The Inquisitive Aesthete

Tag: art history

  • Is This The First Female Hawaii Volcano School Artist

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    What Little We Know About The Life and Art of Clara Gregory Lindsay

    In 1891, Clara Gregory Lindsay became one of the earliest women to show her artwork in Hawaiʻi. It’s possible she is the first female painter of Hawaii’s renowned Volcano School. Although long forgotten, Clara was a socialite. With a generous spirit, and creative force whose paintings reflected the vitality she brought to her community.

    Her work, ranging from ink portraits to a luminous 1895 volcano painting, reveals a woman who possessed a deep connection to the culture and radiant landscapes of Hawaii.

    Early Life and Arrival in Maui

    Born Clara Fowler Gregory in Illinois on March 29, 1867, Clara suffered the loss of both her parents before she was six years old. Her parents were originally from New York and Connecticut. By the late 1880s, she had moved to Hamakua-poko, Maui, to live with her aunt and uncle, Mr. and Mrs. Charles Loveland. The Lovelands were respected figures in the island’s missionary and civic community.

    Historical records show her name in various forms, including Claire, Clare, or Clara, often with the middle or family names Fowler (or Fowlar) and Gregory.

    Artistic Recognition and Style

    Lindsay’s art is technically refined and publicly admired. She worked in diverse mediums including pencil, pen and ink, watercolor, and oil painting, transforming Maui’s lush landscapes and Hawaii’s fiery spectacles into intimate visions of beauty. Visitors to her Makawao home specifically praised her ability to capture the unique color effects of the island scenery.

    Her first major public recognition occurred in 1891. The Honolulu Star-Bulletin reported that “Miss Clare F. Gregory… has just completed an India-ink portrait of his late Majesty,” which was exhibited at King Bros’ art store. The publication highly praised the life-sized bust of King Kalakaua, noting that “Miss Gregory’s pencil has been quite active, and its productions entitle her to a high place among local artists”.

    A Rare Female Voice in the Volcano School

    A significant surviving work, “Volcano at Night” (1895), places Lindsay within the closing phase of Hawaiʻi’s celebrated Volcano School. The Volcano School was an informal circle of painters active between 1880 and 1900 who depicted volcanic landscapes of Hawaii.

    This 40 x 23-inch oil on canvas depicts Kīlauea’s Halemaʻumaʻu Crater, featuring a molten lava lake that illuminates the ridges and clouds with a fiery glow. The composition, with its swirling arc of dark rock and hints of blue, recalls the palettes and aesthetics of renowned artists Jules Tavernier and Charles Furneaux.

    Painted six years after Tavernier’s death, Lindsay’s work demonstrates that the tradition continued well into the 1890s and represents an extremely rare female perspective within the Volcano School movement.

    “Volcano at Night” (1895): Oil on canvas depicting Kīlauea’s Halemaʻumaʻu crater; signed “C. G. Lindsay

    Marriage and Community Service

    On July 25, 1894, Clara married David Colville Lindsay, a bookkeeper for the Paia Plantation, at the Makawao Protestant Church. Settling in Paia, Clara became a leader in community and church affairs.

    She combined her artistic life with civic service, teaching Sunday School and leading charitable projects. By 1895, she was elected president of the Makawao Ladies’ Aid Society, working alongside other prominent women in education and philanthropy. Her dual role as an artist and community builder embodied the late-Victorian ideal of uniting beauty with benevolence.

    Death and Legacy

    One of her last known artistic commissions was a pen-and-ink enlargement of a portrait of Hon. H. P. Baldwin, which was displayed at the Baldwin National Bank of Kahului and noted for its accuracy.

    Tragically, Clara Gregory Lindsay died on June 16, 1912, at the age of 45, due to complications following an appendectomy at Paia Hospital. She had recently returned from a visit to Scotland, and her sudden death was a shock to the Maui community. She was survived by her husband, four daughters, and her aunt.

    Clara Gregory Lindsay occupies a vital, yet long-overlooked, place in the story of women artists in Hawaiʻi. She expanded the Volcano School tradition beyond its masculine origins ensuring that a woman’s vision of Hawaiʻi’s natural sublime would endure on canvas.

    Known Works

    • India Ink Portrait of King Kalakaua (1891): Exhibited at King Bros.’ Art Store, Honolulu.
    • “Volcano at Night” (1895): Oil on canvas depicting Kīlauea’s Halemaʻumaʻu crater; signed “C. G. Lindsay”.
    • Portrait of Hon. H. P. Baldwin (c. 1911–12): A pen-and-ink enlargement displayed at Baldwin National Bank.
    • Watercolor Landscapes of Maui: Various dates; mentioned in her obituary as widely admired.

    Author’s Note: Reconstructing a Lost Legacy

    This post has been pieced together from limited research, including 19th and early 20th-century newspaper archives, probate records, census data, and surviving artworks. These fragments reveal a woman whose artistic and civic contributions were deeply intertwined and who serves as a vital link between the missionary generation and the emergence of modern Hawaiian art.

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  • Edouard Garcia Benito’s Gift to Condé Nast

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    The Painting I Sold Too Soon

    Edouard Garcia Benito - Condé Nast
    Edouard Garcia Benito’s painting for Condé Nast

    I acquired this painting as part of a lot of five works. I admired its vibrant elegance when I saw it, but it didn’t fit my collection. I let it go, and later discovered how significant it truly was.

    It wasn’t just an attractive piece of art; it was a personal gift from the Spanish Art Deco master Edouard Garcia Benito to none other than Condé Nast, the visionary publisher behind Vogue and Vanity Fair.

    The dedication reads:

    “Le monsieur Nast très sophistiqué et penseur” — To Mr. Nast, a very sophisticated and thoughtful man.

    I misread the inscription, thinking it said something closer to Le monsieur naît (born). My impatience with getting an accurate translation meant I missed the key clue. Only when I stumbled on an image of this piece in my photos did I revisit and solve the puzzle — a bittersweet reminder that sometimes it pays to slow down in art research.

    Provenance suggests it passed directly from Benito to Nast, and later through the venerable New York gallery M. Knoedler & Co., long before Knoedler’s controversies. The elegant woman depicted may be Natica Nast, Condé’s daughter, who was often portrayed in fashionable hats.

    The composition is pure Art Deco glamour: a graceful woman in a gown, clasping her clutch under her arm, her face softly abstracted, framed by lush blossoms of red, pink, and yellow. Her red lips draw the eye, balanced by the upright figure of a man in formal evening attire behind her, hands on his hips, exuding confidence. The brushwork is loose yet deliberate, with bold swaths of color — crimson, canary yellow, moss green, deep navy — set against areas of untouched white. It’s signed E. G. Benito in the lower left, along with the inscription to Nast. The mood is equal parts sophistication and flirtation, the hallmark of Benito’s fashion illustration sensibility.

    I rarely look back on pieces I’ve let go. But letting this painting go might nag at me. It wasn’t just a beautiful work but a tangible link between two giants of 20th-century culture.

    If there’s a lesson here, it’s take your time, dig deeper, and never underestimate what a closer look might reveal. And sometimes you might want to add a zero to the price…

    About Edouard Garcia Benito

    Edouard Garcia Benito (1891–1981) was born in Valladolid, Spain, and trained at the School of Fine Arts in Valladolid and San Fernando in Madrid before moving to Paris in 1912. Immersed in the city’s avant-garde, he befriended artists like Modigliani and Dufy and began creating fashion illustrations for elite publications such as La Gazette du Bon Ton.

    His big break came in the early 1920s when couturier Paul Poiret introduced him to Condé Nast. Benito went on to produce nearly 100 covers for Vogue and Vanity Fair, defining the magazines’ Art Deco aesthetic with his bold geometric forms, elongated figures, and sophisticated minimalism. He alternated between painting society portraits and creating witty, stylish illustrations, leaving a lasting imprint on both fashion and fine art.

    About Condé Nast

    Condé Montrose Nast (1873–1942) transformed magazine publishing in the early 20th century. Acquiring Vogue in 1909 and launching Vanity Fair soon after, he targeted the cultural elite with a mix of high fashion, society reportage, and cutting-edge design. Nast had a keen eye for visual talent, employing some of the era’s most important illustrators and photographers, including Benito, George Lepape, and Edward Steichen. His publications became cultural barometers, shaping taste and style for generations.

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  • The Evolution of Madness: Discovering Bragg’s Double Vision

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    Charles Bragg’s Asylum Paintings

    In my home growing up there was a large framed Sutton Galleries poster of Charles Bragg’s The Asylum. It was larger than life, way beyond comprehension for my adolescent mind. It frightened and perplexed me, but I couldn’t help but stare at it, knowing something was going horribly wrong.

    As a distraction from everyday activities, I recently decided to research this piece, only to once again become perplexed. I discovered that books, exhibition brochures, and websites showed two different paintings of the same name. It’s not unheard of for an artist to use the same title when painting copies of their own pieces, but these were similar yet very different scenes.

    I decided to go down the rabbit hole and sure enough, Bragg did in fact paint two Asylums: one oil on paper (16 x 34 inches), and another oil on board (30 x 40 inches)—the piece I grew up mesmerized by.

    These two distinct and compelling versions masterfully depict the artist’s satirical yet disturbing view of American society’s madness. Below is a brief exploration and comparison of these iconic paintings, shedding light on their profound symbolism and thematic evolution.

    Brief Introduction to Charles Bragg

    Charles Bragg (1931–2017) was an American artist renowned for his deeply satirical and often cynical depictions of humanity. Described as the modern-day Hieronymus Bosch, his work is a social commentary and critiques the follies of politics, religion, war, and societal norms. The year 1968 was a period of immense global turmoil—marked by the Vietnam War, political assassinations, and widespread civil unrest. Bragg’s two Asylum paintings from this year serve as powerful allegories for a world he saw as having descended into madness, with the lunatics running the institution. Though they share a title and a theme, these two works offer distinct, complementary visions of this societal asylum.

    1. The Asylum (1968, Oil on Paper, 16″ x 34″)

    Charles Bragg - The Asylum 1968, Oil on Paper, 16" x 34"
    Charles Bragg, The Asylum, 1968, oil on paper, 16 x 34 in. Collection of NSU Art Museum Fort Lauderdale, Gift of D. Robert Silber. Image source.

    Overview

    This horizontally oriented painting offers a chaotic, almost carnivalesque representation of societal breakdown. The palette is vibrant yet unsettling, dominated by surreal colors ranging from muted blues and reds to earthy tones and grayish hues. It possesses a satirical wit that underscores its commentary on madness, war, and institutional corruption.

    Central Imagery

    At the heart is a figure resembling a king or tyrant, absurdly enthroned atop an enormous skull, draped in striped pants, and wielding symbols of mock authority. His absurd attire and comically fierce expression heighten the ridicule of oppressive authority figures. The giant skull symbolizes death underpinning authority, hinting at the destructive nature of unchecked power.

    Key Symbolic Elements

    • Central Throne (Giant Skull): Represents authority built upon death and violence.
    • Tyrannical Figure (King): Satirical embodiment of oppressive, authoritarian madness. His striped pants and self-important posture heighten the mockery.
    • Mechanized madness (Smokestacks): Symbols of man-made destruction, pollution, and societal corruption.
    • Populace and War (Cannon): A massive cannon is aimed not at a foreign enemy, but at a huddled mass of pale, ghoulish figures—the common people, who are the ultimate victims.
    • Blind Obedience (Animal-Human Hybrids): Figures illustrating blind conformity and loss of individual identity.
    • Institutional corruption (Dilapidated Cathedral): Symbolizes the decay of faith and civilization.
    • Detritus (American self-deprecation): Skulls, bones, and grotesque creatures like a star wearing lizard battling an obese counterpart—a critique of Americans.

    Interpretation
    Though unsettling, the painting maintains a darkly comic undertone. It critiques institutional madness, war, hypocrisy, and authoritarian absurdity, using humor and grotesquerie to expose the folly behind power structures and societal collapse.

    Exhibition Catalogue

    • Taylor, Geoffrey. “The Asylum. 1968 oil, 16 x 34″.” The Absurd World of Charles Bragg. New York: H. N. Abrams, 1980, pp. 2-3.
    • Taylor, Geoffrey. “The Asylum. 1968 oil, 16 x 34″.” The Absurd World of Charles Bragg. Rev. ed. New York: H. N. Abrams, 1991, pp. 2-3.
    • Bisbort, Alan. “Asylum, 1968.” Charles Bragg: The Works! A Retrospective. Foreword by Richard B. Stolley. Pomegranate, 1999, pp. 60-61.
    • The Asylum.” NSU Art Museum Fort Lauderdale Collection. NSU Art Museum Fort Lauderdale, https://collection.nsuartmuseum.org/mwebcgi/mweb.exe?request=record;id=19144;type=101. Accessed 27 July 2025.

    2. The Asylum (1968, Oil on Board, 30″ x 40″)

    Charles Bragg The Asylum 1968 Oil on board 30 x 40"
    Charles Bragg, The Asylum, 1968, oil on board, 30 x 40 in. Private Collection

    Overview

    This large magnum opus is far darker, heavier, and psychologically intense. Its vertically oriented format enhances a claustrophobic, oppressive mood. Dominated by deep reds, browns, and shadowy blacks, it suggests a scene unfolding in the deepest corners of the human psyche or a symbolic Hell itself.

    Central Imagery

    A grotesque, infantile figure dressed in extravagant papal attire sits imposingly at the center of the composition, suggesting a perverse blending of childlike innocence and sinister authority. His blank yet unsettling expression evokes the chilling nature of corrupted innocence and blind tyranny. He reigns over a macabre earth littered with bones, skulls, and cracked eggs—symbols of decay, moral rot, and wasted potential.

    Key Symbolic Elements

    • Central Figure (Infantile Pope): Grotesquely obese, robed in red and pink, and surrounded by a golden halo—a parody of divine authority and the cult of personality.
    • Root Throne: The pope appears to be riding on a tree root, suggesting the figure is being supported by or pulled into hell.
    • Volcanic Crater: A rupture in the landscape, perhaps nature’s response to human madness—a fiery womb of destruction.
    • Masked Clergy and Executioners: Represent institutional complicity and moral decay.
    • Banners with Distorted Religious Symbols: Highlight institutional hypocrisy and corrupted spirituality.
    • Graveyard Imagery: Tombstones, crosses, and skulls form the literal and symbolic ground of the painting.
    • Cherubs and Death Figures: Mixes Christian and occult symbols into a fevered vision of apocalypse.

    Interpretation
    This painting abandons the lighter comedic elements seen in the other piece and fully immerses the viewer in a sinister vision. It suggests Bragg’s most intense reflections on madness: institutionalized, oppressive, and all-consuming. If the smaller painting mocks society, this larger masterwork condemns it, creating an intense feeling of unease, confrontation, and indictment.

    Exhibition Catalog

    • “Asylum 30 x 40” Charles Bragg. Exhibition brochure. New York: ACA Galleries, c. 1974-75, p. 5.
    • Taylor, Geoffrey. “The Asylum. 1968 oil, 30 x 40″.” The Absurd World of Charles Bragg. New York: H. N. Abrams, 1980, pp. 86-87.
    • Taylor, Geoffrey. “Madness in Progress (The Asylum).” The Absurd World of Charles Bragg. Rev. ed. New York: H. N. Abrams, 1980, pp. 30.
    • Taylor, Geoffrey. “The Asylum. 1968 oil, 30 x 40″.” The Absurd World of Charles Bragg. Rev. ed. New York: H. N. Abrams, 1991, pp. 86-87.

    Comparative Analysis:

    Attribute“The Asylum” (Oil on Paper)“The Asylum” (Oil on Board)
    Size16″ x 34″ (horizontal)30″ x 40″ (vertical)
    PaletteBright, surreal, satiricalDark, oppressive, apocalyptic
    Central FigureComically authoritarian, absurd, seated on skull throneInfantile pope-like figure, chilling, sinister
    SymbolismWar, absurdity, satirical chaosMoral corruption, death, spiritual collapse
    ToneDarkly humorous critiqueDeep psychological indictment
    Overall ImpactSocial satire, absurdityProfound, disturbing, unsettling

    Bragg’s evolution from mocking satire to apocalyptic vision emphasizes the profound shift from viewing madness as a human folly to recognizing it as an existential threat.

    Together, these two masterpieces from 1968 create a powerful and comprehensive vision of a world that has lost its reason—a societal Asylum depicted with Charles Bragg’s signature wit and brutal honesty. If this is what Bragg was painting in response to the world of 1968, one can only imagine—perhaps dread—what he might paint today.

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  • William Henry Drake: Brought The World To Life And Ended In A Suffocating Death

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    William Henry Drake: From Lions to Lava, A Life in Art

    William Henry Drake (1856-1926) was a renowned American artist who captured the majesty and power of animals and landscapes in his paintings. Though born in New York City, Drake considered Cincinnati his home, having moved there at a young age. His artistic passion emerged early, leading him to study at the McMicken School of Design. His fascination with animals, particularly lions, began to take shape there.

    Artistic Journey Begins

    Drake’s artistic journey took him back to New York in 1882. He spent countless hours sketching at the zoological gardens in Central Park and the Bronx, meticulously observing the creatures’ anatomy and habits. However, he quickly discovered the market for animal-themed works was limited. He continued to hone his skills with general illustration for several years before embarking on a transformative trip.

    In 1887 and 1889, he studied at the prestigious Julian Academy in Paris, further refining his technique. He also took this opportunity to travel through Europe, enriching his artistic perspective.

    A true adventurer, Drake undertook a 10,000-mile expedition to Alaska in 1893, gathering inspiration for his art amidst the rugged wilderness. This spirit of exploration continued with a sketching trip to the Catalina Islands to study seals.

    Jungle Book Commission

    A defining moment in Drake’s career came with the illustration of Rudyard Kipling’s “Jungle Book.” This project allowed him to fully embrace his love for depicting the animal kingdom. Following this success, Drake transitioned from illustration to focus on painting. His canvases, featuring creatures from wild habitats, garnered significant public appreciation and critical acclaim.

    Drake’s artistic achievements were recognized through numerous awards and exhibitions. He received honors at the Paris Exposition, the Salmagundi Club, and the American Watercolor Society. Paintings like “The First Born” and “The Royal Family” solidified his reputation as a master of animal portraiture.

    Beyond Lions

    He also proved to be a highly diversified artist, having painted landscapes during his travels. One such painting is a 1913 work of a Hawaii volcano. This painting is believed to have been executed during a round-the-world trip from New York to Madeira to the Catalina islands, including a stop in Honolulu. This global adventure demonstrated Drake’s artistic curiosity and willingness to explore subjects beyond the animal kingdom. One hundred and twenty-five of these watercolors were exhibited in April 1915 in New York under the title “Around The World.”

    Associations

    Drake was a member of prestigious art organizations, including the New York Art League, American Watercolor Society, New York Watercolor Society, Salmagundi Club, and the Artists’ Fund Society.

    A Tragic End

    We might speculate Drake had been suffering from some type of debilitating disease. Although a note was left for his niece at the time, we do not know what words it contained. On January 23rd, 1926, at the age of 70, William Henry Drake locked himself inside his studio’s closet. He took with him a container of illuminating gas, the highly toxic fuel used in lamps at the time, which tragically ended his life by asphyxiation.

    From Lions to Lava, William Henry Drake’s legacy as an artist who breathed life and majesty into creatures and landscapes endures through his paintings.

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  • The origins of Suridealism

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    A Movement You’ve Likely Not Heard Of

    There’s a special thrill in uncovering the forgotten corners of art history, finding those fascinating movements that never quite made it into the mainstream narrative. Suridealism is one such discovery – a compelling, albeit lesser-known, artistic and literary current from the early 20th century that shares some DNA with its famous cousin, Surrealism, yet fiercely maintained its own distinct identity and contested origins.

    The term “Suridealism” was first coined by Emile Malespine (1892 – 1952) in 1925. He introduced the concept in the seventh issue of the magazine Manometre with his “Manifesto Du Suridealisme.” In this manifesto, Malespine articulated a core principle of Suridealism, stating, “Idea, ideal: Suridealism is both of these things at the same time; the idea is mixed with the word and becomes an image.” He also sought to bridge the gap between the conscious and unconscious mind: “conscious and unconscious: these two terms must be identified in a higher idealized term. Suridealism will therefore be, in its most general expression, a consciousness awakened by unconsciousness, and this consciousness, in turn, modifies the subconsciousness.” [i]

    Malespine’s manifesto included a lengthy list of artists he considered Suridealists, featuring a diverse group including Hans Arp, Marcel Arland, Victor Brauner, J. L. Borges, Robert Delaunay, Tristan Tzara, and many others who were also associated with various avant-garde movements of the time, including Surrealism, Dadaism, and Futurism.

    Adding another layer to the story, the term Suridealism was also adopted by the novelist Maryse Choisy in 1927 to describe a distinct literary movement. [ii] Choisy’s Suridealism had a clear feminist agenda, aiming to counter the male dominance prevalent in the contemporary Surrealist movement and to innovate within the genre of fiction writing.

    Choisy initially claimed to be the originator of the term, a claim strongly refuted by Malespine. In his July 1928 article “Proteste” published in Der Sturm, Malespine vigorously defended his priority in coining and defining Suridealism. [iii] His tone was notably stern, criticizing certain Parisian artists whom he felt acted with an air of superiority, even to the point of trying to claim a term that was already in use. Malespine recounts that Choisy invited him to join her movement, which he publicly declined, having already established his own.

    In describing her vision of Suridealism, Choisy emphasized the role of women and youth. She wrote, “Women are often criticized for being conservative, for being incapable of creating or even following the avant-garde movements. It is up to a few creative women painters and talented musicians to prove otherwise. A Suridealist group of under 30s has just been founded, which has gathered the most important names among the rising generation.”

    Choisy further articulated her movement’s philosophy: “Our century is the century of youth. But it is also the century of women. The purely masculine civilization is a failure. It is up to the woman to set the tone, which does not mean that we exclude the man from our songs or from our meetings. We are more generous, more inclusive. There are men in our group and even in our committee. But the crusade of Suridealism is led by women.” She concluded with a focus on emotion over pure intellect: “Pure intelligence has gone bankrupt. Help will come from the heart. Not from a heavy heart or a heart lush from the senses, but from a heart bursting from emptiness. A Suridealist heart. In the heart vs. intelligence match. Suridealism cheers for the heart.”

    Beyond Malespine and Choisy, the term appeared occasionally in other contexts. In the French publication Tambour (1929-1930), author Richard Thoma mentioned Suridealists alongside other major art schools like Surrealists, Cubists, and Futurists, suggesting it was recognized, at least in certain circles, as a distinct category of artistic expression. [iv]

    Interestingly, the term popped up in American media in the late 1930s. The New York Times first used it on April 25th, 1937, labelling artist Frank Marvin Blasingame a “suridealist.” [v] Blasingame appears to be the only American painter given this specific moniker, and it’s possible this usage was independent of or unaware of its earlier French origins. The term was used again the following year, on July 17th, 1938, in the Asbury Park Press, describing Blasingame’s “ultra-modern” work and referencing the earlier Times article. [vi] Donald Bear, then Director of the Denver Art Museum, commented on Blasingame’s paintings in the same article, noting their “great power of spirit” and viewing them not as ordinary pictures but as “provocative symbols that call up states of imaginative tension.”

    More recently, in 2018, Suridealism was revisited by Antonello Morsillo in his exhibition and accompanying book, Il Suridealismo nell’arte (Suridealism in Art). Celeste Network described Morsillo’s book as “a small treatise on philosophical aesthetics, is completely pervaded by the perception of considering art as an ethical urgency.” [vii]

    While never achieving the widespread recognition of Surrealism, the history of Suridealism, with its complex origins tied to both Malespine’s broad artistic vision and Choisy’s specific feminist literary aims, along with its sporadic appearances in art criticism, offers a fascinating glimpse into the dynamic and often overlapping avant-garde landscape of the early 20th century and beyond.

    References:

    [i] “Suridéaliste manifesto” Manometer no. 7, February 1925.

    [ii] “Manifeste Suridealiste” Les Nouvelles littéraires1 22nd October, 1927.

    [iii] “Proteste” Der Strum, July 1928 page 241. Available at: https://magazines.iaddb.org/issue/DSTURM/1928-07-01/edition/19-4/page/1

    [iv] “Alstair” Tambour No. 7. 1930. In: Salemson, Harold J. Tambour. United Kingdom, University of Wisconsin Press, 2002.

    [v] “FIVE NEW GROUP SHOWS” New York Times, 25th April, 1937 page 172.

    [vi] “‘Suridealist’ Settles Down” Asbury Park Press, 17th July, 1938 page 14.

    [vii] “Suridealism in art and Suridealist art as an ethical urgency” Celeste Network 14, November 2018. Available at: https://www.celesteprize.com/eng_artista_news/idu:62838/idn:42227/

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  • Jules Tavernier’s first Hawaii volcano paintings?

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    Buring Lake of Kilauea

    Jules Tavernier painted Burning Lake of Kilauea in November 1884. He was commissioned by Mr. Edward Macfarlane of The Wasp magazine and Pacific Commercial Advertiser to compose two oil paintings of the Kilauea volcano.i Tavernier had yet to travel to Hawai’i (Sandwich Islands) and see the volcanoes firsthand. The two volcano paintings are inspired by photos and his imagination, as many of his significant works were.

    Chromolithographic created

    The Burning Lake of Kilauea painting was turned into a 14-color chromolithographic Figure 1. supplement for the 1884 Christmas issue of The Wasp publication.ii

    Burning Lake of Kilauea by Jules Tavernier 1884
    Figure 1. Based on the painting by Jules Tavernier, and supplement to the 1884 Christmas issue of The WASP. Schmidt Label & Litho. Co. One surviving original print is in the Barry Lawrence Ruderman Map Collection at Stanford University Libraries. Image Copyright © Stanford University.

    In the early 1880s, influenced by illustrations in Harper’s Weekly and William Alexander Coulter, Tavernier began to create volcano studies. The San Francisco Chronicle had the following to say about the Macfarlane commissions.

    “…very effective illustrations of the chaotic and terror inspiring state of things witnessed by the Hawaiians in 1880, and are said by visitors to the Islands at that time to be very truthful in drawing and coloring. The painting might seem strange to one who knows that Jules was never a sojourner at the home of the Kanakas; but there is really nothing wonderful about it, when we reflect on the fact that some of his most successful pictures are those of landscapes upon which he has never set eye.” iii

    Those studies are what generated Tavernier’s pull to Hawaii. Tavernier would not lay his own eyes on a Hawaii volcano until January 6th, 1885, when he and Joseph D. Strong would make their first sketching trip.iv

    Surviving examples

    There are currently three surviving examples of Buring Lake of Kilauea. The chromolithograph in figure 1., and two oil paintings.

    The first painting is a large 36×22 inch oil on canvas still with its original 19th-century Victorian gold leaf frame from the Michael Horikawa Fine Art collection. Figure 2

    Burning Lake of Kilauea by Jules Tavernier
    Figure 2. Burning Lake of Kilauea 1884 oil on canvas. Provenance Michael Horikawa Fine Art. Image Copyright © DerSeul, LLC

    The second is a smaller picture reportedly from the late Harry Miura collection.v Figure 3.

    Figure 3. From the late Harry Miura collection. Oil on canvas laid on board. 15 x 9 5/8 inches. Sold in 2013 by Mauna Kea Galleries

    Attributing Burning Lake of Kilauea

    Recalling that Macfarlane commissioned two volcano paintings, we can speculate attribution to the two examples above.

    Given that only two oil paintings of the chromolithographic scene have emerged in over one-hundred and twenty-five years gives strength to the attribution. Moreover, both paintings are similar enough to be precursors worthy of mass duplication in The Wasp.

    • [i] The Pacific Commercial Advertiser – 11 Nov 1884, Page 2
    • [ii] The Pacific Commercial Advertiser – 30 Dec 1884, Page 2
    • [iii] California Art Research Volume Four, WPA Project 2874, January 1937, Page 20
    • [iv] The Honolulu Advertiser (Honolulu, Hawaii) – Jan 6, 1885, Page 3
    • [v] WorthPoint.com Auction History “Important Hawaii Kilauea Volcano Oil on Jules Tavernier Canvas” Oct 06, 2013
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