitionists and then a sta- criticism but steeped in the culture-wide absorp-
tion on the Underground Railroad. One can imag- tion with narrative delighted in describing in
ine the conversations with his models—his fellow detail his pictures and interpreting their stories.
community members—about the emotions and Inexperienced viewers in such large exhibition
interactions of the characters in the paintings for venues as the 1893 World’s Columbian Exhibition
 FOREWORD xv

in Chicago found in his pictures respect and em- For these patrons, paintings did not tell stories
pathy for their own lives. To each of these groups, and meaning required cultivation and taste. Hov-
Hovenden gave pictures that offered new experi- enden’s early admirer Samuel Isham regretted this
ences of self- and cultural assessment. departure from art that unified a people. Looking
Hovenden’s choices make telling contrasts back in the early twentieth century on the late
to those of Winslow Homer and Thomas Eakins, 1880s and early 1890s, Isham admired the artist as
his near contemporaries. Homer, an individualist a “recorder of the simpler, wider side of our com-
whether he was in Cullercoats, England, or Prout’s mon life.” Some years later, the art historian Edgar
Neck, Maine, valued the mysteries of nature, espe- P. Richardson, steeped in modernism, diagnosed
cially the sea, not human ritual. Eakins, rooted in the lapse of Hovenden’s reputation as a result of
Philadelphia, found meaning in making portraits his lacking “a personal point of view.” Yet, as Ter-
of citizens who had done well professionally hune shows us in this thorough study, the last
through their own efforts. Neither was interested thing that Hovenden wanted to communicate was
in attracting inexperienced viewers. Other artists a point of view that separated him from his fellow
who had studied in Europe painted for upper- human beings.
and upper-middle-class buyers: some, like Fred- His untimely death in 1895 was a freak
eric Bridgman, stayed abroad and painted Orien- accident. Hovenden and a child, among others,
tal themes; others, like Edmund C. Tarbell and stepped down from a trolley at Plymouth Meet-
Francis Coates Jones, paid tribute to the sophisti- ing and crossed nearby train tracks, unable to see
cated lives of the well-to-do at home. a locomotive that was quickly bearing down on
Perhaps the high point of Hovenden’s career them. They were killed instantly. So identified
was during the early 1890s, when his own com- was the artist with the goodness of character that
mitments coincided with the interests of a large produces sympathy with human emotions that
number of patrons, critics, and viewers. By 1895, the legend quickly grew (despite extensive testi-
when Hovenden died in midlife, the audience for mony to the contrary at the coroner’s inquest)
paintings was beginning to split. His posthumous that he had sacrificed his life for the child who
reputation faded in the swirl of new expectations died with him in the accident.
of art. Viewers and collectors who considered In his last years, Hovenden himself may have
themselves sophisticated turned to the nonnarra- foreseen the imminent decline of his reputation.
tive and nonrealistic aspects of Impressionism Shortly before his death, Hovenden lectured his
for satisfaction, and later to the mysteries of students at the Pennsylvania Academy of the Fine
modernism. They had moved away from a desire Arts about the purpose of art. In a statement that
for pictures that depicted the familiar and that could serve as his last will and testament, Hoven-
satisfied emotions—pictures that cherished a den professed, “If I can give comfort, if I can give
shared life—to images that called upon the poetic strength to those around me by any word or act
sensibility of the individual viewer for meaning. of mine, what manner of man am I if I do it not?”
1. Thomas Hovenden under grape arbor at his home in Plymouth Meeting, Pennsylvania. Photograph ca. 1890 by
W. H. Richardson of Norristown, Pennsylvania. Private collection.
Chapter 1

Becoming an Artist

He was called before the Council of the Academy . . . and strongly encouraged to give up all
other pursuits for art.
—“Advent of a Great American Painter:Thomas Hovenden,”
Studio and Musical Review 1 (19 February 1881): 51.

Thomas Hovenden’s calling to become an artist Bridewell, or prison, in Dunmanway, an English

and the themes of transition and the cycles of life colony since the mid-seventeenth century. Hov-
that permeate his work stem from his childhood enden grew up with an older brother, John, and
in Ireland. Orphaned at a young age, Hovenden a sister, Elizabeth, and spent his first years in that
experienced loss and longing from which he “pleasant,” little “market and post town,” with
would draw inspiration for many of his most suc- one street about a half mile long, a Protestant
cessful genre paintings; his recurring motifs of church, a Catholic chapel, and a Methodist Meet-
family life, the continuity of family ties, and ing House.1 At the time of the disastrous Potato
shared values undoubtedly reflect his own need Famine when Hovenden was only a boy
for a reassuring sense of permanence and stabil- of six, his parents died. The child was taken from
ity. In turn, Hovenden’s themes resonated with his home and placed in an orphanage about
late nineteenth-century audiences at a time when thirty-seven miles away in Cork. Most likely, the
increasing industrialization and urbanization orphanage had similar admission and apprentice-
threatened family bonds and traditional ways. ship requirements as the Blue-Coat School, one
Despite the difficult circumstances of his early of Cork’s oldest charities, which operated a house
years, it was Hovenden’s orphaned status that led for poor boys; generally, boys were admitted at
to his initial art education and apprenticeship in the age of eight years and then apprenticed at the
Ireland, and, eventually, to his studies in New age of fourteen.2
York and Paris, where he mastered the sophisti- By the year of Hovenden’s birth, the ancient
cated figural style, color harmonies, and painterly city of Cork had become the second-most sub-
effects that characterize his mature work. stantial city in Ireland, exceeded only by Dublin
Hovenden was born on December 28, in size, commercial importance, and population.
1840, in Dunmanway, County Cork, Ireland, the Its setting—centered in a green valley enclosed
son of Ellen Bryan and Robert Hovenden, who by high hills “through which the Lee [River] pur-
were married in 1834. His father, of English an- sues its course to the sea”—was one of natural
cestry and Protestant faith, was Keeper of the beauty. Water was everywhere and Cork boasted
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