Edwin Deakin stands as a significant, if sometimes overlooked, figure in the landscape of nineteenth-century American art, particularly within the burgeoning artistic milieu of California. Born in Sheffield, England, in 1838, his life and career bridged the Victorian era's sensibilities with the unique historical and geographical tapestry of the American West. Deakin is most renowned for his dedicated and extensive series documenting the Spanish Missions of California, capturing their architectural forms and romantic decay just as the state was rapidly transforming. His work, characterized by a blend of detailed realism and picturesque romanticism, provides an invaluable visual record of a bygone era, securing his legacy not only as a painter but as a historical preservationist through art.
From Sheffield Steel to California Sun
Edwin Deakin's artistic journey began not in formal academies but through practical application and keen observation. Born into the industrial heartland of Sheffield on May 21, 1838, his early exposure was likely to the craftsmanship associated with the city's famous steel industry. However, his inclinations leaned towards the aesthetic. By the age of 12, he was already demonstrating artistic talent, initially learning the craft of "japaning," a form of decorative lacquering, at a local firm, Messrs. Pimm & Co. This early training likely instilled in him a meticulous attention to detail and surface texture that would become evident in his later oil paintings. Even at this young age, he was creating small landscape paintings, hinting at the primary direction his art would eventually take. His interest in history, particularly the castles, cathedrals, and ruins of his native England, was kindled early and would profoundly shape his artistic focus later in life.
In 1856, at the age of 18, Deakin emigrated with his family to the United States, settling in the rapidly growing city of Chicago. This move marked a significant transition, placing the young artist in a new cultural and physical environment. In Chicago, he initially pursued work related to the architectural field, possibly as an architectural artist or delineator. This experience would further hone his skills in representing structures accurately, a crucial ability for his later mission paintings. While details of his Chicago years are somewhat sparse, it's clear that he continued to develop his artistic practice during this formative period in America.
San Francisco Beckons: An Artist Finds His Place
The lure of the West Coast, and specifically California, proved irresistible. Around 1868 or 1870 (sources vary slightly), Deakin made the pivotal move to San Francisco. California was experiencing a period of intense growth and cultural development following the Gold Rush, and San Francisco was emerging as a vibrant center for the arts. Deakin arrived at a time when landscape painting, particularly depictions of the state's dramatic scenery, was gaining prominence. He quickly integrated into the local art scene. His professional career is often dated from around 1869, initially gaining notice, according to some accounts, for portraits, including depictions of Northern Civil War heroes, perhaps catering to the patriotic sentiments of the post-war era.
However, his true passion lay in landscape and architectural subjects. He established a studio in the city, a space that would become a hub for his creative output for many years. Deakin became an active participant in the San Francisco art community. He was a founding member of the California Art Association, later known as the San Francisco Art Association (SFAA), a crucial institution that organized exhibitions and fostered artistic talent through its associated California School of Design, founded by Virgil Williams. Deakin regularly exhibited his work at SFAA shows and also participated in the popular Mechanics' Institute Fairs, which provided broad public exposure for artists and inventors alike. His presence in these venues helped establish his reputation among peers and patrons.
Shared Studios and Artistic Circles
The San Francisco art scene of the late 19th century was a relatively close-knit community. Deakin interacted with many of the leading figures of the day. For a time, he shared a studio with Samuel Marsden Brookes (1816-1892), another English-born artist who had made his way to California via the Midwest. Brookes was highly regarded, particularly for his meticulous still life paintings, especially of fish and game. Sharing a workspace likely fostered artistic exchange and perhaps friendly competition. Both artists shared an appreciation for detailed realism, though their primary subjects often differed.
Deakin was also associated with the Bohemian Club, a prominent social and cultural organization that counted many artists, writers, and influential citizens among its members. This affiliation would have placed him in regular contact with other key California artists like Thomas Hill (1829-1908), famous for his grand depictions of Yosemite, and William Keith (1838-1911), known for his increasingly Tonalist landscapes inspired by Barbizon painters and George Inness. While Deakin's style remained distinct, interactions within these circles undoubtedly contributed to the artistic dialogue of the time. He would have also been aware of the work of figures like Albert Bierstadt (1830-1902), whose monumental canvases of the West captivated audiences nationally, and Charles Christian Nahl (1818-1878), known for his historical scenes and genre paintings of California life.
Developing a Distinctive Style: Landscape and Still Life
Deakin's artistic style evolved throughout his career but consistently retained certain core characteristics. He worked primarily in oil and watercolor, demonstrating proficiency in both media. His landscapes often embraced the "picturesque," an aesthetic ideal valuing charming irregularity, gentle beauty, and evocative atmosphere over the sublime grandeur favored by artists like Bierstadt. Deakin sought out subjects that possessed inherent narrative or historical interest – rolling hills, quiet groves, rustic structures, and, most importantly, architectural ruins. His approach involved careful observation and detailed rendering, capturing the textures of stone, wood, and foliage with considerable skill.
Alongside his landscapes and architectural studies, Deakin gained recognition for his still life paintings. He excelled particularly in depicting fruit, most notably grapes, often shown with a soft, atmospheric bloom on their skins, demonstrating a sensitivity to light and texture reminiscent of Dutch Golden Age masters, though adapted to his own sensibility. His floral still lifes, especially those featuring roses, were also highly praised. These works showcased his technical finesse and ability to capture delicate forms and subtle color variations. His still life practice likely complemented his landscape work, reinforcing his skills in close observation and detailed execution, perhaps influenced by his association with Samuel Marsden Brookes.
European Interlude: Broadening Horizons
Like many American artists of his generation, Deakin felt the pull of Europe. From 1877 to 1879, he embarked on an extended tour, visiting England, France, and Switzerland. This period abroad offered invaluable opportunities to study the works of European masters firsthand, experience different landscapes, and engage with contemporary art movements. In Paris, he achieved a significant milestone by having his work accepted into the prestigious Paris Salon, the official art exhibition of the Académie des Beaux-Arts. This recognition signaled a level of professional accomplishment and brought his work to an international audience.
While in Europe, he continued to paint, capturing scenes that appealed to his established interests. He painted views of Swiss chalets, French villages, and English countryside scenes. This experience likely broadened his perspective and may have subtly influenced his technique or palette, although he largely retained his characteristic style upon returning to California. The exposure to European art, particularly the landscape traditions of England and France (including the Barbizon School painters like Jean-Baptiste-Camille Corot or Théodore Rousseau, whose influence was felt by many American artists), likely reinforced his commitment to capturing atmosphere and the picturesque qualities of his subjects.
The Magnum Opus: Chronicling the California Missions
Upon his return from Europe, Deakin embarked on the project that would define his legacy: the systematic documentation of all twenty-one Spanish Missions of Alta California. This ambitious undertaking, begun around 1870 according to some sources but pursued most intensely from the late 1870s through the 1890s, stemmed from his lifelong fascination with historical architecture and a recognition of the missions' unique cultural significance and perilous state of decay. The missions, founded between 1769 and 1823, represented a tangible link to California's Spanish colonial past, but by the late 19th century, many had fallen into ruin following secularization and neglect.
Deakin approached the project with scholarly rigor combined with artistic sensitivity. He traveled extensively throughout California, visiting each mission site, often multiple times. He made numerous sketches, studies, and architectural drawings on location, meticulously recording details of the structures and their surrounding landscapes. His goal was not merely to create topographical records but to capture the spirit and atmosphere of these places – their solitude, their history, and their often-romantic state of decay under the California sun. He was drawn to the interplay of crumbling adobe walls, weathered roof tiles, encroaching vegetation, and the distinctive quality of light.
He ultimately completed at least three distinct sets of the twenty-one missions: one in oil, one in watercolor, and possibly another partial set. The oil paintings, often larger and more detailed, emphasized the textures and solidity of the architecture, while the watercolors offered a lighter, perhaps more atmospheric interpretation. Works like *Mission San Juan Capistrano*, *Mission Dolores and the Mansion House, San Francisco*, *Mission Santa Barbara*, and *Mission Nuestra Señora de la Soledad* exemplify his approach. He depicted the missions not as pristine monuments but as living history, marked by time and the elements, often bathed in the warm light of late afternoon or imbued with a sense of quiet melancholy.
The Mission Paintings: Reception and Significance
Deakin's mission series was exhibited widely and received considerable attention. He displayed them in his studio, at exhibitions, and sought a permanent home for the collection, recognizing its historical value. While he sometimes struggled to sell the entire set at the price he felt it deserved, the paintings were praised for their accuracy, artistry, and evocative power. Critics noted his ability to combine architectural fidelity with a "romantic, nostalgic, and poetic" sensibility. His work stood apart from the grand, often idealized, landscapes of contemporaries like Hill or Bierstadt, offering a more intimate and historically grounded vision of California.
The enduring significance of Deakin's mission series lies in its role as a crucial historical document. He captured many of the missions before major restoration efforts (or further decay) altered their appearance. His paintings became invaluable visual resources for historians, architects, and preservationists involved in later efforts to study and restore these landmarks. In an era before widespread photography, Deakin's detailed and atmospheric renderings provided a unique window into the past, helping to shape public perception and appreciation of California's Spanish colonial heritage. His dedication preserved the memory of these structures in a way that resonates even today.
Artistic Style in Context: Romantic Realism
Defining Deakin's style requires acknowledging its blend of influences and its place within 19th-century art. He was fundamentally a realist in his attention to detail and accurate representation of form, particularly architecture. Yet, his work is infused with a romantic sensibility, evident in his choice of subjects (ruins, historical sites), his emphasis on atmosphere, and his often-gentle, picturesque compositions. He was less interested in the dramatic wilderness captured by the Hudson River School painters like Frederic Edwin Church or Asher B. Durand, or the monumental scale of Bierstadt, and more focused on the human imprint on the landscape and the passage of time.
Compared to his California contemporary William Keith, Deakin's work generally remained more detailed and less overtly influenced by the subjective, atmospheric qualities of Tonalism or the Barbizon School, although a certain softness and poetic feeling pervades his landscapes. He largely remained untouched by the burgeoning Impressionist movement that was gaining traction in Europe and would eventually influence California artists like Guy Rose (1867-1925) or Granville Redmond (1871-1935). Deakin's style was more conservative, rooted in established traditions of landscape and architectural painting, but applied with skill and personal vision to uniquely Californian subjects. Other Bay Area landscape painters like Norton Bush (1834-1894), known for tropical scenes, or Raymond Dabb Yelland (1848-1900), noted for coastal views and luminist effects, offered different perspectives on the California environment.
Later Life in Berkeley: The Artist's Haven
Around 1890, Deakin moved across the bay from San Francisco to Berkeley. There, he purchased a substantial plot of land and built a distinctive studio and residence. Reflecting his deep connection to his most famous subjects, the studio was designed in a Mission Revival architectural style, creating a fitting environment for his work. This Berkeley property, with its extensive gardens, became his sanctuary for the remainder of his life. He continued to paint actively, revisiting themes of landscapes, missions, and still lifes.
Deakin became a well-known figure in Berkeley. He maintained a tradition of holding an annual "open house" or "at home" day at his studio. On these occasions, he welcomed the public to view his latest paintings, wander through his gardens (he was also an avid horticulturist), and engage with the artist directly. These events were reportedly popular, attracting visitors interested in art and local culture, and demonstrating Deakin's willingness to share his passion with the community, despite a reputation for being somewhat reserved and setting high prices on his major works, sometimes hindering their sale as he preferred to keep collections intact.
Anecdotes and Character
Several anecdotes illuminate Deakin's personality and working methods. His self-taught origins and early training in decorative arts underscore his practical grounding and dedication. His meticulous research for the mission series, involving extensive travel and sketching, reveals a near-scholarly commitment to his subject matter. The story that he priced his mission series so high partly because he was reluctant to break up the set speaks to his deep personal investment in the project and his understanding of its collective historical value.
His annual open house events suggest a quiet pride in his work and a desire to connect with an appreciative audience on his own terms. He was described as a gentle and unassuming man, dedicated to his craft and his carefully cultivated environment in Berkeley. His decision to build a Mission-style studio further cemented his public identity with the historical subjects he so famously depicted. He remained dedicated to his art until the end of his life.
Legacy and Influence: A Painter of Place and Time
Edwin Deakin passed away in Berkeley on May 11, 1923. His legacy is multi-faceted. As an artist, he produced a substantial body of work characterized by technical skill, careful observation, and a distinctive romantic-realist style. He captured the landscapes and historical architecture of California with a sensitivity that continues to appeal to viewers. His still lifes, particularly of grapes, are considered among the finest produced in California during that period.
His most significant contribution, however, remains the California Missions series. These paintings transcend mere artistic representation; they are invaluable historical documents that captured a crucial aspect of California's cultural heritage at a moment of transition and decay. They played a role in raising awareness and appreciation for the missions, contributing indirectly to the preservation movements that gained momentum in the early 20th century. His work provides a visual touchstone for understanding California's past, complementing written histories and archaeological evidence.
While perhaps not as famous nationally as Bierstadt or as stylistically influential on later movements as Keith became in his Tonalist phase, Deakin occupies a vital place in the history of California art. He was a dedicated chronicler of his adopted state, drawn to its unique history and landscapes. His paintings hang in major California museums and private collections, serving as enduring testaments to his skill and his commitment to preserving the picturesque and historical essence of California's vanishing past. His work continues to be studied and appreciated for its artistic merit and its invaluable contribution to the visual record of American history.
