George Frederick Bensell stands as a significant, if sometimes overlooked, figure in the landscape of nineteenth-century American art. A painter and illustrator of considerable skill, Bensell was not only a creator of evocative imagery but also a vital force in the artistic community of his native Philadelphia. His contributions, particularly his narrative works and his foundational role in the Philadelphia Sketch Club, cemented his place in the annals of American art history. This exploration delves into his life, his artistic style, his seminal works, and the vibrant cultural milieu in which he thrived.
Early Life and Artistic Inclinations in a Flourishing City
While specific details of George Frederick Bensell's earliest years and formal artistic training remain somewhat elusive in readily available records, it is known that he was born in 1837. It is highly probable that his birthplace was Philadelphia, Pennsylvania, a city that, by the mid-nineteenth century, was a burgeoning center for arts and culture in the United States. His brother, Edmund Birckhead Bensell (often E. B. Bensell), was also a talented artist, and this familial connection undoubtedly played a crucial role in George's artistic development. Growing up in an environment that likely fostered creative pursuits, the Bensell brothers were well-positioned to engage with the city's rich artistic resources.
Philadelphia at this time was home to institutions like the Pennsylvania Academy of the Fine Arts (PAFA), founded in 1805, which was pivotal in training generations of American artists, including figures like Thomas Eakins, Mary Cassatt, and Cecilia Beaux later in the century. While Bensell's direct affiliation with PAFA as a student isn't explicitly detailed in the provided information, the institution's presence would have created a stimulating atmosphere, offering opportunities for exhibition, study, and interaction with other artists. The city's intellectual and literary scene also provided fertile ground for narrative artists like Bensell, who often drew inspiration from literature.
The Genesis of the Philadelphia Sketch Club: A Brotherhood of Artists
One of George Frederick Bensell's most enduring legacies is his instrumental role in the founding of the Philadelphia Sketch Club in 1860. He, along with his brother E. B. Bensell and a group of other young artists, established what would become the oldest continuously operating artists' club in the United States. The club's inception marked a desire among these artists for a space of mutual encouragement, critique, and camaraderie, away from the more formal structures of established academies. George Frederick Bensell served as its first president, a position he held with dedication until 1869, guiding the club through its formative years.
The Philadelphia Sketch Club quickly became a vibrant hub for the city's artistic talent. Its members engaged in regular sketching sessions, often from life models or based on assigned themes, fostering a spirit of friendly competition and shared learning. The club's activities extended beyond mere sketching; it organized exhibitions, lectures, and social gatherings, contributing significantly to the cultural fabric of Philadelphia. Early members and associates, whose works might have been discussed or exhibited alongside Bensell's, included a diverse array of talents. The club's collection would later grow to include works by prominent figures such as Thomas P. Anshutz, a student of Eakins and an influential teacher himself, and Joseph Pennell, a master etcher and illustrator. The collaborative spirit was evident in publications like the "Sketch Club Portfolio," which showcased members' works. Other artists whose works became part of the club's print collection over time included Benton Spruance, Earl Horter, and Robert Riggs, highlighting the club's lasting impact.
Artistic Style: Narrative Depth and Meticulous Detail
George Frederick Bensell's artistic output was characterized by a strong narrative inclination, a meticulous attention to detail, and a sensitive portrayal of human emotion. He was adept in various media, including oil painting and charcoal drawing, the latter being a medium that allows for rich tonal variations and expressive lines. His style resonated with the prevailing tastes of the Victorian era, which valued storytelling, moral lessons, and a degree of realism in art.
His proficiency in both portraiture and landscape painting allowed him to create comprehensive narrative scenes. Unlike the grand, often sublime landscapes of the Hudson River School painters such as Thomas Cole or Asher B. Durand, Bensell's landscapes typically served as carefully rendered backdrops for human drama. His figures were not merely accessories to the scenery but central actors in the stories he depicted. This focus on human experience, often drawn from literary sources, placed him in the tradition of genre painting, which found widespread appeal in nineteenth-century America through artists like Eastman Johnson and William Sidney Mount, who captured scenes of everyday life.
Bensell's approach was marked by a high degree of finish and a commitment to conveying the psychological state of his characters. Through subtle facial expressions, gestures, and the careful arrangement of compositional elements, he invited viewers to engage with the emotional core of his narratives. This ability to imbue his scenes with feeling and his detailed rendering suggest an artist deeply invested in the communicative power of visual art.
The Influence of Literature and Romanticism
A significant aspect of Bensell's oeuvre was his engagement with literature. The nineteenth century saw a close relationship between visual art and the written word, with many artists finding inspiration in contemporary and classic texts. Bensell was no exception. His brother, E. B. Bensell, was particularly noted for his illustrations for Charles F. Hazeltine's editions of Shakespeare, and it is likely that George shared this literary sensibility.
The broader cultural movement of Romanticism, which emphasized emotion, individualism, and the power of nature and history, undoubtedly shaped Bensell's artistic vision. American Romanticism found potent expression in the writings of authors like Washington Irving, Nathaniel Hawthorne, and Edgar Allan Poe. Bensell's choice to illustrate scenes from such literature indicates his alignment with these Romantic themes – a fascination with the past, the interplay of the natural and supernatural, and the complexities of human character. His detailed, narrative style was well-suited to translating these literary concepts into compelling visual form. This was an era where illustrators like F.O.C. Darley were immensely popular for bringing American literature to visual life, and Bensell's work fits within this important tradition.
"Rip Van Winkle": A Masterpiece of American Folklore
Perhaps the most celebrated of George Frederick Bensell's works is his pictorial interpretation of Washington Irving's classic tale, "Rip Van Winkle." This story, first published in 1819, had by Bensell's time become a cornerstone of American folklore, a charming and poignant allegory of change, memory, and the passage of time in a young nation. Bensell created at least one major painting depicting this subject, often referred to simply as "Rip Van Winkle," and another titled "Rip Van Winkle Returns!"
In these works, Bensell masterfully combined his skills in landscape and figure painting to bring Irving's narrative to life. The depiction of Rip, awakening after his twenty-year slumber to a world irrevocably changed, would have offered rich opportunities for character study – his bewilderment, his aged appearance, and the anachronism of his presence. Bensell's rendering of the Catskill Mountains, the setting for Rip's magical sleep, would have been crucial in establishing the atmosphere of the tale, blending realistic observation with a touch of the fantastical.
The painting "Rip Van Winkle" is noted for its intricate detail and narrative clarity. Bensell's ability to capture the essence of the story, its humor, and its underlying melancholy, resonated with audiences. The work is a testament to his skill in visual storytelling, making complex literary themes accessible and emotionally engaging. The painting has been part of the collection of the Westmoreland Museum of American Art, where it underwent significant restoration before being re-exhibited, underscoring its historical and artistic importance. Such narrative paintings were highly valued, offering viewers not just aesthetic pleasure but also a connection to their cultural heritage.
Collaboration and Artistic Exchange
The artistic journey of George Frederick Bensell was significantly intertwined with that of his brother, Edmund Birckhead Bensell. Their collaboration extended beyond the co-founding of the Philadelphia Sketch Club. While the specifics of their joint artistic projects are not always minutely documented, it is clear they shared a common artistic environment and likely influenced each other's work considerably. E. B. Bensell's success as an illustrator, particularly his ink drawings for Shakespeare, suggests a shared milieu of literary illustration. They may have collaborated on specific commissions or shared techniques and approaches to their craft.
Beyond his brother, George's involvement with the Philadelphia Sketch Club placed him at the center of a dynamic network of artists. The club was not merely a social entity; it was a crucible for artistic development. The regular sketch sessions, critiques, and exhibitions provided invaluable opportunities for artists to learn from one another, to experiment with new ideas, and to receive feedback on their work. This environment of mutual support and intellectual exchange was crucial for the growth of many Philadelphia artists. The presence of artists with diverse specializations, from painters to illustrators and later printmakers, enriched the club's atmosphere. Bensell's leadership as the first president would have involved him deeply in these interactions, shaping the club's direction and fostering its collaborative spirit. One can imagine lively discussions about the works of European masters, the emerging trends in American art, or the techniques employed by contemporaries like the Pre-Raphaelites in England or the Barbizon School painters in France, whose works were becoming increasingly known in America.
Other Works and Artistic Scope
While "Rip Van Winkle" stands out as a signature piece, George Frederick Bensell's oeuvre likely encompassed a broader range of subjects and commissions typical of a working artist in the nineteenth century. This would have included portraits, other literary or historical scenes, and potentially illustrations for books and periodicals, which were a significant source of income and exposure for artists of that era. His skill in charcoal suggests he may have produced finished drawings intended as standalone artworks, not just preparatory sketches.
The detailed, narrative quality of his work would have lent itself well to historical subjects, which were popular in a nation keen on forging its identity and celebrating its past. Genre scenes, depicting everyday life or moments of quiet domesticity, were also in vogue and would have been within his stylistic capabilities. Without a comprehensive catalogue raisonné, the full extent of his output is difficult to ascertain, but the quality of his known works indicates a consistent level of craftsmanship and artistic vision. His contributions to the "Sketch Club Portfolio" would offer further insight into his working methods and thematic interests during his active years with the club.
The Broader Context of 19th-Century American Art
To fully appreciate George Frederick Bensell's contributions, it's important to place him within the wider context of nineteenth-century American art. This was a period of immense growth and transformation for the nation, and its art reflected this dynamism. Artists were grappling with questions of national identity, exploring the American landscape, and chronicling the lives of its people.
The Hudson River School, with artists like Frederic Edwin Church and Albert Bierstadt, was bringing the grandeur of the American wilderness to canvas. Genre painters were capturing the nuances of American society. Portraiture remained a staple, documenting the leading figures and ordinary citizens of the era. Simultaneously, American artists were increasingly looking to Europe for training and inspiration, with many studying in Düsseldorf, Munich, Paris, or Rome. Figures like William Merritt Chase or John Singer Sargent, though slightly later than Bensell's primary period of activity, exemplify this cosmopolitan trend.
Bensell's work, with its focus on American literary themes and its detailed narrative style, aligns with a strong current in American art that sought to create a distinctly national visual culture. His commitment to the Philadelphia Sketch Club also reflects a broader movement towards the professionalization of artists and the establishment of supportive communities. Such organizations played a vital role in advocating for artists, providing educational opportunities, and fostering a public appreciation for the arts.
Legacy and Lasting Impact
George Frederick Bensell passed away in 1879, relatively young at the age of 42. Despite a career that spanned roughly two decades, his impact, particularly within the Philadelphia art scene, was substantial. His most visible legacy is the Philadelphia Sketch Club, an institution that has nurtured countless artists for over a century and a half and continues to thrive. His role as a founding member and its first president underscores his leadership and commitment to fostering an artistic community.
His paintings, especially "Rip Van Winkle," remain important examples of nineteenth-century American narrative art. They offer valuable insights into the cultural preoccupations of the era, the close relationship between literature and the visual arts, and the technical proficiency achieved by American painters. While he may not have achieved the widespread fame of some of his contemporaries, his work is preserved in museum collections and valued for its artistic merit and historical significance.
Artists like Bensell, who worked diligently to create meaningful art and to build supportive structures for their peers, formed the bedrock of America's developing artistic tradition. His dedication to his craft and his community helped to lay the groundwork for future generations of Philadelphia artists, contributing to the city's enduring reputation as a major center for the arts. His work serves as a reminder of the rich tapestry of artists who contributed to the cultural heritage of the United States, each adding their unique thread to the larger narrative of American art. His name deserves to be remembered alongside other dedicated painters and illustrators of his time, such as his brother E.B. Bensell, and those who contributed to the vibrancy of institutions like the Sketch Club, including later figures like Thomas Anshutz, Joseph Pennell, and even visiting luminaries who might have interacted with the club, such as the famed illustrator Howard Pyle, who had strong Philadelphia connections.
Conclusion: An Enduring Contribution
George Frederick Bensell was an American artist whose career, though perhaps not as lengthy as some, was marked by significant achievements. As a painter, he skillfully brought American narratives to life, most notably in his interpretations of Washington Irving's "Rip Van Winkle." His style, characterized by detailed realism and emotional depth, resonated with the sensibilities of his time and continues to engage viewers today. As an illustrator and a master of charcoal, he demonstrated versatility and a keen eye for composition.
Beyond his individual artistic output, Bensell's role as a co-founder and the first president of the Philadelphia Sketch Club stands as a testament to his vision and leadership. He helped create an enduring institution that has played a crucial role in the artistic life of Philadelphia and the nation. Through his art and his community building, George Frederick Bensell made a lasting contribution to American art history, embodying the spirit of creativity and collaboration that defined the burgeoning artistic landscape of the nineteenth century. His work invites us to look closer at the stories, both on canvas and in the historical record, that shape our understanding of America's cultural past.
