Frederick DeBourgh Richards stands as a notable figure in the landscape of 19th-century American art, a period of burgeoning national identity and artistic exploration. His career was multifaceted, distinguished by his contributions not only as a painter of evocative landscapes and seascapes but also as a pioneering photographer and etcher. Operating primarily within the realist tradition, Richards captured the essence of the American scene, from the tranquil countryside of Pennsylvania to the dynamic coastlines of New Jersey, leaving behind a body of work that reflects both the artistic currents of his time and his unique observational skills.
Early Life and Artistic Awakening
Born on June 24, 1822, in Wilmington, Delaware, Frederick DeBourgh Richards embarked on his artistic journey largely as a self-taught individual. The early 19th century in America offered limited formal art education compared to Europe, and many aspiring artists relied on personal study, observation, and the mentorship of established figures. Richards spent some of his formative years in New York City during the early 1840s, a burgeoning metropolis that was rapidly becoming a center for arts and culture. It was likely here that he honed his initial skills and absorbed the influences that would shape his artistic trajectory.
By 1848, Richards made a significant move to Philadelphia, Pennsylvania. This city, with its rich colonial history and vibrant intellectual life, would become his home for the remainder of his life. He established a family there, living with his wife and two daughters, and integrated himself into the local artistic community. Philadelphia boasted institutions like the Pennsylvania Academy of the Fine Arts (PAFA), one of the oldest art institutions in the United States, founded by luminaries such as Charles Willson Peale and William Rush, which provided a stimulating environment for artists.
Richards quickly gained recognition as a landscape painter. His success was notably marked by his exhibitions at the American Art-Union in Philadelphia. The Art-Union movement was a popular phenomenon in the mid-19th century, aiming to promote American art and artists by purchasing artworks and distributing them to subscribers via lottery. To be featured by such an organization was a significant endorsement for an emerging artist.
The Painter: Realism and the American Landscape
Frederick DeBourgh Richards' painting style is firmly rooted in Realism, with a strong affinity for the tenets of the Hudson River School. This influential group of American landscape painters, flourishing from the 1820s to roughly the 1870s, sought to depict the American wilderness with detailed accuracy and often imbued their scenes with a sense of awe and romantic grandeur. Key figures like Thomas Cole, considered the school's founder, and his successor Asher B. Durand, championed direct observation of nature and a meticulous rendering of its forms.
Richards' work echoes this dedication to verisimilitude. He specialized in capturing the serene beauty of the Pennsylvanian countryside, the tranquil vistas along the Potomac River, and the picturesque scenery of the Delaware River Valley. His landscapes are characterized by their careful attention to detail, a clear and often gentle light, and a palpable sense of place. These works were not merely topographical records but also conveyed an appreciation for the unspoiled or gently cultivated American environment.
His seascapes, particularly those depicting the New Jersey coast, offered a different but equally compelling dimension to his oeuvre. These paintings captured the dynamic interplay of water, sky, and shore, often reflecting the varying moods of the Atlantic. Like other artists drawn to coastal scenes, such as Sanford Robinson Gifford or Francis A. Silva, Richards explored the atmospheric effects and the sublime power of the ocean.
Beyond natural landscapes, Richards also undertook commissions to paint portraits of historic buildings and private estates. These works served as important records of architectural heritage and the affluent lifestyles of his patrons, demonstrating his versatility in subject matter. His ability to render architectural details with precision was a valuable skill in an era before widespread architectural photography.
The influence of the Hudson River School on Richards is evident in his compositional strategies and his commitment to representing nature faithfully. While some Hudson River School artists like Albert Bierstadt or Frederic Edwin Church ventured into depicting dramatic, large-scale panoramas of the American West or South America, Richards often focused on the more intimate and accessible landscapes of the Mid-Atlantic region. His realism was less about overwhelming grandeur and more about a quiet, contemplative appreciation of the familiar. His contemporaries in this broader movement included artists like Jasper Francis Cropsey, known for his autumnal scenes, and John Frederick Kensett, celebrated for his luminist coastal views.
A Pioneer in the Nascent Field of Photography
Parallel to his painting career, Frederick DeBourgh Richards made significant contributions to the burgeoning field of photography. In an era when photography was a revolutionary new medium, he embraced its potential with enthusiasm and technical acumen. He is documented as having opened a "daguerreotype saloon" or photographic gallery in Philadelphia. Sources vary slightly on the exact dates, with mentions of activity starting as early as 1848, a gallery operating from 1855 to 1866, or a dry-plate photography gallery opened in 1857 opposite Independence Hall, which operated until 1856 (the end date here seems contradictory but reflects the varied historical records). Regardless of precise timelines, it's clear he was an active photographer for a significant period.
Richards became known for his "life-size" photographs, an ambitious undertaking given the technical limitations of early photographic processes. He also engaged with the popular carte-de-visite format, small photographic portraits mounted on card stock that became a global phenomenon in the mid-19th century. His photographic work was not limited to portraiture; he also documented Philadelphia's historic 18th-century architecture, preserving images of buildings that were, even then, at risk of disappearing.
One of his most notable photographic achievements was a portrait of the esteemed statesman Henry Clay. This photograph is now held in the collection of the National Portrait Gallery in Washington, D.C., a testament to its historical and artistic significance. In 1851, Richards advertised his popular photographic image of the famous Swedish soprano Jenny Lind in the Daguerreian Journal, indicating his commercial success and engagement with popular culture. The daguerreotype process, prevalent in the earlier part of his photographic career, was known for its sharp detail but was a complex and delicate procedure. Later, the wet collodion process would offer new possibilities. Richards' involvement places him among important early American photographers like Mathew Brady, who famously documented the Civil War, and Timothy O'Sullivan, known for his Western survey photographs.
Furthermore, Richards demonstrated an inventive mind in the technical aspects of visual representation. In 1853, an article by him appeared in the Franklin Journal of Science and the Arts (also known as the Journal of the Franklin Institute), describing his improvements to the stereoscope. The stereoscope, which creates an illusion of three-dimensional depth from two flat images, was a popular Victorian-era entertainment and educational tool. Richards' contributions to its design underscore his keen interest in optics and visual perception, bridging his artistic and scientific inclinations. He also produced stereoscopic views and large revolving stereoscopes.
European Sojourns and Broadening Horizons
Like many American artists of his generation, Frederick DeBourgh Richards sought to broaden his artistic education and experience by traveling to Europe. In the mid-1850s, he embarked on a significant journey, visiting key artistic centers and scenic locales across the continent. His itinerary included England, France, Italy, Switzerland, Germany, and Belgium. Such tours were considered essential for artists to study the Old Masters firsthand, to observe contemporary European artistic trends, and to sketch diverse landscapes and cultures.
He spent a notable period in Paris, which was solidifying its position as the art capital of the Western world. The exposure to European art, both historical and contemporary, undoubtedly enriched Richards' artistic vocabulary and technical skills. While his core style remained rooted in American realism, the experience likely refined his understanding of composition, color, and light. Some accounts suggest he returned to Paris in 1856 and may have stayed there for a period. These European experiences were common among his peers; for instance, artists like William Merritt Chase and Frank Duveneck would later study extensively in Munich, while others gravitated towards Paris or Rome.
The landscapes and cityscapes encountered during these travels would have provided new subject matter and perspectives, potentially influencing the way he approached his American scenes upon his return. The tradition of the Grand Tour, though evolving, still held sway, and for an artist, it was a crucial rite of passage.
Etching and Other Artistic Pursuits
Beyond painting and photography, Richards was also an accomplished etcher. Etching, an intaglio printmaking process, experienced a revival in the 19th century, valued for its capacity for fine detail and expressive line work. Artists like James Abbott McNeill Whistler were instrumental in popularizing etching as a fine art medium. Richards' engagement with etching further demonstrates his versatility and his interest in exploring different modes of artistic expression. His skills in detailed rendering, evident in his paintings and photographs, would have translated well to the precise demands of the etching needle.
His multifaceted career—painter, photographer, etcher, and inventor—highlights a restless creativity and an eagerness to engage with both traditional and emerging artistic technologies. This breadth of practice was not uncommon in the 19th century, an era of rapid technological advancement and cross-disciplinary exploration.
Exhibitions, Affiliations, and Recognition
Throughout his career, Frederick DeBourgh Richards was an active participant in the American art world. He regularly exhibited his work at prominent institutions, ensuring his visibility and contributing to his reputation. His paintings were shown at the prestigious Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia, a key venue for American artists. He also exhibited at the National Academy of Design in New York, another leading institution that played a crucial role in shaping American art, founded by artists like Samuel F.B. Morse (also an inventor and photographer) and Thomas Cole. Furthermore, his work reached audiences further west, with exhibitions at the Art Institute of Chicago.
Richards was also a member of several influential artistic organizations. These affiliations provided opportunities for networking, exhibition, and professional development. He was associated with the Philadelphia Sketch Club, one of America's oldest artists' clubs, fostering camaraderie and artistic exchange. He was also involved with the Artists' Fund Society of Philadelphia, which aimed to support artists and their families, and the Art Club of Philadelphia. His membership in the Brooklyn Art Association further extended his connections within the broader artistic community. His early success with the American Art-Union in Philadelphia, as previously mentioned, was a significant stepping stone.
These affiliations and exhibition records underscore his standing within the artistic community of his time. He was not an isolated figure but an engaged professional who contributed to and benefited from the burgeoning infrastructure of the American art world.
Notable Works and Artistic Themes
While a comprehensive list of all his works is extensive, certain themes and specific pieces stand out. His photographic portrait of Henry Clay remains a significant historical artifact. In painting, his oeuvre is characterized by depictions of:
Pennsylvania Landscapes: Scenes of the Schuylkill River, the farmlands around Philadelphia, and the gentle hills of the Pennsylvanian countryside. These works often evoke a sense of pastoral tranquility and a deep connection to the local environment. An example might be a work titled something like View on the Schuylkill River or Pennsylvania Farmstead.
New Jersey Seascapes: Capturing the light and atmosphere of the Atlantic coast, these paintings would have included beach scenes, views of the ocean under different weather conditions, and perhaps maritime activities. Titles like Coastal Scene, New Jersey or Morning on the Atlantic would be typical.
River Valleys: The Delaware River Valley and the Potomac River were recurring subjects, offering opportunities to explore the interplay of water, land, and sky, often with a focus on serene, expansive views.
Architectural Portraits: His paintings of historic homes and estates in and around Philadelphia served as valuable records and fine examples of detailed architectural rendering.
His style, influenced by the Hudson River School, emphasized meticulous detail, a smooth finish, and often a luminist quality of light, where light itself becomes a primary subject, creating a sense of stillness and transcendence. This can be seen in the works of artists like Fitz Henry Lane and Martin Johnson Heade, who are strongly associated with Luminism. Richards' application of these principles to the Mid-Atlantic landscape helped to define a regional variation of this broader American artistic movement.
Later Life and Enduring Legacy
Frederick DeBourgh Richards continued to live and work in Philadelphia for many years, a respected member of its artistic and civic community. He passed away in 1903 and was buried in the nearby West Laurel Hill Cemetery in Bala Cynwyd, Pennsylvania, a historic cemetery that is the final resting place for many notable Philadelphians.
His legacy is twofold. As a painter, he contributed significantly to the tradition of American landscape and seascape art, capturing the specific character of the Mid-Atlantic region with skill and sensitivity. His works are valued for their realistic depiction, their serene beauty, and their historical documentation of the American scene in the 19th century. They find their place alongside those of other dedicated landscape artists of his era, such as Worthington Whittredge or Jervis McEntee, who also brought a personal vision to the depiction of American nature.
As a photographer and innovator, Richards played a role in the early development and popularization of a medium that would revolutionize visual culture. His technical contributions, such as the improvements to the stereoscope, and his successful photographic practice, including portraiture and architectural documentation, mark him as a forward-thinking individual who embraced new technologies. His work in photography complements that of other painter-photographers of the era, such as the Peale family (notably Titian Ramsay Peale who experimented with photography) or later figures like Thomas Eakins, who used photography extensively as an aid to his painting.
Frederick DeBourgh Richards, therefore, is remembered not just for one artistic pursuit, but for his versatile engagement across multiple visual media. He was an artist who keenly observed the world around him, whether through the lens of a camera or the tip of a paintbrush, and who sought to share his vision with a growing American public eager to see its own landscapes and people represented with truth and artistry. His contributions enrich our understanding of 19th-century American art and the diverse talents that shaped its development.
