Arthur Quartley (1839-1886) stands as a significant, if sometimes overlooked, figure in the landscape of nineteenth-century American art. Renowned for his evocative marine paintings, Quartley captured the nuanced moods of the sea and sky with a sensitivity that resonated with the artistic currents of his time. Though his career was tragically cut short, his body of work offers a compelling glimpse into the American fascination with its coastlines and the evolving styles of landscape depiction during a period of great artistic transformation.
Parisian Birth and American Beginnings
Arthur Quartley's story begins not on American shores, but in Paris, France, where he was born on May 24, 1839. His early childhood was spent in France, immersing him in a European cultural environment. However, at the age of twelve, his family, including his father Frederick William Quartley, an accomplished English engraver, made the transatlantic journey to the United States, settling in Baltimore, Maryland. This move would prove formative for the young Arthur.
Under the direct tutelage of his father, Arthur received his initial artistic training. Frederick William Quartley, with his engraver's eye for detail and composition, undoubtedly instilled in his son a disciplined approach to art. Some accounts suggest a rigorous training regimen, with the elder Quartley purportedly requiring young Arthur to produce two paintings a week, a demanding schedule that would have honed his skills rapidly. This early, intensive practice laid a crucial foundation for his later, more specialized endeavors.
By the age of seventeen, Quartley had embarked on a practical artistic career, becoming an apprentice to a sign painter in Baltimore. This trade, while perhaps not as glamorous as fine art, provided invaluable experience in handling paints, understanding color, and working on a larger scale. It was a common entry point for many artists of the era, including notable figures like Winslow Homer, who also had early experiences in commercial art. In 1862, demonstrating an entrepreneurial spirit alongside his artistic inclinations, Quartley co-founded the design firm Emmart & Quartley with his family, further diversifying his engagement with the visual arts in a commercial context.
The Pivotal Move to New York and Marine Specialization
For over a decade, Quartley balanced his work in Baltimore with his developing passion for painting. However, a significant turning point came in 1875 when he made the decision to move to New York City. At this time, New York was rapidly solidifying its position as the undisputed center of the American art world, attracting ambitious artists from across the nation and fostering a vibrant community of painters, sculptors, and critics. For Quartley, this move signaled a commitment to dedicate himself fully to fine art, specifically to the genre that would define his career: marine painting.
Once established in New York, Quartley immersed himself in capturing the diverse character of the American coastline. His subjects were drawn from various picturesque and bustling maritime locations. He frequently painted the waters of the Long Island Sound, the busy New York Harbor with its myriad vessels, the rugged Isles of Shoals off the coast of New Hampshire, and the expansive Narragansett Bay in Rhode Island. He also explored the Chesapeake Bay region, an area he would have been familiar with from his years in Baltimore. This focus on marine subjects placed him in a lineage of American artists captivated by the sea, from the earlier, more meticulous Luminists like Fitz Henry Lane and Martin Johnson Heade, to contemporaries who also explored coastal themes, such as Alfred Thompson Bricher and, in a more dramatic vein, Winslow Homer.
Artistic Style: Light, Atmosphere, and Subdued Realism
Arthur Quartley's artistic style is characterized by its nuanced depiction of light and atmosphere, a keen observational skill, and a tendency towards a calm, reflective mood. His works are often praised for their delicate and truthful rendering of the sea in its various states, from tranquil, sun-dappled waters to overcast, moody expanses.
A significant influence often noted in Quartley's work is that of the Dutch Golden Age marine painters, such as Willem van de Velde the Younger or Jan van Goyen. Like these seventeenth-century masters, Quartley demonstrated a profound understanding of cloud formations, the reflective qualities of water, and the subtle interplay of light and shadow that defines coastal environments. His handling of color, often leaning towards cooler palettes and subtle gradations, contributed to the overall serenity of his compositions. He generally avoided the overt drama and sublime terror that characterized some Romantic marine paintings, such as those by J.M.W. Turner, favoring instead a more intimate and poetic interpretation of the seascape.
His compositions are typically well-balanced and stable, conveying a sense of order and tranquility. There's a quietude in many of his paintings that aligns with some aspects of the Tonalist movement, which was gaining traction in American art during the 1870s and 1880s. Artists like George Inness and James McNeill Whistler, leading figures in Tonalism, emphasized mood, atmosphere, and a harmonious, often limited, color palette. While Quartley maintained a greater degree of representational detail than some Tonalists, his focus on capturing a specific atmospheric effect and emotional resonance shares common ground with their aesthetic aims. His style often involved a simplification of forms and an emphasis on the abstract qualities of texture and light, reflecting a broader cultural desire for peaceful and contemplative art in post-Civil War America.
The Tile Club: Camaraderie and Artistic Exploration
Beyond his individual studio practice, Arthur Quartley was an active participant in the New York art scene and a founding member of a notable artistic group known as "The Tile Club." Formally established in 1877, The Tile Club was an informal association of artists, writers, and architects who gathered for camaraderie, discussion, and, most distinctively, the decoration of ceramic tiles. This activity aligned with the burgeoning Aesthetic Movement, which championed the artistic quality of decorative arts and sought to integrate art into everyday life.
The Tile Club was a lively and eclectic group, whose membership included some of the most prominent creative figures of the era. Besides Quartley, key members included painters Winslow Homer, William Merritt Chase, J. Alden Weir, and Elihu Vedder; the sculptor Augustus Saint-Gaudens; and the architect Stanford White. Other notable figures associated with the club at various times included Edwin Austin Abbey, R. Swain Gifford, and the writer Earl Shinn (who often chronicled the club's activities under the pseudonym "Edward Strahan"). The presence of such diverse talents fostered a stimulating environment for artistic exchange and experimentation.
The club's activities often involved sketching excursions to picturesque locations, followed by sessions where members would paint designs onto eight-by-eight-inch ceramic tiles. These tiles were sometimes sold to support the club's activities or simply exchanged among members. One anecdote mentions Quartley participating in a trip to the eastern end of Long Island in 1878, during which he created a distinctive blue tile depicting a pensive girl on a beach. These excursions and collaborative sessions were not only enjoyable social occasions but also opportunities for artists to explore new motifs and techniques in a relaxed setting, away from the pressures of formal exhibition. The Tile Club, with its blend of conviviality and artistic purpose, played a role in fostering a sense of community and shared identity among New York artists.
Notable Works and Recognition
Throughout his relatively brief career, Arthur Quartley produced a significant body of work that garnered critical acclaim and public appreciation. Several of his paintings are frequently cited as representative of his skill and artistic vision.
Among his celebrated pieces is Early Moonlight, Narragansett Bay (1877), a work that beautifully captures the ethereal quality of moonlight on water, showcasing his sensitivity to subtle tonal variations. An Afternoon in August, Coast of Maine (1878) demonstrates his ability to convey the hazy, warm atmosphere of a summer day by the sea, with carefully rendered details of shoreline and sailing vessels. Low Tide, North Shore of Long Island (1881) is another example of his keen observation, depicting the exposed flats and reflective pools of water characteristic of a tidal landscape.
Other important works include Boats Becalmed (1879), which likely explores the stillness of the sea and the graceful forms of sailing ships awaiting a breeze. Low Tide (1876) and Making the Landing, White Islands (1877) further illustrate his engagement with specific coastal locations and maritime activities. Morning Effect, North River (1877) would have captured the atmospheric conditions of the Hudson River as it meets New York Harbor, a subject rich with the interplay of natural light and urban activity. The Close of the Day (1879) suggests a sunset scene, a favorite subject for artists wishing to explore dramatic lighting and color.
Quartley's talent did not go unnoticed by the art establishment. He was elected an Associate of the prestigious National Academy of Design in 1879, and achieved full Academician status in 1886, the year of his death. (Some sources indicate an earlier election to the National Academy in 1876, which may refer to an initial nomination or a different category of membership). His inclusion in George W. Sheldon's influential publication American Painters in 1880, which featured sixty-eight of the nation's leading artists, further solidified his reputation as a significant figure in contemporary American art. He exhibited regularly at the National Academy, the Brooklyn Art Association, and other prominent venues.
Personal Life: Anecdotes and Complexities
While much of the focus remains on his artistic output, some anecdotes offer glimpses into Arthur Quartley's personal life and character, suggesting a man of varied experiences. His early, rigorous training under his father speaks to a disciplined side. However, other accounts from his life in New York hint at a more flamboyant aspect.
There are suggestions that Quartley, at certain periods, indulged in a luxurious lifestyle. One particularly striking anecdote, mentioned in some biographical sketches, claims that he experienced significant financial losses through gambling. If true, this would add a layer of complexity to his persona, contrasting with the often serene and contemplative nature of his paintings. Such stories, while sometimes difficult to verify with absolute certainty, contribute to a more rounded, human portrait of the artist, reminding us that creative individuals often navigate a range of personal triumphs and challenges. His dedication to his art, despite any personal vicissitudes, remained evident throughout his New York years.
An Untimely End and Lasting Legacy
Tragically, Arthur Quartley's promising career was cut short by his premature death on May 19, 1886, in New York City, just shy of his forty-seventh birthday. His passing was a loss to the American art community, as it was felt that he had not yet reached the full zenith of his artistic potential. A life dedicated to capturing the ephemeral beauty of the sea was itself ephemeral.
Despite the brevity of his mature career—spanning roughly a decade from his move to New York until his death—Arthur Quartley left behind a commendable legacy. His paintings are valued for their technical skill, their poetic sensitivity, and their honest depiction of the American marine environment. He successfully navigated the artistic currents of his time, absorbing influences from European traditions, particularly Dutch marine painting, while contributing to a distinctly American vision of landscape. His work can be seen as a bridge between the detailed realism of the mid-century and the more atmospheric and subjective approaches that gained prominence towards the end of the nineteenth century, such as Tonalism and American Impressionism (with artists like Childe Hassam and Theodore Robinson).
Today, Arthur Quartley's paintings are held in the collections of numerous American museums, including the Metropolitan Museum of Art, the National Gallery of Art, and the Brooklyn Museum, among others. His work continues to be appreciated by collectors and art historians for its quiet beauty and its contribution to the rich tradition of American marine painting. He remains a testament to the enduring allure of the sea as a subject for artistic exploration and a reminder of a talented artist whose full voice was silenced too soon, yet whose existing works continue to speak with eloquence and charm. His dedication to his craft, his involvement in artistic communities like The Tile Club, and his distinctive ability to translate the moods of the ocean onto canvas secure his place in the annals of American art history.
