Elmer Livingston MacRae (1875-1953) stands as a significant, if sometimes overlooked, figure in the narrative of American art at the turn of the 20th century. An accomplished painter in his own right, MacRae was also a pivotal organizer and facilitator, playing a crucial role in the development of American Impressionism through his association with the Cos Cob Art Colony and, most notably, in the introduction of European modernism to the American public as a key organizer of the groundbreaking 1913 Armory Show. His life and work offer a fascinating window into a period of profound artistic transition in the United States.
Early Life and Artistic Inclinations
Born in New York City in 1875, Elmer MacRae's early life set the stage for his immersion in the burgeoning American art scene. While details of his earliest artistic training are not as extensively documented as some of his contemporaries, his path led him to the Art Students League of New York, a vital institution that nurtured many prominent American artists. It was here, and in the broader artistic milieu of New York, that he would have been exposed to the prevailing academic traditions as well as the newer currents of Impressionism that were beginning to take hold in America, championed by artists like William Merritt Chase and Childe Hassam.
MacRae's artistic sensibilities were clearly drawn towards capturing the nuances of light and atmosphere, a hallmark of Impressionism. His decision to move to Cos Cob, Connecticut, was a pivotal one. This small, picturesque village on the Mianus River, part of Greenwich, was rapidly becoming a nexus for artists seeking an escape from the city and a place to explore new artistic ideas in a congenial, supportive environment.
The Cos Cob Art Colony: A Hub of American Impressionism
The Cos Cob Art Colony, active primarily from the late 1880s to around 1920, was one of America's earliest and most influential Impressionist art colonies. It was not a formal institution but rather an informal gathering of artists drawn to the area's scenic beauty and the intellectual camaraderie it offered. Central to the colony's life was the Holley House (now the Bush-Holley Historic Site), a rambling old saltbox house run by Josephine Holley and her daughter Constant Holley. It served as a boarding house and a vibrant meeting place for artists.
MacRae became deeply integrated into this community. He was a close associate of leading figures of American Impressionism such as John Henry Twachtman and J. Alden Weir, both of whom were instrumental in shaping the colony's artistic direction. Twachtman, known for his ethereal, Tonalist-inflected Impressionism, had a particularly strong influence on the Cos Cob artists. Weir, another leading Impressionist, also taught and painted in the area. The atmosphere at Cos Cob was one of experimentation, where artists explored the principles of French Impressionism – broken brushwork, painting en plein air, and a focus on capturing fleeting moments of light and color – but adapted them to an American context and sensibility.
Other artists who frequented or were associated with the Cos Cob circle included Theodore Robinson, who had direct contact with Claude Monet in Giverny, Childe Hassam, a leading American Impressionist, and Willard Metcalf. The interactions and shared experiences within this group fostered a distinct regional variant of American Impressionism, characterized by a gentler palette and often a more poetic, introspective mood than its French counterpart. MacRae's own work from this period reflects these qualities.
MacRae's Artistic Style and Representative Works
Elmer Livingston MacRae's artistic output primarily consisted of paintings, often in oil and pastel, as well as drawings and watercolors. His style is best described as American Impressionism, with a strong foundation in realism. He was a keen observer of nature, and his landscapes, garden scenes, and depictions of the Cos Cob environment are marked by their "soft tones and dreamlike texture," as noted in your provided information. This suggests an affinity with the more Tonalist aspects of American Impressionism, where mood and atmosphere were paramount.
One of his notable works, "Old House, South End" (circa 1914), likely depicts a scene from the Cos Cob or Greenwich area. In such a piece, one would expect to see MacRae's characteristic handling of light, perhaps the dappled sunlight on an old structure, rendered with a palette that emphasizes harmony and subtlety over the vibrant chromaticism of some French Impressionists. His brushwork would likely be evident but controlled, building form and atmosphere simultaneously.
Another significant piece mentioned is "Floral Pattern, Turk's Cap Lily" (circa 1912). Floral subjects and garden scenes were popular among Impressionists, offering opportunities to explore color, light, and decorative pattern. This title suggests a focus on the ornamental qualities of the flower, perhaps influenced by Japanese art principles or the burgeoning Arts and Crafts movement, both of which had an impact on Impressionist artists. His work "Peacock" (circa 1912) further points to an interest in decorative motifs and rich, though still harmonized, color. The peacock was a favored symbol of the Aesthetic Movement and later Art Nouveau, suggesting MacRae was attuned to broader artistic and design trends. His earlier work, "Schooner" (1903), would likely showcase his ability to capture maritime scenes, a common subject for coastal art colonies, with attention to the effects of light on water and sails.
MacRae was also a founder of The American Pastel Society, serving as its secretary and treasurer. His proficiency in pastel, a medium favored by Impressionists like Edgar Degas and Mary Cassatt for its immediacy and luminous color, underscores his commitment to Impressionist techniques and aesthetics. Pastels allowed for a directness and softness that complemented his artistic vision.
The Armory Show: Treasurer and Key Organizer
Perhaps Elmer Livingston MacRae's most historically significant contribution was his role in the organization of the 1913 International Exhibition of Modern Art, famously known as the Armory Show. This exhibition, held at the 69th Regiment Armory in New York City before traveling to Chicago and Boston, was a watershed moment in American art history. It introduced a largely unprepared American public and artistic establishment to the radical developments of European modernism.
MacRae was a founding member and, crucially, the treasurer of the Association of American Painters and Sculptors (AAPS), the group responsible for organizing the Armory Show. The AAPS was formed in 1911 by a group of American artists who felt that existing exhibition venues, largely controlled by the conservative National Academy of Design, were not receptive to newer, more progressive art. Key figures in the AAPS alongside MacRae included its president Arthur B. Davies, secretary Walt Kuhn, and artist Walter Pach, who was instrumental in selecting many of the European works.
As treasurer, MacRae's role was vital. Organizing an exhibition of such scale and ambition, featuring over 1,250 works by more than 300 artists (about one-third European, two-thirds American), required immense logistical and financial management. He was responsible for handling the funds, managing sales, and overseeing the complex financial operations of the show. His meticulous work behind the scenes ensured the exhibition could take place.
The Armory Show featured works by European avant-garde artists such as Henri Matisse, Pablo Picasso, Constantin Brâncuși, Wassily Kandinsky, Georges Braque, and, most notoriously, Marcel Duchamp, whose "Nude Descending a Staircase, No. 2" became a symbol of the show's perceived outrageousness. While MacRae himself exhibited his more traditional Impressionist-style works, his dedication to the AAPS and the Armory Show demonstrated a commitment to artistic freedom and the importance of exposing American artists and audiences to new ideas, even if those ideas challenged his own artistic practice. The show was a succès de scandale, provoking outrage and ridicule from many critics and the public, but it irrevocably changed the course of American art, stimulating American artists to engage with modernism and paving the way for New York to eventually become a global art center.
Continued Artistic and Community Involvement
Beyond the Armory Show, MacRae remained an active figure in the Connecticut art scene. He was a co-founder of the Greenwich Society of Artists in 1912, which later evolved into the Bruce Museum. This organization provided a local venue for artists to exhibit their work and fostered a sense of artistic community in Greenwich, continuing the legacy of the Cos Cob Art Colony. His involvement in establishing such societies highlights his enduring commitment to supporting fellow artists and promoting art within the community.
MacRae's artistic practice continued to evolve, though he remained largely rooted in an Impressionistic framework. He also explored photography and sculpture, indicating a versatile artistic mind. His involvement with the American Arts and Crafts movement, including collaborations with figures like the potter Leon Volkmar, shows his interest in the broader integration of art into daily life and the value of craftsmanship, ideals that resonated with many artists of his generation who sought alternatives to mass-produced industrial goods.
Personal Life: Emma Holley and the Holley House
Elmer Livingston MacRae's personal life was deeply intertwined with the Cos Cob Art Colony. In 1896, he met Emma Constant Holley (1878-1957), the daughter of Josephine Holley, the proprietor of the Holley House. They fell in love and, despite some initial family reservations, married in 1900. Their marriage was a partnership that lasted his lifetime. Emma was an intelligent and cultured woman, and the Holley House, under her and her mother's stewardship, was more than just a boarding house; it was an intellectual and artistic salon.
The MacRaes lived in the Holley House, which became a central fixture in their lives and in the life of the art colony. Elmer MacRae even established art classes there, further contributing to the artistic education and development of others. The home provided a stable and stimulating environment for his work and his organizational activities. The letters and records preserved, some of which are now in the Archives of American Art and the Greenwich Historical Society, attest to a rich personal and professional life centered around art and community.
Legacy and Lasting Influence
Elmer Livingston MacRae passed away in 1953. While his name may not be as widely recognized today as some of the more radical modernists who followed, his contributions to American art are undeniable. As an artist, he created a body of work that beautifully represents a significant phase of American Impressionism, capturing the landscapes and intimate scenes of his Connecticut environment with sensitivity and skill. His paintings offer a gentle, poetic vision, reflecting the influence of artists like Twachtman while retaining his own distinct voice.
His more profound and lasting legacy, however, lies in his organizational efforts. His role as treasurer of the AAPS and his diligent work on the Armory Show were critical to the success of an event that fundamentally altered the trajectory of art in the United States. By helping to bring European modernism to American shores, he participated in opening the door for subsequent generations of American artists, including figures like Stuart Davis, Charles Demuth, and Georgia O'Keeffe, to explore abstraction and other avant-garde styles.
Furthermore, his dedication to founding and supporting local art societies like the Greenwich Society of Artists and The American Pastel Society helped to build the infrastructure that supports artistic practice and appreciation. He understood the importance of community and collaboration in the arts. The Bush-Holley Historic Site in Cos Cob stands today as a testament to the vibrant artistic life that MacRae and his contemporaries fostered there.
In conclusion, Elmer Livingston MacRae was a multifaceted artistic figure. He was a talented Impressionist painter, a dedicated husband and community member, and, crucially, an effective and visionary arts administrator. His efforts helped to nurture American Impressionism and, perhaps more significantly, to usher in the era of modern art in America, ensuring his place in the annals of American art history. His career demonstrates that influence in the art world can be wielded not only with a paintbrush but also with dedication, organizational acumen, and a belief in the transformative power of art.
