A biographical sketch of Indiana-born United States painter William M. Chase, with illustrations

Benjamin, Samuel Greene Wheeler

English

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University of Nebraska - Lincoln
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Publications, Agencies and Staff of the U.S.
Department of Commerce U.S. Department of Commerce
4-1879
Our American Artists. IV. William M. Chase
Samuel Greene Wheeler Benjamin
United States State Department
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Benjamin, Samuel Greene Wheeler, "Our American Artists. IV. William M. Chase" (1879). Publications, Agencies and Staff of the U.S.
Department of Commerce. 601.
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OUR AMERICAN ARTISTS.
MR. CHASE'S STUDIO. (Draw" by kimse?!)
OUR AMERICAN ARTISTS.
BY S. G. W. BENJAMIN.
IV.-WILLIAM M. CHASE.
T HE artist whose name is at the head of this young Hoosier lad. His father finally permitted himarticle was born in the state of Indiana, and to take lessons in painting, and placed him with an
is still comparatively a young man. He' early artist in his native place, who soon declared that
showed a very decided turn for art, manifesting a dis- William was destined to succeed in the pursuit he so
position to draw almost as soon as he could handle a ardently loved.
slate and pencil. But, although his parents were in But, after a year with his first master, young Chase
excellent circumstances, he met with some opposi- was seized by the war fever which inspired so many·
tion when he first spoke of becoming a painter. with a love of arms at the breaking out of our great
It is the most common thing in the world for boys civil war, and partly, also, from a love of adventure
who show an· inclination to follow painting to be and an idea that he should like the sea, he entered
opposed in their wishes; but if they have a real the school-ship at the Naval Academy of Annapolis.
genius for such a life no opposition can prevent them There he had rather a severe experience, which took
from succeeding, but will rather strengthen their charac-
j
away whatever ambition he may have had at one
ter, and the opportunity comes sooner or later which time for a sea life. One of the petty officers, under
they desire. And so it proved in the case of the whose charge he was, seemed to employ every way
S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. 
Illustrations by William M. Chase. 
U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.
OUR AMERICAN ARTISTS. 243
he could think of to worry and abuse the boys of teeming with the works of old masters, and whose
the school-ship, and took an especial spite to young studios, thronged with the students of all lands, are
Chase because he appeared above the position in a perpetual fascination to the enthusiastic art-stu-
which he was placed. It was therefore a matter of dent.
sober exultation among the young sailors when this It was in the old city of Munich, in the heart of
tyrant lost his foothold one day while they were cat- Germany, that William Chase decided to settle and
ting or getting the anchor on board and, falling into study art for several years. Munich is the capital
the sea, was drowned. To the boys whom he had of Bavaria. The name means the" City of the Little
so cr~elly treated this dreadful fate seemed only a Monk." It lies by the river Iser, of which you may
just retribution. have read in Camp-
This rough experi- bell's ode on the
ence soon took away "Battle of Hohen-
from William what- linden." The river
ever fancy he might the redivides into
have had for a sea many channels, and
life j and his desire to rushes with great
return to his palette speed through one of
and brushes again the most beautiful
was greatly increased parks in the world,
by seeing one of the called the English
officers, who was Garden; it was laid
something of an ar- out by an American
tis t, employing his sci e n tis t named
leisure moments in Thompson, who be-
painting on dec k . came prime minister
The boy-artist would to the King of Bava-
steal up behind the ria, and was ennobled
long-boat and snatch by him under the
a glimpse of the artist title of Count Rum-
at his easel. ford.
After being three Munich is a beauti-
months u n d e r the ful city. laid out in
discipline of the broad streets and
school-ship, William adorned with many
Chase gave up all lt~~~~~. splendid buildings-
idea of becoming a ~I.' palaces, picture - gal-
sailor and went back 1e r i e s , triumphal
to his brush with more arches, and churches
enthusiasm than ever. (Drawn by himself.) which are very hand-
After a year in Indianapolis he came to New York some and often highly artistic.
and studied awhile, and then resided two years in St. The late King of Bavaria was an eccentric man;
Louis, where he chiefly painted still life, that is, fruit but he had a great love of art and did all in his
pieces and game. . power to encourage artists to settle in Munich. It
Returning again to New York, and after painting and becam~, therefore, more a city of artists than any
teaching there until 1872, he decided in that year to other place, in proportion to its population. Fine
gratify his yearning for larger opportunities for study art-schools were established, and the best painters
and improvement than seemed to offer in his native and sculptors in Germany were invited to become
land, and embarked for Europe, whose galleries, professors in th~ Royal Academy of Art.
S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. 
Illustrations by William M. Chase. 
U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.
OUR AMERICAN ARTISTS.
(Frompaintinf[by Wm. M Chase.)THE APPRENTICE-BOY.
244
---~~~-
When the young American artist arrived in Iart progress. 1vleetings were held weekly, at which
Munich he found quite a colony of his fellow-coun- papers were read on art subjects and afterwards dis-
trymen already studying art there.; and the number I cussed in a friendly but earnest manner.
increased from year to year while he remained at the. There is no question about which there is room for
greater difference of opinion than art,
or more opportunity for individual
expression and improvement. For
what art undertakes to do is to
reproduce nature with such material
substances as paints, crayon or mar-
ble. But as these means for doing so
are at best very imperfect, the most
that can often be done is to suggest
nature, and ifJ this way, also, to sug-
gest what is called the ideal; that is,
to represent scenes as they appear to
the. fancy or imagination.
But there are many things in nature.
It would be impossible to give in any
one work of art everything that may
be actually seen in any particular
scene, or any imaginary composition
if it resembled nature. Therefore
some artists, either deliberately or
because their talents lie in one direc-
tion, undertake to represent one or
two of the objects in nature which
most interest and impress them; while
others attempt to reproduce another
class of objects or impressions.
Thus one artist is most interested
in light and shade, and gives more
attention to that than to color. An-
other painter, like Titian o!" Rubens,
may be more moved by color than
anything else in nature; while a third
artist may care most for form, and
devotes his ~ttention to sculpture or
to very careful drawing. Each artist of
original ability also tries to express his
thoughts in a style of his own; and
as there are many truths in nature
and many artists to express them,
there must be many different styles.
Every age and every country also
Bavarian capital. Soon these ~ American art-students \ has a class of subjects or methods distinct from others.
became sufficiently numerous to establish among Some are better, others inferior; while others, which
themselves an association for the encouragement of may be equal in value may not be equally liked by all.
S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. 
Illustrations by William M. Chase. 
U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.
OUR AMERICAN ARTISTS. 245
This diversity naturally causes great variety of opin-
ions and often very earnest talk among artists and
art-lovers, each being anxious to find the best style,
or thinking that the style he follows or prefers is, by
far, the best.
It is by talking of a thing that we often learn how
to understand it. But everyone should try to be
modest about his own opinions and tolerant of the
opinions of others, and not be too sure that he is the
only one who knows the question thoroughly. While
this is true about everything, it is especially so
regarding art matters.
Mr. Chase entered the government Art School at
Munich, and became a pupil of Piloty, who is one of
the great German historical painters of this century.
Many art-students have studied with him, some of
them men of genius who have in turn worked in
styles more fresh and original than that of their mas-
ter. Among these able artists are Leibl, Diez,
Defregger and Lembach. While studying with
Piloty these painters also carefully examined the time-
mellowed paintings of Rembrandt, Franz Hals,
Velasquez, and other great Flemish and Spanish
artists, which were hung in the royal galleries at
Munich - artists who, in strength, boldness and
beauty of style, were among the first painters of mod-
ern times.
\Vhile studying with Piloty and having a great
respect for him, Mr. Chase found his inclination
leading him rather to follow the guidance of the
later painters of Munich, and to prefer simple subjects,
carefully and harmoniously composed, with a strong
method of laying on color. He had his studio in the
upper story of the royal Art School, which is a vast,
ancient building that was in olden time a convent,
and stands next to a church. The monks have left it
and now the artists fill its cells and halls. and with the
brilliant tints of their canvasses give life to the
gloom of the mouldering pile. Duveneck, who IS
one of the most talented American artists now in
Europe, had a studio in the same corridor.
Besides gaining decided success in painting some
vigorous and interesting pictures, before leaving
Munich, Mr. Chase also won the approval not only
of his countrymen but also of the German artists
themselves. His master, Piloty, paid a very high
compliment to his abilities by asking him to paint the
portraits of his family, which the young' American
artist did with much credit.
Among the later works Mr. Chase executed during
his residence at Munich were two or three of marked
excellence which. have attracted much attention.
One of them is called the "Court Jester." It rep-
resents a humpbacked clown with cap and bells,
such a cbaracter as used to entertain kings and nobles
in old time witb comical wit. He is clad in scarlet
coat and hose, and is pouring out a glass of wine.
The general effect of color is superb.
Another picture called" Waiting for the Ride," is
a most complete contrast to the "J ester." It is
extremely simple but none the less effective. A
young lady of a delicate complexion and a refined
style of beauty appears before us dressed in a black
riding-habit, and wearing a picturesque, broad-
brimmed, bell-crowned hat. She holds a whip in
her hand and is in the act of drawing on her glove.
1\1r. Chase uses color with freshness and vigor.
He has given very careful study to the many tints of
flesh, and is equally successful in giving the soft
complexion of a young girl or the rough, highly-col-
ored features of a veteran or an apprentice-boy.
His handling or style is what would be called broad;
because everything is sacrificed or made to contribute
in his paintings to the general effect. The danger
of such a style lies in the unfinished appearance to
which a painting is liable if left off too soon.
In the summer of 1878 Mr. Chase accepted a posi-
tion as a professor in the new art school of New
York, called the Art Students' League. His studio
is in that city, in the Tenth Street Studio Building,
It is one of the most artistic in the country; for the
artist brought home with him a great variety of curi-
ous and interesting objects which he picked up
abroad, especially during a visit which he made to
Venice. There he collected wonderful bits of old
bronze and beautifully carved oaken chests, like the
one in which Genevra hid herself on her bridal day
when the lock sprung and the falling lid closed her
in forever.
Faded tapestries that might tell strange stories,
quaint decorated stools, damaskeened blades and gro-
tesque flint-locks, and elaborately carved mugs and
salvers, are picturesquely arranged around the studio
with a studied carelessness, together with choice
specimens of the works of several of the leading
German artists of the day. It is altogether a nook
rich in attractions which carry the fancy back to
other climes and the romance of bygone ages.
S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. 
Illustrations by William M. Chase. 
U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.


Our American Artists. IV. William M. Chase

DigitalCommons@University of Nebraska

University of Nebraska - LincolnDigitalCommons@University of Nebraska - LincolnPublications, Agencies and Staff of the U.S.Department of Commerce U.S. Department of Commerce4-1879Our American Artists. IV. William M. ChaseSamuel Greene Wheeler BenjaminUnited States State DepartmentFollow this and additional works at: https://digitalcommons.unl.edu/usdeptcommercepubPart of the Painting CommonsThis Article is brought to you for free and open access by the U.S. Department of Commerce at DigitalCommons@University of Nebraska - Lincoln. Ithas been accepted for inclusion in Publications, Agencies and Staff of the U.S. Department of Commerce by an authorized administrator ofDigitalCommons@University of Nebraska - Lincoln.Benjamin, Samuel Greene Wheeler, "Our American Artists. IV. William M. Chase" (1879). Publications, Agencies and Staff of the U.S.Department of Commerce. 601.https://digitalcommons.unl.edu/usdeptcommercepub/601OUR AMERICAN ARTISTS.MR. CHASE'S STUDIO. (Draw" by kimse?!)OUR AMERICAN ARTISTS.BY S. G. W. BENJAMIN.IV.-WILLIAM M. CHASE.T HE artist whose name is at the head of this young Hoosier lad. His father finally permitted himarticle was born in the state of Indiana, and to take lessons in painting, and placed him with anis still comparatively a young man. He' early artist in his native place, who soon declared thatshowed a very decided turn for art, manifesting a dis- William was destined to succeed in the pursuit he soposition to draw almost as soon as he could handle a ardently loved.slate and pencil. But, although his parents were in But, after a year with his first master, young Chaseexcellent circumstances, he met with some opposi- was seized by the war fever which inspired so many·tion when he first spoke of becoming a painter. with a love of arms at the breaking out of our greatIt is the most common thing in the world for boys civil war, and partly, also, from a love of adventurewho show an· inclination to follow painting to be and an idea that he should like the sea, he enteredopposed in their wishes; but if they have a real the school-ship at the Naval Academy of Annapolis.genius for such a life no opposition can prevent them There he had rather a severe experience, which tookfrom succeeding, but will rather strengthen their charac-jaway whatever ambition he may have had at oneter, and the opportunity comes sooner or later which time for a sea life. One of the petty officers, underthey desire. And so it proved in the case of the whose charge he was, seemed to employ every wayS.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. Illustrations by William M. Chase. U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.OUR AMERICAN ARTISTS. 243he could think of to worry and abuse the boys of teeming with the works of old masters, and whosethe school-ship, and took an especial spite to young studios, thronged with the students of all lands, areChase because he appeared above the position in a perpetual fascination to the enthusiastic art-stu-which he was placed. It was therefore a matter of dent.sober exultation among the young sailors when this It was in the old city of Munich, in the heart oftyrant lost his foothold one day while they were cat- Germany, that William Chase decided to settle andting or getting the anchor on board and, falling into study art for several years. Munich is the capitalthe sea, was drowned. To the boys whom he had of Bavaria. The name means the" City of the Littleso cr~elly treated this dreadful fate seemed only a Monk." It lies by the river Iser, of which you mayjust retribution. have read in Camp-This rough experi- bell's ode on theence soon took away "Battle of Hohen-from William what- linden." The riverever fancy he might the redivides intohave had for a sea many channels, andlife j and his desire to rushes with greatreturn to his palette speed through one ofand brushes again the most beautifulwas greatly increased parks in the world,by seeing one of the called the Englishofficers, who was Garden; it was laidsomething of an ar- out by an Americantis t, employing his sci e n tis t namedleisure moments in Thompson, who be-painting on dec k . came prime ministerThe boy-artist would to the King of Bava-steal up behind the ria, and was ennobledlong-boat and snatch by him under thea glimpse of the artist title of Count Rum-at his easel. ford.After being three Munich is a beauti-months u n d e r the ful city. laid out indiscipline of the broad streets andschool-ship, William adorned with manyChase gave up all lt~~~~~. splendid buildings-idea of becoming a ~I.' palaces, picture - gal-sailor and went back 1e r i e s , triumphalto his brush with more arches, and churchesenthusiasm than ever. (Drawn by himself.) which are very hand-After a year in Indianapolis he came to New York some and often highly artistic.and studied awhile, and then resided two years in St. The late King of Bavaria was an eccentric man;Louis, where he chiefly painted still life, that is, fruit but he had a great love of art and did all in hispieces and game. . power to encourage artists to settle in Munich. ItReturning again to New York, and after painting and becam~, therefore, more a city of artists than anyteaching there until 1872, he decided in that year to other place, in proportion to its population. Finegratify his yearning for larger opportunities for study art-schools were established, and the best paintersand improvement than seemed to offer in his native and sculptors in Germany were invited to becomeland, and embarked for Europe, whose galleries, professors in th~ Royal Academy of Art.S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. Illustrations by William M. Chase. U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.OUR AMERICAN ARTISTS.(Frompaintinf[by Wm. M Chase.)THE APPRENTICE-BOY.244---~~~-When the young American artist arrived in Iart progress. 1vleetings were held weekly, at whichMunich he found quite a colony of his fellow-coun- papers were read on art subjects and afterwards dis-trymen already studying art there.; and the number I cussed in a friendly but earnest manner.increased from year to year while he remained at the. There is no question about which there is room forgreater difference of opinion than art,or more opportunity for individualexpression and improvement. Forwhat art undertakes to do is toreproduce nature with such materialsubstances as paints, crayon or mar-ble. But as these means for doing soare at best very imperfect, the mostthat can often be done is to suggestnature, and ifJ this way, also, to sug-gest what is called the ideal; that is,to represent scenes as they appear tothe. fancy or imagination.But there are many things in nature.It would be impossible to give in anyone work of art everything that maybe actually seen in any particularscene, or any imaginary compositionif it resembled nature. Thereforesome artists, either deliberately orbecause their talents lie in one direc-tion, undertake to represent one ortwo of the objects in nature whichmost interest and impress them; whileothers attempt to reproduce anotherclass of objects or impressions.Thus one artist is most interestedin light and shade, and gives moreattention to that than to color. An-other painter, like Titian o!" Rubens,may be more moved by color thananything else in nature; while a thirdartist may care most for form, anddevotes his ~ttention to sculpture orto very careful drawing. Each artist oforiginal ability also tries to express histhoughts in a style of his own; andas there are many truths in natureand many artists to express them,there must be many different styles.Every age and every country alsoBavarian capital. Soon these ~ American art-students \ has a class of subjects or methods distinct from others.became sufficiently numerous to establish among Some are better, others inferior; while others, whichthemselves an association for the encouragement of may be equal in value may not be equally liked by all.S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. Illustrations by William M. Chase. U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.OUR AMERICAN ARTISTS. 245This diversity naturally causes great variety of opin-ions and often very earnest talk among artists andart-lovers, each being anxious to find the best style,or thinking that the style he follows or prefers is, byfar, the best.It is by talking of a thing that we often learn howto understand it. But everyone should try to bemodest about his own opinions and tolerant of theopinions of others, and not be too sure that he is theonly one who knows the question thoroughly. Whilethis is true about everything, it is especially soregarding art matters.Mr. Chase entered the government Art School atMunich, and became a pupil of Piloty, who is one ofthe great German historical painters of this century.Many art-students have studied with him, some ofthem men of genius who have in turn worked instyles more fresh and original than that of their mas-ter. Among these able artists are Leibl, Diez,Defregger and Lembach. While studying withPiloty these painters also carefully examined the time-mellowed paintings of Rembrandt, Franz Hals,Velasquez, and other great Flemish and Spanishartists, which were hung in the royal galleries atMunich - artists who, in strength, boldness andbeauty of style, were among the first painters of mod-ern times.\Vhile studying with Piloty and having a greatrespect for him, Mr. Chase found his inclinationleading him rather to follow the guidance of thelater painters of Munich, and to prefer simple subjects,carefully and harmoniously composed, with a strongmethod of laying on color. He had his studio in theupper story of the royal Art School, which is a vast,ancient building that was in olden time a convent,and stands next to a church. The monks have left itand now the artists fill its cells and halls. and with thebrilliant tints of their canvasses give life to thegloom of the mouldering pile. Duveneck, who ISone of the most talented American artists now inEurope, had a studio in the same corridor.Besides gaining decided success in painting somevigorous and interesting pictures, before leavingMunich, Mr. Chase also won the approval not onlyof his countrymen but also of the German artiststhemselves. His master, Piloty, paid a very highcompliment to his abilities by asking him to paint theportraits of his family, which the young' Americanartist did with much credit.Among the later works Mr. Chase executed duringhis residence at Munich were two or three of markedexcellence which. have attracted much attention.One of them is called the "Court Jester." It rep-resents a humpbacked clown with cap and bells,such a cbaracter as used to entertain kings and noblesin old time witb comical wit. He is clad in scarletcoat and hose, and is pouring out a glass of wine.The general effect of color is superb.Another picture called" Waiting for the Ride," isa most complete contrast to the "J ester." It isextremely simple but none the less effective. Ayoung lady of a delicate complexion and a refinedstyle of beauty appears before us dressed in a blackriding-habit, and wearing a picturesque, broad-brimmed, bell-crowned hat. She holds a whip inher hand and is in the act of drawing on her glove.1\1r. Chase uses color with freshness and vigor.He has given very careful study to the many tints offlesh, and is equally successful in giving the softcomplexion of a young girl or the rough, highly-col-ored features of a veteran or an apprentice-boy.His handling or style is what would be called broad;because everything is sacrificed or made to contributein his paintings to the general effect. The dangerof such a style lies in the unfinished appearance towhich a painting is liable if left off too soon.In the summer of 1878 Mr. Chase accepted a posi-tion as a professor in the new art school of NewYork, called the Art Students' League. His studiois in that city, in the Tenth Street Studio Building,It is one of the most artistic in the country; for theartist brought home with him a great variety of curi-ous and interesting objects which he picked upabroad, especially during a visit which he made toVenice. There he collected wonderful bits of oldbronze and beautifully carved oaken chests, like theone in which Genevra hid herself on her bridal daywhen the lock sprung and the falling lid closed herin forever.Faded tapestries that might tell strange stories,quaint decorated stools, damaskeened blades and gro-tesque flint-locks, and elaborately carved mugs andsalvers, are picturesquely arranged around the studiowith a studied carelessness, together with choicespecimens of the works of several of the leadingGerman artists of the day. It is altogether a nookrich in attractions which carry the fancy back toother climes and the romance of bygone ages.S.G.W. Benjamin, "Our American Artists. IV. William M. Chase," from Wide Awake (April 1879) vol. 8, no. 4: 242-245. Illustrations by William M. Chase. U.S. public domain material, digitized March 2013, University of Nebraska-Lincoln.

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Our American Artists. IV. William M. Chase

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