(Addresses delivered on the occasion of the unveiling of t...)
Addresses delivered on the occasion of the unveiling of the mural decorations The burning of the Peggy Stewart This book, "Addresses delivered on the occasion of the unveiling of the mural decorations The burning of the Peggy Stewart", by Charles Yardley Turner, is a replication of a book originally published before 1905. It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible.
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Charles Yardley Turner was born on November 25, 1850 in Baltimore, Md.
He was the son of John C. and Hannah (Bartlett) Turner. The Turners were Friends, and years later the quiet interior of the meeting-house often inspired the painter.
The boy's home was one of culture, but his father's three marriages left little for his maintenance after preparatory schooling at the public and Friends' schools. He soon began to support himself as photographic finisher, attending at night the art classes of the Maryland Institute for the Promotion of the Mechanic Arts.
After his graduation from the Maryland Institute in 1870, he spent several days as apprentice in the architectural office of Frank E. Davis and then set out for New York (1872). He studied for the next six years at the National Academy and at the Art Students' League, which he helped to organize, and continued to earn his living by photographic work.
In 1878 he began study in Paris under Jean Paul Laurens, the mural decorator, Munk csy, the Hungarian colorist, and Leon Bonnat, the figure painter.
On his return to America he became an instructor in drawing and painting at the Art Students' League (1881 - 84) and a director of the Maryland Institute.
His earliest popular success was his "Grand Canal at Dordrecht" (1882), but he struck his stride as figure painter in the literary and historical field, a Miles Standish series being much in demand.
The "Bridal Procession" (1886), now in the Metropolitan Museum of Art, "Days That Are No More, " suggested by Tennyson's lines, and the etching of Hannah Thurston, Bayard Taylor's heroine, are further examples.
His watercolors were also frequently successful, especially his "Dordrecht Milkmaid" (1882), while "Chrysanthemums, " a decorative oil in the Brooklyn Institute of Arts and Sciences, illustrates his versatility in color.
In 1886 he became an Academician. He was assistant director of decoration at the Chicago World's Fair (1893) and director of color at the Pan-American Exposition (1901) at Buffalo.
Increasingly, however, his interests turned to mural painting, reaching their fullest development in the Baltimore Court House panels, "The Burning of the Peggy Stewart" (1905). The fact that the decorations by John La Farge, E. H. Blashfield, and J. P. Laurens in the same building do not subordinate the Turners indicates at least their admirable adaptation to their position. Other Turner murals are to be seen in the DeWitt Clinton High School, the Appellate Courts Building, the National Bank of Commerce, the Manhattan, Martinique, and Waldorf-Astoria hotels, all in New York; the Hotel Raleigh in Washington; court houses in Jersey City, Newark, Baltimore, Youngstown, and Cleveland; and the State Capitol, Madison, Wis.
In his later years he was affiliated with a firm of interior decorators. His later pictures show well-formed features, a Vandyke beard, and brilliant eyes.
In 1912 Turner became the director of the Maryland Institute School of Art and Design. He was engaged in painting a poster-picture, "The Madonna of the War, " in the plaza outside the Baltimore Court House in connection with the United War Work drive when he contracted the influenza which resulted in his death. He died in New York and was buried in the Friends Burial Grounds, Baltimore.
(Addresses delivered on the occasion of the unveiling of t...)
He was chairman of the school committee at the Art Students League of New York in 1879, early in its history, and president of the National Society of Mural Painters from 1904-1909. He was president of the Salmagundi Club from 1883 to 1889.
He served as President of the National Society of Mural Painters from 1904 to 1909.
Turner is recalled as a man of unusual kindliness, charm, and simplicity.
He never married.
