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From 1863 to 1866, Coleman maintained a studio in New York. It was first at 840 and later at 896 Broadway. He regularly showed his work in the exhibitions of the Brooklyn Art Academy and the National Academy of Design in New York.<ref name="Burke1986"/>
From 1863 to 1866, Coleman maintained a studio in New York. It was first at 840 and later at 896 Broadway. He regularly showed his work in the exhibitions of the Brooklyn Art Academy and the National Academy of Design in New York.<ref name="Burke1986"/>


In 1866, he left America again and spent time painting in London, Paris, and Brittany. He then moved to a Roman apartment previously occupied by poet [[John Keats]], living there from the late 1860s to the mid 1880s. He is one of the rare American artists whose work closely intersected with that of the Macchiaioli.<ref>Adrienne Baxter Bell, "Charles Caryl Coleman: Transnational American Artist," American Arts Quarterly (Winter 2015): http://www.nccsc.net/essays/charles-caryl-coleman</ref>
In 1866, he left America again and spent time painting in London, Paris, and Brittany. He then moved to a Roman apartment previously occupied by poet [[John Keats]], living there from the late 1860s to the mid 1880s .<ref ""/>

Coleman is best known for the extraordinary decorative panels that he created during the late 1870s and 1880s, works that are rivaled in their scope and intensity only by the elongated stained glass panels of Louis Comfort Tiffany and John La Farge. Some of Coleman's decorative panel paintings measure more than six feet in height; they feature improbably elongated flowering fruit trees and a wide array of objects, including Venetian vases, maiolica pots, Chinese lacquer pots, Indian patkas, and Ottoman textiles.<ref>Adrienne Baxter Bell, “Echoes of the East, Echoes of the Past: Charles Caryl Coleman’s Azaleas and Apple Blossoms at the de Young Museum, San Francisco,” in [https://www.amazon.com/Locating-American-Art-Finding-Colonial/dp/147246799X/ref=sr_1_1?s=books&ie=UTF8&qid=1535402494&sr=1-1&keywords=Locating+American+Art%3A+Finding+Art%27s+Meaning+in+Museums%2C+Colonial+Period+to+the+Present. Locating American Art: Finding Art's Meaning in Museums, Colonial Period to the Present]. Edited by Cynthia Fowler and Kimberlee Cloutier Blazzard (London: Ashgate, 2016), pp. 33-45.</ref> The shallow spaces of these compositions, as well as Coleman's inclusion of both Japanese fans and Nabeshima-style porcelains, together evoke the spread of Japonisme throughout Europe and America during the Gilded Age. Moreover, Coleman designed the elaborate frames, some carved and some cassetta-style, for each of his major decorative panels.<ref>Adrienne Baxter Bell, “Utopian Pastiche: The Still Life Paintings of Charles Caryl Coleman,” in [https://www.amazon.com/Seamless-Web-Transatlantic-Nineteenth-Century/dp/1443850349/ref=sr_1_fkmr1_1?ie=UTF8&qid=1535402242&sr=8-1-fkmr1&keywords=A+Seamless+Web%3A+Euro-American+Art+in+the+Nineteenth+Century A Seamless Web: Euro-American Art in the Nineteenth Century] (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), pp. 147-62.</ref>

Coleman gradually moved from Rome to the island of Capri in the late 1880s. Its resplendent landscape served as his greatest source of inspiration for the next forty years. However, instead of painting Capri's famous landmarks--the practice of most artists who visited temporarily and then returned home--Coleman focused on obscure settings and featured local residents in their traditional clothing, performing traditional activities. In this way, he nourished the sense of Italian nationalism that had been inspired by the Risorgimento.<ref>See Adrienne Baxter Bell, “Charles Caryl Coleman in Capri,” The Magazine Antiques (November 2005): 138-47.</ref>


In 1893, Coleman returned to the United States briefly. While there, he was commissioned to paint and decorate the interiors of the New-York State Building at the [[World's Columbian Exposition|Chicago World's Fair]], along with fellow artists [[Frank D. Millet]] and Elmer E. Garnsey.<ref name="1893WorldsFair">{{cite news|title=NEW-YORK STATE'S BUILDING; A BEAUTIFUL STRUCTURE, COMPLETE IN EVERY DETAIL. Architecturally It Is Not Surpassed by Any in Jackson Park -- The Interior Decoration the Work of Frank D. Millet, Charles Caryl Coleman, and Elmer E. Garnsey -- The Style that of the Italian Renaissance -- The Great Banquet Hall -- Elaborate Electric Effects.|url=https://www.nytimes.com/1893/06/02/archives/newyork-states-building-a-beautiful-structure-complete-in-every.html|accessdate=17 May 2017|work=[[The New York Times]]|date=2 June 1893}}</ref>
In 1893, Coleman returned to the United States briefly. While there, he was commissioned to paint and decorate the interiors of the New-York State Building at the [[World's Columbian Exposition|Chicago World's Fair]], along with fellow artists [[Frank D. Millet]] and Elmer E. Garnsey.<ref name="1893WorldsFair">{{cite news|title=NEW-YORK STATE'S BUILDING; A BEAUTIFUL STRUCTURE, COMPLETE IN EVERY DETAIL. Architecturally It Is Not Surpassed by Any in Jackson Park -- The Interior Decoration the Work of Frank D. Millet, Charles Caryl Coleman, and Elmer E. Garnsey -- The Style that of the Italian Renaissance -- The Great Banquet Hall -- Elaborate Electric Effects.|url=https://www.nytimes.com/1893/06/02/archives/newyork-states-building-a-beautiful-structure-complete-in-every.html|accessdate=17 May 2017|work=[[The New York Times]]|date=2 June 1893}}</ref>
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===Capri===
===Capri===
In 1870, he converted the guest house of the Convent of Santa Teresa into ''Villa Narcissus''. A part of the villa was dedicated to a "palace of art" with antiquities and his own paintings.<ref name="umuc.edu"/> Coleman suggested that one of his friends, the prominent Dr. [[Allan McLane Hamilton]], a grandson of Treasury Secretary [[Alexander Hamilton]], stay at the nearby Villa Castello in 1894.<ref name="Hamilton1916">{{cite book|last1=Hamilton|first1=Allan McLane|title=Recollections of an Alienist, Personal and Professional|date=1916|publisher=George H. Doran Company|location=New York|url=https://archive.org/stream/recollectionsofahami#page/40/mode/2up|accessdate=16 May 2017}}</ref>
In 1870, he converted the Santa Teresa into ''Villa Narcissus''. A part of the villa was dedicated to a "palace of art" with antiquities and his own paintings.<ref name="umuc.edu"/> Coleman of prominent Dr. [[Allan McLane Hamilton]], a grandson of Treasury Secretary [[Alexander Hamilton]], in 1894.<ref name="Hamilton1916">{{cite book|last1=Hamilton|first1=Allan McLane|title=Recollections of an Alienist, Personal and Professional|date=1916|publisher=George H. Doran Company|location=New York|url=https://archive.org/stream/recollectionsofahami#page/40/mode/2up|accessdate=16 May 2017}}</ref>


''Villa Narcissus'' was later purchased from him by [[Rose O'Neill]], his friend and also an American artist. O'Neill permitted Charles to live out the remainder of his days there,<ref>[http://smithsonianlibraries.si.edu/smithsonianlibraries/2009/10/charles-caryl-coleman-cartedevisite-aapg-library-.html ] {{webarchive |url=https://web.archive.org/web/20100611161409/http://smithsonianlibraries.si.edu/smithsonianlibraries/2009/10/charles-caryl-coleman-cartedevisite-aapg-library-.html |date=June 11, 2010 }}</ref> and he remained at the Villa until his death in 1928.<ref name="CCCObit1928">{{cite news|title=C.C. COLEMAN DIES; AMERICAN PAINTER; A Native of Buffalo, Had Lived on Island of Capri, Italy, for Fifty Years. WORKS WELL KNOWN HERE Many Possessed by Art Museums of America--Artist Honored by This Country.|url=https://www.nytimes.com/1928/12/06/archives/cc-coleman-dies-american-painter-a-native-of-buffalo-had-lived-on.html|accessdate=17 May 2017|work=[[The New York Times]]|date=6 December 1928}}</ref>
''Villa Narcissus'' was later purchased from him by [[Rose O'Neill]], his friend and also an American artist. O'Neill permitted Charles to live out the remainder of his days there,<ref>[http://smithsonianlibraries.si.edu/smithsonianlibraries/2009/10/charles-caryl-coleman-cartedevisite-aapg-library-.html ] {{webarchive |url=https://web.archive.org/web/20100611161409/http://smithsonianlibraries.si.edu/smithsonianlibraries/2009/10/charles-caryl-coleman-cartedevisite-aapg-library-.html |date=June 11, 2010 }}</ref> and he remained at the Villa until his death in 1928.<ref name="CCCObit1928">{{cite news|title=C.C. COLEMAN DIES; AMERICAN PAINTER; A Native of Buffalo, Had Lived on Island of Capri, Italy, for Fifty Years. WORKS WELL KNOWN HERE Many Possessed by Art Museums of America--Artist Honored by This Country.|url=https://www.nytimes.com/1928/12/06/archives/cc-coleman-dies-american-painter-a-native-of-buffalo-had-lived-on.html|accessdate=17 May 2017|work=[[The New York Times]]|date=6 December 1928}}</ref>

Revision as of 20:52, 27 August 2018

Not to be confused with Charles Coleman (disambiguation).
Charles Caryl Coleman
Portrait of Coleman by Oliver I. Lay, ca. 1876
BornApril 25, 1840
Buffalo, New York, US
DiedDecember 5, 1928 (aged 88)
Capri, Italy
Spouse
Mary Alsager
​
(after 1875)​
Parent(s)John Hull Coleman
Charlotte Augustus

Charles Caryl Coleman (April 25, 1840, Buffalo, New York – December 5, 1928, Capri, Italy) was an American artist.[1]

Early life

Coleman was born in Buffalo, New York to John Hull Coleman (1813) and Charlotte Augusta (née Caryl) Coleman. His younger brother was Caryl Coleman (1847–1930),[2] an ecclesiologist, church glass manufacturer and decorator who was educated at Bellevue Medical College and Canisius College, and who married Nonna Agnes Black. Caryl opened the church department of the Tiffany Company in New York in 1889 and operated it for 10 years.[3]

His maternal grandfather was Capt. Benjamin Caryl and Susan Young.[3] His paternal grandparents were Charles H. Coleman (1787–1880) and Doreas (née Hull) Coleman (1791–1822).[4][5] Charles was a descendant of Thomas Coleman of Marlborough, Wiltshire, England, who came to Boston in 1635 and moved to Nantucket in 1663 after living in Newbury, Massachusetts.[6][4]

He was raised in Buffalo and studied art under William Holbrook Beard "and an itinerant painter, Andrew Andrews whose real name was Isaacs."

Career

Between 1859 and 1862, Coleman studied in Paris under Thomas Couture, returning during the American Civil War to serve with the Union Army during which he was seriously wounded in South Carolina and recovered in New York City. He returned to Europe in 1866 with fellow painters William Morris Hunt and Elihu Vedder.[1] In 1865, he was elected into the National Academy of Design as an Associate Academician.[7]

From 1863 to 1866, Coleman maintained a studio in New York. It was first at 840 and later at 896 Broadway. He regularly showed his work in the exhibitions of the Brooklyn Art Academy and the National Academy of Design in New York.[8]

In 1866, he left America again and spent time painting in London, Paris, and Brittany. He then moved to a Roman apartment previously occupied by poet John Keats, living there from the late 1860s to the mid 1880s, before finally settling in Capri.[1]

In 1893, Coleman returned to the United States briefly. While there, he was commissioned to paint and decorate the interiors of the New-York State Building at the Chicago World's Fair, along with fellow artists Frank D. Millet and Elmer E. Garnsey.[9]

In 1899, Avery Galleries at 368 Fifth Avenue in New York held an exhibition with forty of his pictures and drawings.[10][11] Another was held there in 1902, featuring over fifty paintings and pastels made by Coleman.[12] The place of honor was given to his contribution to the 1901 Pan-American Exposition, held in his hometown of Buffalo, titled Saintly Dreams by Early Moonlight.[13] It was a saint with a solid golden halo, flowing black hair, a red gown, and a branch of red roses on her lap. The New York Times stated that she "seems to have felt the languor and bewitchment of a Capri moonlight. She lounges on a white-tiled bench between round stucco columns, flowering shrubs in pots before her, and above her head a lattice running from pillar to pillar. Strong shadows fall about her from the moonlight, leaving her head in the shade."[12]

Capri

In 1870, he converted the former Santa Teresa convent into Villa Narcissus. A part of the villa was dedicated to a "palace of art" with antiquities and his own paintings.[14] Coleman, a friend of prominent Dr. Allan McLane Hamilton, a grandson of Treasury Secretary Alexander Hamilton, found Villa Narcissus, a villa near his, for Hamilton in 1894.[15]

Villa Narcissus was later purchased from him by Rose O'Neill, his friend and also an American artist. O'Neill permitted Charles to live out the remainder of his days there,[16] and he remained at the Villa until his death in 1928.[17]

Personal life

In 1875, Coleman married Mary Edith Grey Alsager (d. 1906), who worked with the Red Cross during the Franco-Prussian War of 1870, treating both French and German soldiers.[4][8] They did not have any children and Mary predeceased him.[18]

In his June 1916 will, he bequeathed all of his estate in a life trust fund for the benefit of his brother, Caryl Coleman (d. 1930).[2] The will further dictates that after his brother's death, the estate shall go to his friend, Mrs. Rose O'Neill Wilson, of Saugatuck, Connecticut. In the event that Mrs. Wilson died before his brother, the property goes to Anita Vedder (1873–1954), the daughter of his friend Elihu Vedder of Capri. In the event all predeceased him, the estate would go to the American Academy in Rome.[19]

Exhibitions

One-man exhibitions of his work were exhibited at:[8]

Works

His work was exhibited in the United States and England, including:[1]

  • Women in the Wheat Fields, Anacapri (1887) was sold at a Christie’s auction in 2004 for $600,000.[14]
    Women in the Wheat Fields, Anacapri (1887) was sold at a Christie’s auction in 2004 for $600,000.[14]
  • In the Shade of the Vines, Capri (1898)
    In the Shade of the Vines, Capri (1898)
  • The Villa Castello, Capri (1895)
    The Villa Castello, Capri (1895)
  • Apple Blossoms (1889)
    Apple Blossoms (1889)
  • Coleman's grave on Capri
    Coleman's grave on Capri

References

  1. ^ a b c d "Charles Coleman - Artist, Fine Art, Auction Records, Prices, Biography for Charles Caryl Coleman". Askart.com. Retrieved 2014-08-07.
  2. ^ a b Times, Special To The New York (18 April 1930). "CARYL COLEMAN.; Artist Dies at 84 at His Home in New Rochelle". The New York Times. Retrieved 17 May 2017.
  3. ^ a b Curtis, Georgina Pell; Elder, Benedict (1911). The American Catholic Who's who. NC News Service. Retrieved 17 May 2017.
  4. ^ a b c Coleman, Silas Bunker (1898). The Coleman Family : Descendants of Thomas Coleman, of Nantucket, in line of the oldest son, 10 Generations, 1602–1898 - 296 years. Detroit, Michigan: S. B. Coleman. Retrieved 17 May 2017.
  5. ^ The Commercial Advertiser Directory for the City of Buffalo. Buffalo: Jewett, Thomas & Co., Publishers. 1852. Retrieved 17 May 2017.
  6. ^ May, Cheryll (March 17, 2014). A Seamless Web: Transatlantic Art in the Nineteenth Century. Cambridge Scholars Publishing. ISBN 9781443857475. Retrieved 17 May 2017.
  7. ^ Leonard, John William; Marquis, Albert Nelson (1913). Who's Who in America | A Biographical Dictionary of Notable Living Men and Women of the United States | Vol. VII 1912–1913. A. N. Marquis & Company. Retrieved 17 May 2017.
  8. ^ a b c Burke, Doreen Bolger; Freedman, Jonathan; Frelinghuysen, Alice Cooney; Hanks, David A.; Johnson, Marilynn; Kornwolf, James D.; Lynn, Catherine; Stein, Roger B.; Toher, Jennifer; Voorsanger, Catherine Hoover; Rebora, Carrie (1986). In Pursuit of Beauty: Americans and the Aesthetic Movement. New York: Metropolitan Museum of Art. ISBN 9780870994685. Retrieved 17 May 2017.
  9. ^ "NEW-YORK STATE'S BUILDING; A BEAUTIFUL STRUCTURE, COMPLETE IN EVERY DETAIL. Architecturally It Is Not Surpassed by Any in Jackson Park -- The Interior Decoration the Work of Frank D. Millet, Charles Caryl Coleman, and Elmer E. Garnsey -- The Style that of the Italian Renaissance -- The Great Banquet Hall -- Elaborate Electric Effects". The New York Times. 2 June 1893. Retrieved 17 May 2017.
  10. ^ "PICTURES BY C.C. COLEMAN". The New York Times. 15 April 1899. Retrieved 17 May 2017.
  11. ^ "AS AN AMERICAN SEES CAPRI". The New York Times. April 23, 1899. Retrieved 17 May 2017.
  12. ^ a b "IMPRESSIONS OF CAPRI.; Exhibition of Paintings and Pastels by Charles Caryl Coleman". The New York Times. 11 February 1902. Retrieved 17 May 2017.
  13. ^ De Kay, Charles (7 July 1901). "PAINTINGS AT THE PAN-AMERICAN". The New York Times. Retrieved 17 May 2017.
  14. ^ a b "Archived copy". Archived from the original on 2010-09-06. Retrieved 2010-04-05. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)CS1 maint: archived copy as title (link)
  15. ^ Hamilton, Allan McLane (1916). Recollections of an Alienist, Personal and Professional. New York: George H. Doran Company. Retrieved 16 May 2017.
  16. ^ [1] Archived June 11, 2010, at the Wayback Machine
  17. ^ a b c d e f g h i j "C.C. COLEMAN DIES; AMERICAN PAINTER; A Native of Buffalo, Had Lived on Island of Capri, Italy, for Fifty Years. WORKS WELL KNOWN HERE Many Possessed by Art Museums of America--Artist Honored by This Country". The New York Times. 6 December 1928. Retrieved 17 May 2017.
  18. ^ Times, Special Cable To The New York (10 May 1910). "C.C. COLEMAN, ARTIST, ILL.; American Stricken in Italy and Age Makes His Recovery Doubtful". The New York Times. Retrieved 17 May 2017.
  19. ^ "C.C. Coleman Estate to Brother". The New York Times. 2 February 1929. Retrieved 17 May 2017.
  20. ^ "St. Ignatius Loyola, A Pictorial History and Walking Guide of New York City's Church of St. Ignatius Loyola". Stignatiusloyola.org. 1999, cited on church website. Retrieved 2014-08-07. {{cite web}}: Check date values in: |date= (help)
  21. ^ Yount, Sylvia (2015). "Enduring Legacy: the J. Harwood and Louise B. Cochrane Fund for American Art". VMFA illustrated publication. Richmond, Virginia: Virginia Museum of Fine Arts: Cover photo, 9. {{cite journal}}: |access-date= requires |url= (help)
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