Background
Caspar Purdon Clarke was born on December 21, 1846, at his father’s home in County Dublin, Ireland. He was the second son of Edward Marmaduke Clarke, of an old Somerset family, and Mary Agnes, daughter of James Close of Armagh, Ireland.
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Caspar Purdon Clarke was born on December 21, 1846, at his father’s home in County Dublin, Ireland. He was the second son of Edward Marmaduke Clarke, of an old Somerset family, and Mary Agnes, daughter of James Close of Armagh, Ireland.
Clarke studied at Gaultier’s Collegiate School, Sydenham, and at a private school in Boulogne, and graduated in 1865 from the architectural department of the National Art Training School, South Kensington.
Clarke had forty years of service to the South Kensington Museum and other departments of his Government—not only at home but in Europe and India. For his principal buildings, published work he received many honors. In 1874, he accepted various foreign assignments as supervising architect to the crown and in late 70s he arranged the trips to Turkey, Syria, Spain, Italy, and Germany to buy some artifacts for the Museum. In 1892 Clarke was appointed Keeper of the art collections in the great Victoria and Albert Museum (formerly the South Kensington) and in 1896 he was appointed the Director.
Passing to 1905, the trustees of the Metropolitan Museum of Art in New York were then seeking a man to fill the vacant directorship who should be a recognized art expert and in sympathy with the educational side of museum work, especially as it touched the arts and crafts. These were all among the specialties of Sir Purdon, whose versatility seemed unlimited. It was said that with him judgment was an instinct; “were he blindfolded, he would know spurious objects from their odour. ” He was also expert in technical processes, knew how everything was made, and enjoyed taking infinite pains, saying, “I could make a cobweb without breaking it. ” He seldom had to answer, “I don’t know, ” and his memory was perfectly indexed. He had been the patron saint of artisans since at the age of twenty-four he had organized and conducted evening art classes for them in various parts of England.
To the surprise of his compatriots he accepted, in January 1905, the New York position—lured chiefly by its constructive possibilities. American criticism at the choice of a Britisher soon evaporated under his charm of personality, simplicity, and kindliness. Soon every branch of the art fraternity was frequenting the Museum and interviewing its always genial and entertaining director; the industrial art education began; the public acquired the Museum habit; the critics became friendly. But his health broke. In 1909 he was given a year’s leave of absence from which he never returned, resigning in June 1910, but remaining the Museum’s European correspondent until his death about eight months later. Clarke retained his British nationality after coming to New York to live.
Clarke was a Mason of high degree.
In appearance, Clarke was of medium height, very active, bright of eye, ruddy of countenance, “smiling pleasantly over his gold- rimmed glasses. ” He was a fascinating talker, a ready and lucid writer, a fluent lecturer, a tactful gentleman.
In 1866 Clarke married Frances S. Collins, who survived him. He had eight children, three sons and five daughters.