Frank Knox Morton Rehn stands as a significant figure in the annals of American art, particularly celebrated for his evocative marine paintings and atmospheric landscapes. His life, spanning a dynamic period of artistic evolution in the United States, saw him rise from a serendipitous introduction to art to become a respected academician and a master of depicting the myriad moods of the sea. His legacy is not only etched in his canvases but also extended through his family's contributions to the American art world.
An Unconventional Path to Artistry
Born in Philadelphia, Pennsylvania, on April 12, 1848, Frank Knox Morton Rehn's entry into the world of art was somewhat fortuitous. It wasn't a childhood dream meticulously pursued, but rather an unexpected turn of events that ignited his passion. At the age of eighteen, while confined to bed due to illness, his father provided him with a set of paints, perhaps merely as a diversion to pass the long hours of convalescence. This simple act, however, proved to be a catalyst. The young Rehn discovered a profound connection with the medium, and what began as a pastime soon blossomed into a dedicated calling. This newfound passion led him to formalize his artistic pursuits.
He enrolled at the prestigious Pennsylvania Academy of the Fine Arts (PAFA) in his native Philadelphia. PAFA, the oldest art museum and school in the United States, provided a fertile ground for aspiring artists, offering rigorous training in drawing, anatomy, and painting. Under the tutelage of established artists and within an environment steeped in artistic tradition, Rehn honed his skills, laying the foundational techniques that would later define his mature style. His time at PAFA was crucial in shaping his understanding of composition, color, and the academic principles that underpinned much of 19th-century American art.
The Lure of the Sea and a New York Base
While Rehn's early work encompassed broader landscape themes, he soon found his true métier in marine painting. The dramatic coastlines of New England, particularly the shores of Maine and Massachusetts, became his enduring muse. He was captivated by the ever-changing interplay of light, water, and sky, and his canvases began to reflect a deep sensitivity to the atmospheric conditions of the coastal environment. His depictions were not merely topographical records but sought to capture the essence and emotional resonance of the maritime world.
In 1881, seeking a larger stage and greater opportunities, Rehn made a significant move to New York City. This relocation placed him at the heart of the burgeoning American art scene. He established a studio in the famed Chelsea Hotel, a bohemian enclave that, over the decades, would become home to countless writers, musicians, and artists. Sharing the top floor with a community of fellow artists, Rehn found himself immersed in a vibrant and stimulating environment, conducive to both creative production and professional networking. This move marked a new chapter in his career, allowing him to engage more directly with collectors, critics, and fellow painters who were shaping the direction of American art.
Mastering the Marine Aesthetic
Frank Knox Morton Rehn's marine paintings are characterized by their meticulous realism, yet they often transcend mere representation to evoke a palpable mood. He was particularly adept at capturing the subtle nuances of light, whether it was the brilliant glare of a midday sun on open water, the soft glow of twilight over a tranquil bay, or the ethereal shimmer of moonlight on waves. His works like "Evening on Gloucester Bay" and "In the Glittering Moonlight" are prime examples of his ability to render these effects with remarkable skill and sensitivity.
His style, while rooted in Realism, often incorporated elements that resonated with the prevailing Tonalist and Luminist sensibilities of the era. Tonalism, with its emphasis on muted palettes, soft edges, and evocative atmosphere, and Luminism, characterized by its concealed brushwork and serene, light-filled compositions, both found echoes in Rehn's work. He paid close attention to the reflective qualities of water and the delicate gradations of color in the sky, creating scenes that were both visually accurate and poetically charged. His seascapes of the Maine and Massachusetts coasts were particularly lauded for their luminous quality and their ability to convey the grandeur and sometimes the solitude of the ocean.
Recognition and Esteem in the Art World
Rehn's dedication and talent did not go unnoticed. His work gained significant recognition, and he received several prestigious awards throughout his career. A notable early success came in 1881, the same year he moved to New York, when he was awarded the first prize at the St. Louis Exhibition. This was followed by a gold medal at the Prize Fund Exhibition in New York City in 1886, an event designed to promote American artists. In 1901, he received a gold medal from the American Art Association, further cementing his reputation. Some records also indicate a bronze medal at the Pan-American Exposition in Buffalo in 1901 (or a similar exposition around that period), underscoring his consistent presence and success in major national exhibitions.
His achievements led to his election as an Associate of the National Academy of Design (ANA) in 1899, and later as a full Academician (NA) in 1908. The National Academy was a bastion of artistic excellence in America, and membership was a significant honor, signifying peer recognition of an artist's contributions. Rehn also served as president of the Salmagundi Club, one of the oldest art clubs in the United States, located in New York City. This role highlighted his leadership within the artistic community and his commitment to fostering camaraderie and professional standards among artists. His works found their way into important public and private collections, including the Corcoran Gallery of Art (now part of the National Gallery of Art), the Newark Museum, and the Detroit Museum of Art (now the Detroit Institute of Arts).
Contemporaries and the Artistic Landscape
Frank Knox Morton Rehn practiced during a vibrant period in American art, a time when various artistic currents coexisted and often intermingled. He was a contemporary of several notable marine painters and landscape artists whose works collectively defined the era. Winslow Homer (1836-1910), perhaps the most powerful American marine painter of the 19th century, was creating his dramatic scenes of the Maine coast during Rehn's active years. While Homer's work often emphasized the raw power of nature and the human struggle against it, Rehn's marines, though equally skilled, often leaned towards a more serene or picturesque depiction of the sea.
Other significant marine specialists included William Trost Richards (1833-1905), known for his meticulously detailed coastal views and crashing waves, and Alfred Thompson Bricher (1837-1908), whose serene, light-filled coastal scenes are hallmarks of American Luminism. Mauritz de Haas (1832-1895), a Dutch-born artist who became a prominent American marine painter, also shared the artistic stage.
Beyond marine painting, the broader landscape tradition was evolving. The influence of the Hudson River School was waning, giving way to the more intimate and atmospheric approaches of Tonalism, championed by artists like George Inness (1825-1894) and Alexander Helwig Wyant (1836-1892). Dwight William Tryon (1849-1925), a direct contemporary, was a leading Tonalist whose subtle landscapes shared Rehn's sensitivity to light and mood, albeit in terrestrial settings. Simultaneously, American Impressionism was gaining traction, with artists like Childe Hassam (1859-1935) capturing the fleeting effects of light in coastal towns and landscapes, offering a brighter, more broken-brushwork alternative to Rehn's more polished realism. Rehn's work, therefore, existed within a rich tapestry of artistic exploration, drawing from established traditions while subtly reflecting contemporary aesthetic shifts.
The Rehn Family Legacy: A Gallery's Influence
The artistic legacy of the Rehn name did not end with Frank Knox Morton Rehn. His son, Frank K. M. Rehn Jr. (1886-1956), carved out his own significant niche in the American art world, not as a painter, but as an influential gallerist. In 1918, Frank K. M. Rehn Jr. established the Frank K. M. Rehn Galleries in New York City. This gallery would become a pivotal institution for the promotion of contemporary American art, particularly from the 1920s through the mid-1940s.
The Rehn Galleries played a crucial role in the careers of several iconic American artists. Most notably, it represented Edward Hopper (1882-1967), one of the foremost figures of American Realism, known for his poignant depictions of urban and rural solitude. Hopper joined the gallery in 1924, and it handled his work for many years, providing him with crucial exposure and support. The gallery also championed the work of Reginald Marsh (1898-1954), whose vibrant and gritty scenes of New York City life captured the energy of the metropolis.
Charles Burchfield (1893-1967), celebrated for his visionary and often mystical watercolors of nature and small-town America, was another key artist represented by the Rehn Galleries, joining in 1929 and remaining with the gallery for the rest of his career. The gallery also provided a platform for artists like Milton Avery (1885-1965), known for his abstracted and color-rich figurative and landscape paintings. While the provided information also mentions Daniel Garber and Walter Griffin in connection with the Rehn name, their primary associations might have been different, with Garber being a prominent figure in Pennsylvania Impressionism. The core group of Hopper, Marsh, and Burchfield, however, firmly establishes the importance of the Frank K. M. Rehn Galleries in shaping the landscape of 20th-century American art.
A Note on Historical Distinctions
It is important to distinguish between the painter, Frank Knox Morton Rehn (1848-1914), and his son, the gallerist Frank K. M. Rehn Jr. (1886-1956). A point of controversy mentioned in the provided source material pertains to the son. During World War II, Frank K. M. Rehn Jr. reportedly held views supportive of the internment of Japanese Americans. This controversial stance is associated with the gallerist son, not with his father, the marine painter, who had passed away decades before these events unfolded. Such distinctions are crucial for historical accuracy and to ensure that the actions or beliefs of one family member are not incorrectly attributed to another.
Final Years and Lasting Contribution
Frank Knox Morton Rehn continued to paint and exhibit throughout his life, remaining a respected figure in the American art community. His dedication to capturing the beauty and power of the sea, particularly the New England coastline, resulted in a substantial body of work that resonated with both critics and the public. He passed away in 1914 at the age of 66, leaving behind a legacy as a skilled and sensitive interpreter of the American maritime landscape.
His paintings remain in numerous public and private collections, testament to his enduring appeal. They offer a window into the late 19th and early 20th-century American fascination with its coastlines and the artistic endeavor to capture their unique character. While perhaps not as widely known today as some of his more revolutionary contemporaries, Frank Knox Morton Rehn's contribution to the tradition of American marine painting is undeniable. He masterfully balanced academic skill with a poetic sensibility, creating works that continue to evoke the timeless allure of the ocean. His life and art, coupled with the significant impact of his son's gallery, ensure that the Rehn name holds a distinguished place in the history of American art.
