Robert Winthrop Chanler

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Robert Winthrop Chanler
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Born February 22, 1872
New York City, U.S.
Died Script error: The function "death_date_and_age" does not exist.
Woodstock, New York, U.S.
Occupation artist
Spouse(s) Julia Remington Chamberlain
(m. 1893–1907; divorced)
Natalina Cavalieri
(m. 1910–1912; divorced)
Children Julia Chanler
Dorothy Chanler
Parent(s) John Winthrop Chanler
Margaret Astor Ward
Relatives Samuel Cutler Ward (grandfather)
William Astor Chanler (brother)
Lewis Stuyvesant Chanler (brother)
John Armstrong Chaloner (brother)

Robert Winthrop Chanler (February 22, 1872 – October 24, 1930) was an American artist and member of the Astor and Dudley–Winthrop families.[1] A designer and muralist, Chanler received much of his art training in France at the École des Beaux-Arts, and there his most famous work, titled "Giraffes", was completed in 1905 and later purchased by the French Government. Robert D. Coe, who studied with him, described Chanler as being "eccentric and almost bizarre."

Early life

File:Robert W. Chanler, Leopard and Deer.jpg
Robert Winthrop Chanler, 1912, Leopard and Deer, gouache or tempera on canvas, mounted on wood, 194.3 × 133.4 cm (76.5 × 52.5 in), Rokeby Collection. Exhibited at the Armory Show, New York, 1913

Chanler was born on February 22, 1872 in New York City to John Winthrop Chanler (1826–1877) of the Dudley–Winthrop family and Margaret Astor Ward (1838–1875) of the Astor family.[2] Through his father, he was a great-great-grandson of Peter Stuyvesant and a great-great-great-great-grandson of Wait Winthrop and Joseph Dudley.[2][3] Through his mother, he was a grandnephew of Julia Ward (1819–1910), John Jacob Astor III (1822–1890), and William Backhouse Astor, Jr. (1829–1892).[2] Robert had nine brothers and sisters, including politicians Lewis Stuyvesant Chanler and William Astor Chanler.[4] His sister Margaret Livingston Chanler served as a nurse with the American Red Cross during the Spanish–American War.[5] Robert's eldest brother John Armstrong "Archie" Chanler married novelist Amélie Rives Troubetzkoy.[6] He and his siblings became orphans after the death of their mother in 1875 and their father in 1877, both to pneumonia.[2] The children were raised at their parents' estate in Rokeby in Barrytown, New York.[2][7]

Career

Robert Winthrop Chanler, 1905, Giraffes, portion of a screen. Print, published 1922

Like Mai Rogers Coe and Everett Shinn, Chanler was staying in Paris in the 1890s and became involved with the art community.[2] When he returned to the U.S in the early 1900s, he purchased a townhouse on East 19th Street, decorated it with his own works, and called it his House of Fantasy.[2] The townhouse became a social center for New York's art community.[2] Like Everett Shinn, Chanler was a personality and a figure in his time.

Chanler was a member of the New York State Assembly (Dutchess Co., 2nd D.) in 1904.

Chanler specialized in painted screens and was a member of the National Society of Mural Painters. A ceiling mural of buffaloes painted by Chanler is in the Coe House in Brookville, New York. He was also a member of the Architectural League of New York. He painted a ceiling inside the Colony Club, a private member's club located at Park Avenue and 62nd Street in New York City.[2]

In 1905 Chanler exhibited a work entitled Au Pays des Girafes (or et argent) at the Salon d'Automne in Paris (no. 328 of the catalogue).[8] This was the exhibition that prompted the critic Louis Vauxcelles to label a group of painters "fauves" (wild beasts), thus marking the birth of Fauvism.[9]

The Armory Show

His work was featured in the 1913 Armory Show in New York, and he was possibly the most acclaimed American artist in the exhibition. The elaborately painted screens he submitted were placed near the entrance of the show (Gallery A) where they captured the attention of the public and critics.[10] Chanler's screen titled Hopi Indian Snake Dance was reproduced in the New York Herald, 15 February 1913.[11] A work titled Porcupines was reproduced on postcard made for the Armory Show. Another screen by Chanler depicting porcupines is currently in the collection of The Metropolitan Museum of Art, New York.[12] According to the catalogues for the Armory Show, Chanler was represented by nine screens at the New York venue and eight screens at the Art Institute of Chicago. However, photographs and written sources—including Walter Pach's annotated New York catalogue and the Supplement to the New York catalogue located in the Armory Show records and the Walter Pach papers—indicate that around twenty–five screens were displayed during the three weeks in Manhattan, and at least nine at the Chicago exhibition.[11]

Money, fashion, and status

Robert Winthrop Chanler, Stained Glass window (one of seven, with a study drawing) in the Whitney Studio, New York City, 1918–1923. Private Collection

His portrait, painted by his friend Guy Pène du Bois in 1915, came to epitomize the world of money, fashion and status with which he was well acquainted.[13]

Like many women of her class, Mai Rogers Coe was a patron of artists and had a taste for the elaborate decorative works of Robert Winthrop Chanler. He painted decorative murals in Mai Coe's Bedroom (1921) and in the family's breakfast room, the Buffalo Room (1920).

Gertrude Vanderbilt and Mai Rogers Coe were perhaps Chanler's greatest patrons, but he received commissions from other wealthy families for decorative murals and screens. By 1920, when he completed the murals in the Buffalo Room, Chanler's work was well known. He later received favorable commentary in The Upholsterer and Interior Decorator magazine for his murals in Mai Coe's bedroom (1921) and in International Studio magazine for his painted screens (1922). Chanler designed murals for Gertrude's studio in Greenvale, New York, including a seaworld fantasy in the bathroom. The studio is extant and privately owned.

Around this time, Chicago industrialist James Deering commissioned him to paint an "undersea fantasy" fresco on the ceiling of the indoor/outdoor swimming pool at Villa Vizcaya (1916–1925), Deering's winter home in Miami, Florida.

Chanler's work has been compared to the fantastical works of some renaissance painters. His works involve the use of sculpted gesso, transparent glazes, and gilded finishes to produce ornate and decorative designs. His work still exists in his family’s estate, Rokeby near Barrytown, New York, the Luxembourg Museum and in private collections across the country.

In 2010, Chanler's decorative plaster ceiling at the Gertrude Vanderbilt Whitney Studio was the focus of a conservation study by a graduate student at the University of Pennsylvania.[14] The ceiling, which had been painted over numerous times, was found to contain vivid colors amidst metallic overlays and glazes.[15]

Personal life

On April 12, 1893, he married Julia Remington Chamberlain (1872—1936),[16] a daughter of William Chamberlain and Mary Bradhurst Remington. Julia's elder sister Alice (1868–1955) was the first wife of Robert's elder brother Lewis. They had two daughters:

  • Julia Chanler (November 24, 1898 – ?)
  • Dorothy Chanler (March 25, 1905 – ?)

The couple divorced on August 7, 1907.[17] After his divorce from Julia, Chanler had a whirlwind romance with opera singer Natalina "Lina" Cavalieri (1874—1944).[2] They married on June 18, 1910, but separated by the end of their honeymoon, and their divorce became final in June 1912.[18] After the divorce, Lina returned to Europe afterwards where she became a much-loved star in pre-Revolutionary St. Petersburg, Russia and in Ukraine.

Death

He died on October 24, 1930 in Woodstock, New York after being in a coma for twelve hours.[1]

References

  1. ↑ 1.0 1.1 Lua error in package.lua at line 80: module 'strict' not found.
  2. ↑ 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 Christopher Gray, An Aristocratic Painter’s Astonishing Aesthetic, The New York Times, October 10, 2014
  3. ↑ Winthrop Family 1404-2002 Chanler's grandfather John White Chanler married Elizabeth Shirreff Winthrop, daughter of Benjamin Winthrop and Judith Stuyvesant (Peter's daughter)
  4. ↑ One part of family tree
  5. ↑ "Margaret Astor Chanler, Heroine of Porto Rico," Milwaukee Journal, Sept 8, 1898, p. 5.
  6. ↑ Donna M. Lucey, Archie and Amélie: Love and Madness in the Gilded Age. New York: Harmony Books, 2007. ISBN 1-4000-4852-4.
  7. ↑ Thomas Lately, A Pride of Lions: The Astor Orphans; the Chanler Chronicle, W. Morrow, 1971.
  8. ↑ Salon d'Automne, 1905, Au Pays des Girafes, no. 328, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif
  9. ↑ Russell T. Clement, Les Fauves: A Sourcebook, Greenwood Press, ISBN 0-313-28333-8, 1994
  10. ↑ Megan Fort, The Armory Show at 100, The Fantastic Robert Winthrop Chanler, New York HIstorical Society, 2013
  11. ↑ 11.0 11.1 Laurette E. McCarthy, Robert Winthrop Chanler’s Armory Show Screens: more than ever realized, Archives of American Art, Smithsonian Institution
  12. ↑ Robert Winthrop Chanler, "Porcupines" and "Nightmare", 1914, The Metropolitan Museum of Art, New York
  13. ↑ A Lover of Beauty, Guy Pène du Bois Painted His Ideal.
  14. ↑ Whitney Studio Ceiling, Architectural Conservation Laboratory.
  15. ↑ Art of Robert Winthrop Chanler.
  16. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  17. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  18. ↑ Lua error in package.lua at line 80: module 'strict' not found.

External links

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