{"id":293,"date":"2020-01-17T21:20:58","date_gmt":"2020-01-17T21:20:58","guid":{"rendered":"http:\/\/www.williamaharper.com\/?page_id=293"},"modified":"2020-06-15T21:16:19","modified_gmt":"2020-06-15T21:16:19","slug":"first-trip-to-europe","status":"publish","type":"page","link":"https:\/\/www.williamaharper.com\/about\/first-trip-to-europe\/","title":{"rendered":"First Trip to Europe"},"content":{"rendered":"\n

Following the conclusion of the 1902-03 school year in Houston, Harper left teaching and departed for Cornwall, England, located in the southwestern most part of England.  William Wendt was at that time painting in St. Ives, Cornwall, having arrived in May of 1903.[1]<\/a>  Wendt had been briefly a student at the AIC, and was at that time an independent artist in Chicago.  He was also, as noted earlier, one of Harper\u2019s mentors.  Not much information is available about Harper\u2019s time in Cornwall in 1903, but one, and possibly two, of Harper\u2019s three paintings accepted for the January 28 \u2013 February 28, 1904 Exhibition of Works by Chicago Artists were paintings done in Cornwall.  <\/p>\n\n\n\n

Wendt had previously studied in Cornwall\nwith an important landscape painter and instructor in St. Ives, John Noble\nBarlow, RBA ROI RWA (1860-1917).  Browne,\ntoo, was a colleague of Barlow\u2019s, having probably met him when a fellow student\nat the Acad\u00e9mie Julian.  With these\nconnections to St. Ives, it is hardly surprising that Harper chose to study and\npaint in Cornwall.  He may also have been\na student of Barlow\u2019s, although that would have been on his later trip to\nCornwall in 1904 since Barlow was out of the country in the summer of 1903. [2]<\/a><\/p>\n\n\n\n

By the fall of 1903, Harper was in Paris.  Since no correspondence or other papers of Harper appear to have survived, what is known of his time is Paris comes from two sources:  1. the letters of Albert Henry Krehbiel, a close friend of Harper\u2019s from the AIC, and 2. a 1904 photograph of a class at the Acad\u00e9mie Julian<\/a> from the Krehbiel files.[3]<\/a>  <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The above photograph of the class at the Acad\u00e9mie Julian shows Harper seated in the second row, with Krehbiel second to his right.\u00a0 From this photograph it has been assumed that Harper studied at the Acad\u00e9mie Julian<\/a>.\u00a0 Interestingly, however, none of the newspaper or journal articles published about Harper during his lifetime, nor even his obituary, say anything more than that he studied or painted in Paris. \u00a0Even the Krehbiel letters to not mention Harper specifically in the context of the Acad\u00e9mie Julian, although Krehbiel does discuss the competitions sponsored by the Acad\u00e9mie Julian in which he and other named students participated.\u00a0 Furthermore, an alphabetical list of students created from documents in the French national archives regarding the Acad\u00e9mie Julian[4]<\/a> contains Krehbiel, Worthington E. Hagerman, Willliam E. Cook, and Leon Lorado Merton Gruenhagen as students of J.P. Laurens, but does not mention Harper.\u00a0 It may simply be that Harper\u2019s time at the Acad\u00e9mie Julian was too short to register in one of the surviving records, or that the list of students mentioned above is incomplete.\u00a0 In any event, the photograph does exist and nothing in the other documentation found to date specifically contradicts the conclusion that Harper was a student there from the fall of 1903 to the early spring of 1904.\u00a0 \u00a0<\/p>\n\n\n\n

The Acad\u00e9mie Julian\n<\/a>was founded in 1868, and by 1903 had become a magnet for foreign art\nstudents, including those from the AIC.  Numerous\nwell know American artists were among its alumni, including Henry Ossawa Tanner<\/a>, an\nAmerican expatriate artist with whom Harper would study informally on a\nsubsequent trip to France.[5]<\/a>  The Acad\u00e9mie Julian had no entrance\nrequirements, and afforded considerable flexibility to the student, being\ngenerally open from 0800 hours to 1800 hours. \nFor a modest sum, a student paid for the privilege of drawing and\npainting at one of the various locations under the general direction of Monsieur\nJulian. [6]<\/a>  Students were admitted for a few days, a\nmonth, or a year, provided that they paid in advance.  The student could select the master under\nwhich he wished to work, who would circulate through the class and provide the\nstudents criticism once or twice a week.[7]<\/a>  According to one student, <\/p>\n\n\n\n

\u201cStudents work for the judgment of the\nmaster and are enormously elated or depressed by his criticism.  He passed from one canvas or board to another\nand talks rapidly, of course in French, which is an embarrassment to the\nAmerican who does not understand, although other students are good-natured\nabout translating\u2026.Nerves are at high tension. \nAfter a criticism, the work for that day usually ends.\u201d[8]<\/a><\/p>\n\n\n\n

Tanner provided a rather\ngloomy description of the Acad\u00e9mie Julian in his 1909 writing \u201cThe Story of an\nArtist\u2019s Life\u201d[9]<\/a>\nwhich included a discussion of his early time in Paris:<\/p>\n\n\n\n

\u201cThe Acad\u00e9mie Julian!  Never had I seen or heard such a bedlam \u2013 or\nmen waste so much time.  Of course, I had\ncome to study at such a cost that every minute seemed precious and not to be\nfrittered away.  I had often seen rooms\nfull of tobacco smoke, but not as here in a room never ventilated \u2013 and when I\nsan never, I mean not rarely but never, during the five or six months of cold\nweather.  Never were windows opened.  They were nailed fast at the beginning of the\ncold season.  Fifty or sixty men smoking\nin such a room for two or three hours would make it so that those on the back\nrows could hardly see the model.\u201d  <\/p>\n\n\n\n

We have a fair amount of information\nabout Harper\u2019s time in Paris thanks to the letters of Krehbiel, to his fianc\u00e9\nin Chicago, Dulah Evans (another student from the AIC).  Krehbeil had a scholarship from the AIC to\nstudy at the Acad\u00e9mie Julian[10]<\/a>, and wrote almost weekly\nwonderfully long and gossipy letters to Evans. \nKrehbiel and Harper must have been quite good friends since least two\nthirds of the letters from the 1903-04 school year contain references to\nHarper.  Evans and Harper also had been\nclassmates, and she made an effort on his behalf in 1904 to sell some of his\npaintings in Chicago.[11]<\/a>  <\/p>\n\n\n\n

Harper began his studies at the Acad\u00e9mie\nJulian in October 1903.  About seven\nother Americans entered at the same time, at least three of whom were \u201cChicago\nboys\u201d.[12]<\/a>  Krehbiel, and presumably also Harper, studied\nunder Jean Paul Laurens (1838-1921) as master[13]<\/a>, under whom Tanner had\nalso studied.[14]<\/a>  From Krehbiel\u2019s letters, the \u201cChicago boys\u201d\nstuck together in Paris, with the most frequently mentioned ones besides Harper\nbeing Leo Lorado Merton Gruenhagen and Worthington E. Hagerman.<\/p>\n\n\n\n

For young men from the U.S. midwest, the\nParis of 1903 came as a bit of a shock. \nIn one of his earliest letters from Paris Krehbiel writes:  <\/p>\n\n\n\n

\u201cI believe that you would enjoy Paris,\nbut I\u2019m not so sure that you would like the people\u2026Enjoyment seems to be the\ngreatest aim of the French people, and apparently they leave no stone unturned\nin order to find it\u2026.Gaiety seems to be their watchword and Sunday the day in\nwhich they are able to gratify their desire for amusement.\u201d[15]<\/a>  <\/p>\n\n\n\n

Harper and Krehbiel did not forget the\nSabbath, however, and attended almost every Sunday evening at 8:15 the\n\u201cStudents\u2019 Atelier Reunions\u201d let by the Rev. Sylvester W. Beach.[16]<\/a>  On November 29, 1903, Krehbiel and Harper\nattended the atelier, and although snow and sleet covered the pavement, \u201cHarper\nand I went down and we arrived there very early.\u201d<\/p>\n\n\n\n

Krehbiel started his time in Paris in a\nhotel, but once he found an affordable studio, Krehbiel lived in that\nstudio.  A picture drawn by Krehbiel of\nhis studio shows a sparsely furnished room with a high ceiling.[17]<\/a>  On one side of the room is a high balcony running\nthe length of the 20 ft. room about 4 and \u00bd ft. wide, with a ladder leading up\nto what he called his \u201clittle home\u201d containing his bed, a washstand and an arm\nchair.  The room was heated by a wood or\ncoal burning stove.  This form of\nstudio\/balcony arrangement was not uncommon for students, with the stove which\nwas the sole means of heating the room being so small as to be \u201camusing rather\nthan warming.\u201d[18]<\/a>  Harper most likely had a similarly spare\narrangement, particularly given his financial situation.  References to joint activities throughout\nKrehbiel\u2019s letters suggest that Harper\u2019s studio was fairly close in proximity\nto his.<\/p>\n\n\n\n

As did many other American art students\nin Paris, Krehbiel joined the American Art Association, alternatively referred\nto as the American Art Club.  The\nAmerican Art Association was organized in 1890 with the backing of a number of\nprominent Americans, including Rodman Wannamaker, who represented the Chicago\nWannamaker firm in Paris.[19]<\/a>  According to the American Art Annual,\n1905-6, Vol 5, the Association <\/p>\n\n\n\n

\u201cprovides not only an unconventional\nfellowship among artists but also a common meeting-place for students as well\nas for all interested in the development of American art. The Club’s membership\nconsists of painters, sculptors, architects and students in most of the\nprofessions.  The Associate membership\nlist contains representatives of nearly all nations, while the honorary\nmembership, headed by our Ambassador and Consul-General, includes most of the\nleading Americans in Paris.\u201d  <\/p>\n\n\n\n

The membership entrance fee was $2, with\nannual dues of $10. The club had a library, a reading room, a parlor, and an\nathletic room.  It was <\/p>\n\n\n\n

\u201ca gathering place\u2026to read, eat, smoke\nand get acquainted with simple fashion. \nHere the American boys celebrate Thanksgiving with turkeys and plum\npudding sent over from New England.\u201d[20]<\/a>  <\/p>\n\n\n\n

In other words, it was a place to hang\nout with fellow Americans.  <\/p>\n\n\n\n

Unfortunately, there seems to have been\nsome objection from certain of the southern members of the Club to Harper\njoining the club, and the Chicago boys rallied in his support.  In his December 5, 1903 letter, Krebhiel\nwrote:  <\/p>\n\n\n\n

\u201cI haven\u2019t been to the club for over a\nweek and from now on that place will see but very little of me\u2026.<\/p>\n\n\n\n

Hagerman just now dropped in all wrought\nup over the treatment the club is giving Harper.  He had just returned from the club where he\nhad met the chairman of the Membership Com. who had asked him to inform\nGruenhagen and myself that there were 13 members who objected to Harper coming\ninto the club.  As Gruenhagen and myself\nhad filled out the formal recommendation for Harper\u2019s membership we were\nadvised to withdraw by letter the name of our candidate.  It happens however that we don\u2019t intend to do\nanything of the sort.\u2026.We are going to see the finish of this affair and find\nout whether the club is willing to stand for the petty prejudices of a few.<\/p>\n\n\n\n

Some of the southern fellows give me a\npain.  Their whole aim seems to be to\nhave lots of fun and the thought of study never enters their head.  But few of them are here for study as it\nseems and yet they make the club their \u2018hangout\u2019.  From what I have observed from their talk I\nam willing to wager that Harper would discount the entire thirteen in intellect\nand the other qualities which go to make up a man.  Harper is going to make a fight to get in and\nI am glad of it for there is lots of fight in him.\u201d<\/p>\n\n\n\n

In January 1904, Krehbiel, Hagerman,\nGruenhagen and Henry Salem Hubbell (another AIC artist painting in Paris) met:<\/p>\n\n\n\n

\u201cto discuss Harper\u2019s affair and act on\nthe matter immediately as the Governing board of the club are due to meet\nduring the next week and we were anxious to counteract any move that the\nopposition might make in having Harper\u2019s name presented to said board.  We are now getting us a petition with some\nforty or fifty names which will be presented to the board without the knowledge\nof the opposing faction.  One named\nWalhan and Fred Vance are drawing up the petition and will get all the\navailable names possible to signed to it from members who are daily at the\nclub.  Tomorrow I am going to canvass the\nclass at Julians and find out how the American boys there feel about it and\nthose that are in favor of the move will be allowed to sign the petition which\nI will take over later on in the week\u2026.\u201d[21]<\/a><\/p>\n\n\n\n

The next week Krehbiel wrote: <\/p>\n\n\n\n

\u201cSo far Harper hasn\u2019t broken with the\nclub.  Our petition which was signed by\nsome thirty members was laid before the board on Sat. evening and they got rid\nof the affair by laying it on the table. \nWhat the result will be is hard to imagine as the opposition is very\nstrong.  It is proposed now that we get\nup a list of fellows who are willing to resign in case he isn\u2019t admitted.  How many are willing to carry their belief\nthat far is hard to estimate.  For my\nparty I am willing enough to get out of the affair altogether.  Last week I had the petition over at Julians\nfor a couple of days and spent so much time arguing in favor of Harper that I\nwas surprised when my drawing of the week was accepted for the concours.[22]<\/a>  I intend to have Harper with me over at the\nclub whenever I go so if you hear of a good touch fight over here you can\nfigure that we were in it.  No one can\nobject to my friend coming to the place in my company.\u201d[23]<\/a><\/p>\n\n\n\n

Fortunately, no violence occurred, and\nlater references indicate that Harper did on at least one occasion attend an\nexhibition at the club.  This objection\nto Harper\u2019s membership in the American Art Association is rather curious given\nthat Tanner was himself a member of the club.[24]<\/a>  Furthermore, Wannamaker, one of the founding\nmembers of the club and its president, was one of Tanner\u2019s sponsors.  <\/p>\n\n\n\n

In any event, Harper left Paris in the\nspring of 1904, so the club\u2019s membership dilemma became moot.  The estrangement between Harper and he club\nmust not have been too deep, however, since Harper listed his address in the\n1904 catalogue of the Exhibition of the Works by Chicago Artists of the Art\nInstitute of Chicago, January 28 \u2013 February 28, 1904 as 74 Notre Dame des\nChamps, Paris, which just happened to be the address of the clubhouse of the\nAmerican Art Association.<\/p>\n\n\n\n

Excerpts from Krehbiel\u2019s letters show a generally\nfriendly and collegial atmosphere among the Chicago boys.  They also reveal Harper\u2019s financial\nstruggles. While at least Krehbiel and Hagerman were supported by AIC\nscholarships[25]<\/a>\nand Browne by an AIC stipend[26]<\/a>, Harper was on his own\nfinancially:<\/p>\n\n\n\n

December 13, 1903 \u2013 <\/p>\n\n\n\n

\u201cNow Harper and Gruenhagen are anxious\nto have me give them composition lessons. \nWhenever they come in in the evening they usually find me busy in making\narrangements and sketching out ideas, so Harper one evening sat down and worked\nout some likewise.  I told him what I\nknew about it and since then he has been doing them right along.  As he says it \u2018It is just the thing I have\nalways needed for I learned to walk before I could crawl.\u2019 <\/p>\n\n\n\n

Harper is a fine chap and always a jolly\none to have around.  Gruenhagen is very\nserious but I like him too.\u201c<\/p>\n\n\n\n

December 20, 1903 – <\/p>\n\n\n\n

\u201cHarper intends to leave for England\nabout the middle of March and may return to the states that same fall unless\nsome good fortune should strike him.  Both\nhe and Gruenhagen are going to do some copying in the Louvre in a few\ndays.  There are many pictures there of\nwhich I would like to have copies so I may do the same sometime before I get\nthrough over here\u2026.<\/p>\n\n\n\n

Today has been another miserable rainy\nday.  Harper and I spent the time until\nnearly one oclock over in the Louvre looking at pictures until our heads swam.\nThis evening we four went down to the meeting in the Vitti Atelier [Students\u2019\nAtelier Reunions].  So far I haven\u2019t\nmissed a Sunday evening there as the talk given by Mr. Beach and the music are\ntoo good to miss.\u201d<\/p>\n\n\n\n

December 27, 1903 \u2013<\/p>\n\n\n\n

\u201cXmas day was very very quiet here.  In the morning I went down to Julians.  In the afternoon to [Duvenons?], but I didn\u2019t\nwork with very much heart for I felt the day was too sacred.  Still there wasn\u2019t any other alternatives in\norder to keep from being lonesome.  In\nthe evening it was different for Harper, Gruenhagen, an Australian named Geech\nand myself had a dinner in Gr. Studio.<\/p>\n\n\n\n

The day before we had left our order for\na cooked goose and even before that I had been to the market and laid in a\nsupply of nuts, oranges, apples, figs and the like.  On Xmas day Gruenhagen baked sweet potatoes\nand made cranberry sauce and we also had our corn cakes with syrup.  The dinner was a dandy and lasted from six oclock\nin the evening until twelve as we had to rest a spell every now and then in\norder to let things settle. After diner we played \u2018hearts\u2019 until very late but\nI didn\u2019t have any luck at winning which is merely another sign that I\u2019m in\nlove.\u201d<\/p>\n\n\n\n

January 3, 1904 \u2013<\/p>\n\n\n\n

\u201dToday has been a repeat of yesterday as\nfar as the nice weather is concerned, at least it was nice until a few hours\nago when it suddenly commenced to rain in torrents.  Harper and I went over to the Pantheon soon after\nbreakfast as he had never seen the decorations there and upon our return we\nstopped at the Museum Cluny which I had never visited although I had seen and\npassed by the old ruins in connection with the place many a time.\u201d<\/p>\n\n\n\n

January 11, 1904 \u2013<\/p>\n\n\n\n

\u201cI don\u2019t know whether Hagerman writes\nmore than once a week to his lady. \nBetween you and me, it appears that Hagerman is rather a fickle chap for\nhe is always talking of some \u2018stunning girl\u2019 whom he has just met and she is\ninevitably in his eyes a \u2018pearl\u2019.  No\ndoubt the girl in Oshaloosa is much to [sic] good for him, but it would be hard\nto have______it that way.  Poor\nGruenhagen is the only fellow in the crowd who hasn\u2019t a girl it seems for\nHarper has confessed to leaving one in Texas.\u201d<\/p>\n\n\n\n

Unfortunately, there is no further\ninformation on the girl that Harper left behind in Texas.<\/p>\n\n\n\n

January 24, 1904 \u2013<\/p>\n\n\n\n

\u201cYou see my English friend Geach advertised in the \u201cJournal\u201d the other day for a young Frenchman to exchange [French] lessons with I and for two days the postal service was compelled to use a wagon in delivering his mail.  He picked out two, and Harper got two and out of the bushel of letters he brought me I answered one and the fellow showed up immediately so you see there is no reason why one shouldn\u2019t learn French when there are so many Frenchmen dying \u201cparler\u201d French\u2026 <\/p>\n\n\n\n

Mr. Geach stopped here (as he thought\nfor a day on his way to Italy) in order to see his friend Harper but that one\nday has lengthened into nearly three months so well is he satisfied with the\nlittle colony of friends he now has here\u2026\u201d<\/p>\n\n\n\n

Krehbiel\u2019s January 24 letter continues\non with a rather catty description of the perceived work habit failings of\nanother one of the Chicago boys designated \u201cH\u201d (probably for Hagerman since he\nis mentioned in the previous paragraph), noting a striking contrast to Harper\u2019s\nhard work.  <\/p>\n\n\n\n

\u201cThis is all in the quiet Dulah for I\ndon\u2019t want to have the people at the Institute or the people who are furnishing\nhim with funds find out what little advantage he [\u201cH\u201d] is taking of his good\nchances.<\/p>\n\n\n\n

Harper who has no one but himself to\ndepend upon is a different sort of fellow. \nHe is always up about three hours before H, and by the time it gets to\nbe near daylight he is at work.  On Mon.\nand Thur. when he is unable to work at the Louvre he paints all day long in the\nstudio or else goes into the country to make additional sketches.  He is busy at the Louvre copying a sunset by\nDupr\u00e9 and\na landscape with an old church in it by Millet. \nHarper sent a number of things over for the Chicago Artists Ex, but I\nhaven\u2019t heard whether they arrived in time or whether they were accepted.  He and I are going to the Louvre this\nafternoon and upon our return from there we are going to stop at the club to see\nthe exhibition.\u201d  <\/p>\n\n\n\n

A search of the collective catalogue of the state museums of France managed by the Direction des Mus\u00e9es de France[27]<\/a> (Directorate of French museums) under the French Ministry of Culture shows that in 2019 the Louvre has 21 paintings by Jules Dupr\u00e9<\/a>, with two involving a sunset:  \u201cSoleil Couchant Apres l\u2019Orage\u201d (\u201cSun Setting after the Storm\u201d) and \u201cSoleil Couchant sur un Marais\u201d (\u201cSun Setting on a Marsh\u201d).  Both of these paintings were acquired in 1902, so either could have been the sunset painting that Harper was copying in January of 1904.  <\/p>\n\n\n\n

\"\"
“Soleil Couchant sur un Marais”:, Jules Dupre.

<\/figcaption><\/figure>\n\n\n\n
\"\"
“Soliel Couchant Apres l’Orage”, Jules Dupre.<\/figcaption><\/figure>\n\n\n\n

The Louvre also has 9 paintings by Jean\nFrancois Millet, with 83 in the collection of the Mus\u00e9es\nde France over all.  The only painting which appears to a church,\n\u201cL\u2019Eglise de Greville\u201d, is not currently in the Louvre, although the Louvre is\nlisted as a prior location.  This may be\nthe Millet painting referenced by Krehbiel. \n<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Official consent was required to copy\npaintings in the national museums.  To\nobtain such an authorization, the American student had to obtain a\nrecommendation from the American Ambassador, and present the same to the\n\u201cDirecteur des Mus\u00e9es Nationaux\u201d \u201cwho has his office in an\nupper room of the Louvre, up a wonderous winding staircase which one ascends\nlike a tower.\u201d[28]<\/a>  The Directeur would give a general permission\nto copy in the galleries of the Louvre, the Luxembourg, and other venues, and\nthen a special permission for specific paintings.  No payment was required for the permissions\nor for the gallery entrance, but a student did need to pay the guardian of the\nmuseum who provided an easel and stool, and took care of the canvasses when the\nstudent was not actively painting.  One\nstudent reported that:<\/p>\n\n\n\n

\u201cIt is awkward to attend to these detail when one does not speak French,\nand it is somewhat resented by the authorities because it gives them more\ntrouble\u2026.There are some pictures so popular that four or five are always\nwaiting for a chance to copy, and they secure first, second and third right to\nthe place in front of canvas.  They must\nwatch their opportunity to paint, but must decamp if the person with first\npermit demands it.  The word of the\nguardian is law when rights are disputed\u2026.Velasquez, Rembrandts and Titians, Millet\u2019s\nlandscapes, and Paul Potter\u2019s cattle are favorites with Americans.\u201d[29]<\/a><\/p>\n\n\n\n

While\nin Europe, Harper continued to submit paintings for AIC exhibitions.  On January 31, 1904, Krehbiel wrote: <\/p>\n\n\n\n

\u201cHarper has received a note from Mr.\nFrench saying that his pictures for the Chicago Ex. had been entered and now he\nis anxiously awaiting the news whether or not they were accepted by the\njury.  If they are hung I hope he will be\nfortunate enough to dispose of them so that he can remain over here for a\nlonger time.  He figures that now he can\nremain only until summer.\u201d<\/p>\n\n\n\n

As noted above, three of Harper\u2019s\npaintings were in fact accepted for the AIC art exhibition held January 28 \u2013\nFebruary 28, 1904.  There is, however, no\nindication as to whether those paintings sold. \nThe listing in the catalogue of the Exhibition of the Works of Chicago\nArtists at the Art Institute of Chicago was as follows:<\/p>\n\n\n\n

            \u201cHarper,\nWilliam A.- 74 Rue Notre Dame Des Champs, Paris[30]<\/a><\/p>\n\n\n\n

            82.       Cornish upland, Cornwall, England.   $100<\/p>\n\n\n\n

            83.       An ilex at St. Cloud, France.              $35<\/p>\n\n\n\n

            84.       A West Country slope corner.            $50\u201d<\/p>\n\n\n\n

That year there were 768 works of art\nsubmitted for examination by the jury, with 278 selected for the exhibition.<\/p>\n\n\n\n

By February, the weather was\noccasionally nice enough for Harper and Krehbeil to sketch out of doors.  On February 9:<\/p>\n\n\n\n

\u201cHarper and I started out early this\nmorning and went up the Seine and the Morne rivers by boat to Charenton about\nthree quarters of an hour from here. \nHarper has been up there often of late and was so enthused over the\nplace that we decided last night, if it was pleasant, to take our sketching\nbooks and spend the day out.  For once\nthe day started out fine and the tempirature \n[sic] was like that of a summer\u2019s day so we enjoyed the ride up the\nrivers and afterwards over ___ through the various small towns in the vicinity\nof Charenton.  One of these St. Maurce is\nthe birthplace of the painter Eug. Delacroix who died in 1863 and who is represented\nin the Art Institute by a number of pictures. \nWe only stopped to make one sketch apiece.  It was of an old stone mill on a canal near\nthe river.  I made mine on paper with the\nRaeffeli colors and it didn\u2019t turn out very well.  Later on in the afternoon the whole country\nwas overrun with people whom the hot sun brought out from Paris so we decided\nto leave about five oclock before the rush back to the city commenced. \u201c<\/p>\n\n\n\n

But on February 14, Krehbiel wrote, \u201cAll\nmorning I spent at the Louvre and this afternoon I bummed around with Harper\nuntil the rain drove us to cover\u2026\u201d.  On\nFebruary 21, \u201cHarper and I planned to walk to St. Cloud to-day in order to get\na little exercise but as usual the weather is too wet to go out\u2026\u201d<\/p>\n\n\n\n

Work and weather notwithstanding, Harper\nand Krehbiel did take time to enjoy themselves, with Krehbiel\u2019s February 21\nletter containing the following account of the earlier Mardi Gras celebration\nin Paris.<\/p>\n\n\n\n

\u201cLast Thursday was \u201cMardi Gras\u201d day here\nand it was celebrated in the street in rollicking style.  It is the Catholic\u2019s last chance to have a\ngood time before Lent and them make the most of their opportunity.  Harper and I went down Boulevard St. Michel\nwhich starts near here about seven [?] oclock last night in order to see the\nfun.  The sidewalks were crowded with\npeople and as it had been raining hard during the afternoon the pavement was\nankle deep with mud.  The \u201cBal Boulliers\u201d\n[?] is near the end of St. Michel and everywhere could be seen gay crowds in\ncostumes making for that noted dance hall. \nHarper & I found it rather difficult getting through the crowds and\nevery now and then we would run into a blockade and have to stop.  A gang of students would get a couple of\ngirls in a circle and keep them there by running around and round and all the\ntime singing a song.  Then after the\ngirls had been thoroughly kissed they would be permitted to go on their way.  It is customary to throw \u201cconfetti\u201d at each\nother on this occasion.  The stuff is\nmade of heavy paper, and cut into very small disks and this is thrown by the\nhandful.  The girls throw at the boys and\nvice-versa.  Whenever a girl throws a\nhandful of \u201cconfetti\u201d in one\u2019s face it gives him license to kiss her provided\nhe can catch her.  Harper and myself had\nenough of it thrown at us but we didn\u2019t enter into the sport.  Many men were dressed up as women and the\nwomen made up like men.  One of the\nfunniest sights I have ever seen took place that evening.  One fellow dressed as a woman with a high hat\nand swell make up made love to all the policemen along the route.  Harper and I followed him for quite a ways\nand almost died laughing to see him approach a policeman.  He certainly acted well.\u201d<\/p>\n\n\n\n

The discussion of Hagerman\u2019s work ethic also\ncontinued in the February 21 letter, and Harper seems to have concurred with\nKrehbiel:<\/p>\n\n\n\n

\u201cBy-the-way do you know that Hagie\u2019s\n[Hagerman] \u201cbelle dame\u201d is going to show up here in Paris on next Sat.?…Hagie\nsays \u201cIt is all off with Etaples[31]<\/a> now\u201d so I imagine that he\nwill extend his summer here in Paris and Harper adds \u2018Yes and now it will be\nall off with work for Hagie\u2019 which may be equally true since he hasn\u2019t taken\nany very great fancy to work since he has been here.\u201d<\/p>\n\n\n\n

In his letter of January 24 (see above),\nKrehbiel discusses Harper painting in \u201cthe studio\u201d when he is unable to paint\nat the Louvre.  It is not clear in that\ninstance whether the referenced studio belongs to Harper, or whether it might\nmean another venue, such as the Acad\u00e9mie Julian.  Krehbiel\u2019s February 28 letter, however, makes\nit clear that Harper does have his own studio:<\/p>\n\n\n\n

\u201dI started out without my raincoat\nthinking that I wouldn\u2019t need it but I soon found out that it was rather chilly\nafter all.  So I came back here, had a\nlight lunch, and then set out on a three hour and a half tramp which took me\nover a good part of the southeastern part of the berg and afterwards across the\nriver into northern Paris.  By the time I\ngot back to Harper\u2019s studio I was hungry enough to eat a raw bear had one\ncrossed my path.  Later on Harper and I\nwent to church, where we met Hagerman and Miss Rosenberger.  Their party had arrived about the middle of\nthe afternoon and I think Hagie might have given the poor girl a rest instead\nof trotting her down to the meeting.  She\nlooked very tired and I liked her.\u2019\u2019<\/p>\n\n\n\n

Krehbiel not only held Harper in high\nesteem as a friend and artist, but also sought out his opinion on his art work.  As the February 28 letter continued:<\/p>\n\n\n\n

\u201cAnother composition on which I spend\nmore than a half day represented the old mill at Clarendon.  I had Harper see it one afternoon when he\ndropped in and he didn\u2019t recognize it as the mill we had sketched the other\nSunday.<\/p>\n\n\n\n

This composition [referring to a sketch\nin the letter] is also very low in tone and represents the embarking of a barge\nof grain for the little mill in the ravine. \nThe men in the lower right had corner are on the barge lifting the sacks\nonto the dock.  Others are putting the\nsacks in a pile while still others are carrying them to the mill.<\/p>\n\n\n\n

Harper liked the thing immediately and\nbegged (?) me not to touch it again. \nHowever it isn\u2019t what I want as yet, so I intend to work on it until I\nget it right.\u201d<\/p>\n\n\n\n

We are also indebted to Krehbiel for the\nknowledge that Harper was a good cook. \nIn his letter dated March 12, 1904, Krehbiel wrote:<\/p>\n\n\n\n

\u201cIt wasn\u2019t until late in the afternoon\nthat I got back here almost supper time.  \nHarper suggested that we have supper with him (Geech and myself) so we\nchipped in on the expense and had a rousing good meal for Harper is a good cook\nas well as a painter.<\/p>\n\n\n\n

After that we all went to the [Sunday\nevening] meeting.  I did not see Hagie\nand the lady there this evening although they may have been present in the\ncrowd without my noticing it\u2026.\u201d<\/p>\n\n\n\n

In that same letter, Krehbiel discussed\nHarper\u2019s ongoing financial difficulties and his challenges as a \u201ccolored man\u201d\npainting in the U.S.:<\/p>\n\n\n\n

\u201cHarper has written to Miss Willard[32]<\/a> in order to find out\nwhether she will be able to sell some small sketched in oil for him.  I have been urging Harper to remain over on\nthis side of the water if he could possibly arrange to do so. <\/p>\n\n\n\n

A colored man whether in the north or\nthe south isn\u2019t treated with very much consideration in the states while here\nit is entirely different.  If I were in\nhis place I would go to England (where he likes it) get a small piece of land,\nwhich can be had for 25 dollars per year and sketch there until my work would\nsell.  <\/p>\n\n\n\n

Harper likes the idea and may carry it\nout for I don\u2019t doubt but that he will be able to make his living ere long from\nwhat he produces.<\/p>\n\n\n\n

It is very good of you to give so much\ntime and trouble trying to dispose of his things.  I haven\u2019t said anything about it to him for\nhe might be come to [sic] hopeful that some of the stuff would be sold and make\nhis plans accordingly.<\/p>\n\n\n\n

I hope that Miss Willard will be able to\nsell some of the smaller pictures, for I believe they would sell more readily\nthan the larger ones.  In the modern\nbuildings the rooms are usually so small that a large picture cannot be seen,\nso I should think that there would be a demand for little pictures\u2026.\u201d<\/p>\n\n\n\n

There is no report in any\nof Krehbiel\u2019s letters as to whether or not Evans or Willard had any success in\nthe sale of Harper\u2019s paintings.  <\/p>\n\n\n\n

In early March of 1904,\nCharles Francis Browne arrived in Paris after a painting sojourn in Scotland,\nand, according to Krehbiel, \u201cimmediately came over to see Harper\u201d. [33]<\/a>  As noted earlier, Browne is one of two\nindividuals identified as mentors of Harper. \nBrowne was both an accomplished painter and an instructor at the AIC,\nwith the AIC providing Browne support of $600 for his time in Europe.  Browne\u2019s plans were to remain in France until\nafter the Paris Salon and then return to Scotland. [34]<\/a>  <\/p>\n\n\n\n

The Paris Salon was the\nofficial art\nexhibition<\/a> of the Acad\u00e9mie des Beaux-Arts<\/a> in Paris<\/a> and every artist and art student in\nParis aspired to have a painting \u201caccepted\u201d by the Salon.  The \u201cChicago boys\u201d were no exception.  According to Krehbiel\u2019s letters of March 12\nand March 20, Harper submitted a landscape for the 1904 Salon, Krehbiel and\nGruenhagens each submitted two paintings, and Hagerman submitted one\npainting.  Browne also submitted a\npainting.  None of the paintings appear\nto have been accepted, however, as none of the four students, nor Browne, are\nlisted in the \u201cCatalogue Illustr\u00e9 du Salon\nde 1904\u201d.  With regard to the Salon,\nKrehbiel wrote in his March 20 letter:<\/p>\n\n\n\n

\u201cI wish that you could have witnessed\nwhat has been going on in this vicinity since the opening of the salon.  In whatever direction one would look, one\ncould see \u201cscads\u201d of pictures carried along or being loaded into carts.  One never knows really which are artists\nhacks [studios] or musicians until Salon time when they begin to cart out their\npictures.<\/p>\n\n\n\n

Harper and I passed the Grand Palace\nto-day, and stopped for awhile to see the many wagons unloading their stuff\ninto the building.  The street was full\nif men carrying or wheeling along pictures and at the long entrance there was\nalmost a blockade of big furniture vans each one pouring its share of pictures\ninto the building.\u201d<\/p>\n\n\n\n

At the\nsame time as the Salon was taking place, a competing Salon des Ind\u00e9pendants (Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants) was\nbeing held at the Grandes Serres de la Ville de Paris (Cours-la-Reine).  The Salon des\nInd\u00e9pendants was an annual independent art exhibition established in 1884 in\nresponse to the rigid traditionalism of the official government-sponsored\nSalon.  The Salon des Ind\u00e9pendants\nallowed artists to present their works to the general public directly, rather\nthan through the selective method of the government Salon.  According to Article 1 of the By-laws of the\norganization: “The purpose of Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants\u2014based on\nthe principle of abolishing admission jury\u2014is to allow the artists to present\ntheir works to public judgement with complete freedom”.  In 1904, 2,395 works were exhibited.[35]<\/a>  The modern avant-guarde paintings, however,\nwere often ridiculed by critics.  The\nAmerican students were no different, and Harper in particular seems to have\nfailed to appreciate the newer trends in art. \nAs Krehbiel wrote on March 20:  <\/p>\n\n\n\n

\u201cSome blocks further on is a large glass\npalace facing the river.  A large sign\nsays that the Independent Artist Exhibit is within.  I saw the sign last Sunday from across the\nriver while with the Julian mob and since then I have heard people tell of what\na frightful exhibit it really was.  So I\ntold Harper if he would go along I\u2019d pay his way in.<\/p>\n\n\n\n

Well it was a regular circus!  Just imagine some fifteen hundred pictures\nany of which could have been improved upon by your Saturday students.  Painted in all the colors of the rainbow and\nin every manner imaginable.  Harper and I\nsaw the thing from start to finish and it proved to be such a treat to Billie\nthat we remined there an hour and a half. \nEvery few minutes Harper would double up with laughter and I had to warn\nhim continually lest he might offend the artist if he chanced to be near.  Harper said that a man who had gaul [sic]\nenough to think that stuff of that kind was art ought to be offended.  Which happened to be pretty near true in this\ncase.  The independent artists are\ncertainly a lot of independent individuals. \nThey have no jury.  Membership can\nbe had by paying five francs which will entitle you to send in five pictures\nwhich are hung without fail.  I\u2019m\nthinking of going it before long.<\/p>\n\n\n\n

I hadn\u2019t expected to find things quite\nas bad as they were.  I had imagined when\npeople told me of the show that they might be a little prejudiced and that\nperhaps one would find there after all some \u201cartistic daubs\u201d which are often\npreferable to so called finished pictures. \nBut in this I was mistaken for by far the greater part of the stuff\nlooked like childrens work.<\/p>\n\n\n\n

We ran across Hubbell in the\nexhibit.  He shook his head and said that\nhe couldn\u2019t understand it at all \u2013 then he added that Paris is certainly the\nart center for it is only here that such stuff would be allowed in a show.\u201d<\/p>\n\n\n\n

The\nletter went on to say:<\/p>\n\n\n\n

\u201cHarper and\nBrown[e] are going down to a place near Barbizon in a few days where they will\nvery likely stay until the opening of the Salon on the first of May.  After that Harper might go to England and\nBrown shall return to Scotland.  <\/p>\n\n\n\n

By-the-way,\nHarper has been offered a position as instructor in drawing in Booker T.\nWashingtons school down in Alabama.  He\nrather likes the idea of attaching himself to that institution in case he will\nbe allowed sufficient time as that he can keep at his painting.  That school is being backed pretty heavily by\nwealthy men and it may be that if he should go there it would be the means of\nhis meeting some rich \u201cbugger\u201d who thought well enough of his work to launch\nhim onto a carreer [sic].<\/p>\n\n\n\n

You know that\nTanner has been backed for a good many years by Mr. Wanemaker [sic] and just\nrecently I heard it said that some wealthy Chicago woman has made it possible\nfor Hubbell and his family to remain over here for the last seven years.<\/p>\n\n\n\n

Harper tells me\nthat Wm. Wendt has been backed for years by a wealthy Chicago doctor so one\nbegins to see why some are able to hold out until success strikes them while\nothers fall by the wayside\u2026.<\/p>\n\n\n\n

I saw the things Hubbell sent to the\nSalon.  There was a reception at his\nstudio last Wed. afternoon from two until four. \nHarper and I went over together and staid [sic] some time.\u201d <\/p>\n\n\n\n

The\nreference to Booker T. Washington\u2019s school was to Tuskegee University, in\nTuskegee, Alabama.  There is no evidence,\nhowever, that Harper ever did teach at Tuskeege.  All indications from subsequent newspaper articles\nand publications are that he returned to the Chicago area at the 1904, and none\nappear to contain references to Tuskegee.<\/p>\n\n\n\n

On March\n27, Krehbiel reported that:<\/p>\n\n\n\n

\u201cHarper left last\nTues. so that since then I haven\u2019t been in their room.  While he was still here he and I were\ntogether often in the evenings for I like Harper who manages to keep a cheerful\ndisposition even in the face of adversity. \nI wish I were built on the same principal but I am afraid that I am\nnot.  However whenever I get with a\nperson who is in good spirits I usually contract the same disease and likewise\nforget my troubles.  Perhaps it was for\nthis reason that we were together so often. \nAnyway I have missed him this week.<\/p>\n\n\n\n

Harper and Chas\nFrancis Brown[e] went down to a little burg somewhere south of here last\nTuesday morning.  In all likelihood he\nwill remain there until the show opens here in May\u2026.\u201d <\/p>\n\n\n\n

This\nletter, like others, suggests that Harper lived fairly close to Krehbiel, but\nhis exact address is not known. \nLikewise, it is not clear who Krehbiel meant when referring to \u201ctheir\nroom\u201d.  The phrasing indicates that\nHarper was sharing a room, but his roommate is not specifically identified in\nany of the letters.<\/p>\n\n\n\n

Thus, Harper and Browne\nleft Paris together in mid-March. \nAlthough Krehbiel references the town of Barbizon located in the\nSeine-et-Marne department of north-central France, an additional destination\nwas Montiguy, a village situated on the banks of the Loing River, likewise\nlocated in Seine-et-Marne.  Two of\nHarper\u2019s paintings listed in the catalogue of Exhibition of Works by Chicago\nArtists at the AIC January 31 \u2013 February 26, 1905 were painted in Montigny: \u201cEarly\nafternoon, Montigny, France\u201d and \u201cBanks of the Loing, Montiguy, France\u201d.  It is not known how long Harper stayed in\nMontiguy, but according to the catalogue for the \u201cExhibition of Paintings and\nSketches by Charles Francis Browne\u201d held at the AIC in December of 1904, Browne\npainted in Montiguy during the months of March, April and May of 1904. <\/p>\n\n\n\n

Following his stay in the\nFrench countryside, it appears that Harper returned to Cornwall.  William Wendt was in back in Cornwall after a\ntrip to the continent beginning in March and remained there through the summer[36]<\/a>, so it is logical that\nHarper returned to continue his painting with Wendt.  In any event, seven of Harper\u2019s nine\npaintings listed in the catalogue of Exhibition of Works by Chicago Artists at\nthe AIC January 31 \u2013 February 26, 1905 were painted in Cornwall.  The full listing from that catalogue is as\nfollows:<\/p>\n\n\n\n

            \u201cHarper, William A. \u2013 Art Institute, Chicago<\/p>\n\n\n\n

            100.     Morning,\nmidsummer, Cornwall, Eng.            $150<\/p>\n\n\n\n

            101.     Early\nafternoon, Mongigny,, France.  $150<\/p>\n\n\n\n

            102.     The\nhedgerow, Cornwall, Eng.                       $100<\/p>\n\n\n\n

            103.     Eventide,\nCornwall, Eng.                                $50<\/p>\n\n\n\n

            104.     Banks of\nthe Loing, Montigny, France           $100<\/p>\n\n\n\n

            105.     The potato\nfield, Cornwall, Eng.                     $35<\/p>\n\n\n\n

            106.     Lobbs\nhouse, Cornwall, Eng.             $35<\/p>\n\n\n\n

            107.     Grey day,\nCornwall, Eng.                               $35<\/p>\n\n\n\n

            108.     Quiet morning,\nCornwall, Eng.                       $35\u201d<\/p>\n\n\n\n

On October 24, 1904 Harper\nset sail on the S.S. Parisian from Liverpool, England, arriving at the port of\nMontreal on November 6, 1904.[37]<\/a>  The ship\u2019s manifest lists Harper as an\nartist, whose final destination is Chicago \u201chome of Art Institute\u201d, and notes\nthat Harper had $15 in his possession. <\/p>\n\n\n\n

[Discuss influence of exposure to tonalism (Cornwall) and the Barbazon school on Harper?]<\/em>
<\/p>\n\n\n\n

\n\n\n\n

Footnotes:<\/p>\n\n\n\n

[1]<\/a> \u201cAmerican Artists in St. Ives\u201d by David Tovey, https:\/\/www.stivesart.info\/american-artists-in-st-ives\/<\/a> .  Documents on the Life and Art of William Wendt, by John Alan Walker, 1992, pg. 47.<\/p>\n\n\n\n

[2]<\/a> \u201cJohn Noble Barlow (1860-1917) \u2013 A Centennial Tribute\u201d, The Siren, Issue No. 14, October 2017, a newsletter authored by David Tovey regarding St. Ives art and artists, https:\/\/drive.google.com\/file\/d\/1ht830l9nFh9xzFRh_MfAJI7APQJprxcr\/view<\/a> .<\/p>\n\n\n\n

[3]<\/a> Albert Krehbiel papers.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[4]<\/a> See: https:\/\/sites.google.com\/site\/academiejulian\/home<\/a> <\/p>\n\n\n\n

[5]<\/a>  Henry Ossawa Tanner was considered the foremost\n\u201cNegro\u201d artist of the time.<\/p>\n\n\n\n

[6]<\/a> Henry Ossawa Tanner, American Artist, by Marcia M. Mathews, 1969, p. 57.<\/p>\n\n\n\n

[7]<\/a> The\nJulian Adademy, Paris 1868 \u2013 1939, \u201cSpring Exhibition 1989\u201d, essays by\nCatherine Fehrer, Shepherd Gallery, N.Y.<\/p>\n\n\n\n

[8]<\/a> A\nReading Journal Through France, \u201cArt Life in Paris\u201d, by Fanny Rowell,\nChautauquan 30:408, January 1900.<\/p>\n\n\n\n

[9]<\/a> \u201cThe\nStory of an Artist\u2019s Life, by H.O. Tanner, The World\u2019s Work,\nVol. XVIII, May to October, 1909, p. 11770.<\/p>\n\n\n\n

[10]<\/a> Krehbiel\n\u2013 Life and Works of an American Artist, by Robert Guinan, 1991, p. 5.<\/p>\n\n\n\n

[11]<\/a> Albert Krehbiel, <\/a>(March 12, 1904) \u201cLetters of Albert\nKrehbiel\u201d.  Archives of American Art,\nSmithsonian.<\/p>\n\n\n\n

[12]<\/a> Albert\nKrehbiel, (October 8, 1903) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[13]<\/a> Albert\nKrehbiel, (October 8, 1903) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[14]<\/a> Henry\nOssawa Tanner, American Artist, by Marcia M. Mathews, 1969, p. 65.<\/p>\n\n\n\n

[15]<\/a> Albert\nKrehbiel, (October 25, 1903) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[16]<\/a> Albert\nKrehbiel, (November 29, 1903) and (December 20, 1903) \u201cLetters of Albert\nKrehbiel\u201d.  Archives of American Art,\nSmithsonian.<\/p>\n\n\n\n

[17]<\/a> Albert\nKrehbiel, (November 29, 1903) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[18]<\/a> A\nReading Journal Through France, \u201cArt Life in Paris\u201d, by Fanny Rowell,\nChautauquan 30:406-7, January 1900.<\/p>\n\n\n\n

[19]<\/a> Henry\nOssawa Tanner, American Artist, by Marcia M. Mathews, 1969, p. 61.<\/p>\n\n\n\n

[20]<\/a> A\nReading Journal Through France, \u201cArt Life in Paris\u201d, by Fanny Rowell,\nChautauquan 30:406, January 1900.<\/p>\n\n\n\n

[21]<\/a> Albert\nKrehbiel, (January 3, 1904) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[22]<\/a>\nWeekly competitive exams on Sundays at the Acad\u00e9mie Julian.<\/p>\n\n\n\n

[23]<\/a> Albert\nKrehbiel, (January 11, 1904) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[24]<\/a> Henry\nOssawa Tanner, American Artist, by Marcia M. Mathews, 1969, p. 61.<\/p>\n\n\n\n

[25]<\/a> Krehbiel\n\u2013 Life and Works of an American Artist, by Robert Guinan, 1991., p. 5<\/p>\n\n\n\n

[26]<\/a> Albert\nKrehbiel, (March 12, 1904) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[27]<\/a> http:\/\/www2.culture.gouv.fr\/documentation\/joconde\/fr\/recherche\/rech_libre.htm<\/a> <\/p>\n\n\n\n

[28]<\/a> A\nReading Journal Through France, \u201cArt Life in Paris\u201d, by Fanny Rowell,\nChautauquan 30:410, January 1900.<\/p>\n\n\n\n

[29]<\/a>\nIbid, p. 410-12.<\/p>\n\n\n\n

[30]<\/a>\nAddress of American Art Association\/Club in Paris.<\/p>\n\n\n\n

[31]<\/a> Etaples – Small artist colony and\nfishing port on the north bank of the Canche river, on the train line between\nParis and London.  Henry Ossawa Tanner\nhad a home nearby (in addition to his Paris apartment).<\/p>\n\n\n\n

[32]<\/a>\nMiss Geneva Willard was on the staff of the AIC, and the exhibition catalogues\nof the AIC generally referred those interested in purchasing paintings to Miss\nWillard at \u201cthe desk\u201d.<\/p>\n\n\n\n

[33]<\/a> Albert\nKrehbiel, (March 12, 1904) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[34]<\/a> Albert\nKrehbiel, (March 12, 1904) \u201cLetters of Albert Krehbiel\u201d.  Archives of American Art, Smithsonian.<\/p>\n\n\n\n

[35]<\/a>\nWikipedia, https:\/\/en.wikipedia.org\/wiki\/Soci\u00e9t\u00e9_des_Artistes_Ind\u00e9pendants<\/a>\n<\/p>\n\n\n\n

[36]<\/a> \u201cAmerican\nArtists in St. Ives\u201d by David Tovey, https:\/\/www.stivesart.info\/american-artists-in-st-ives\/<\/a>.  Documents on the Life and Art of William\nWendt, by John Alan Walker, 1992, pg. 47.<\/p>\n\n\n\n

[37]<\/a> List or Manifest of Alien Passengers for the U.S. Immigration Officer at Port of Arrival, National Archives and Records Administration.<\/p>\n","protected":false},"excerpt":{"rendered":"

Following the conclusion of the 1902-03 school year in Houston, Harper left teaching and departed for Cornwall, England, located in the southwestern most part of England.  William Wendt was at that time painting in St. Ives, Cornwall, having arrived in May of 1903.[1]  Wendt had been briefly a student at the AIC, and was at … Continue reading “First Trip to Europe”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":53,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"_links":{"self":[{"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/pages\/293"}],"collection":[{"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/comments?post=293"}],"version-history":[{"count":5,"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/pages\/293\/revisions"}],"predecessor-version":[{"id":446,"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/pages\/293\/revisions\/446"}],"up":[{"embeddable":true,"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/pages\/53"}],"wp:attachment":[{"href":"https:\/\/www.williamaharper.com\/wp-json\/wp\/v2\/media?parent=293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}