Lockwood de Forest (1850-1932) stands as a uniquely versatile and influential figure in American art and design history. Born in New York City, his career spanned landscape painting, intricate interior design, innovative furniture manufacturing, architectural decoration, and passionate collecting. De Forest was a pivotal artist who not only mastered various mediums but also acted as a crucial bridge between Western aesthetics and the rich artistic traditions of the East, particularly India. His work reflects a profound engagement with global cultures, a keen eye for beauty in diverse forms, and a pioneering spirit that left an indelible mark on the American Aesthetic Movement and beyond.
Early Life and Artistic Awakening
Born on June 8, 1850, in New York City, Lockwood de Forest hailed from a prosperous and socially prominent family with deep roots in the city's history; his paternal grandfather, Benjamin De Forest, was a successful merchant, and his father, Henry Grant de Forest, was a lawyer. The family's affluence provided young Lockwood with opportunities for education and travel, which would prove formative. His early artistic inclinations were nurtured within a family that appreciated culture and the arts. His great-uncles were the painters George de Forest Brush and David Claypoole Johnston.
De Forest's formal artistic training began in the late 1860s. A significant turning point came when he studied informally with the renowned Hudson River School painter Frederic Edwin Church in 1868. Church, known for his majestic and luminously detailed landscapes of North and South America, as well as the Near East, became a mentor and a lifelong friend. This association was crucial, as Church not only provided artistic guidance but also instilled in de Forest a love for travel and the depiction of exotic locales.
The Influence of Travel: Europe and the East
Travel was a cornerstone of de Forest's education and artistic development. In 1868, at the age of eighteen, he embarked on his first significant European tour, a common practice for affluent young Americans of the era. He spent considerable time in Rome, studying the Old Masters and further honing his skills under Church's tutelage, as Church himself was residing there. This period exposed him to the grandeur of classical and Renaissance art, broadening his artistic vocabulary.
Further travels with Church in 1869 took them to Greece and Egypt. These journeys were instrumental in shaping de Forest's burgeoning interest in non-Western art and architecture. The monumental scale of Egyptian ruins and the classical beauty of Greek antiquities left a lasting impression. However, it was his later voyages to India that would most profoundly define his unique artistic path and contribution. He was captivated by the intricate craftsmanship, vibrant colors, and spiritual depth he encountered in the East, elements that would become central to his design philosophy.
Early Painting Career and the Hudson River School Legacy
Influenced by Frederic Edwin Church, de Forest's early paintings were primarily landscapes, executed in the detailed and romantic style characteristic of the later Hudson River School. Artists like Albert Bierstadt, Sanford Robinson Gifford, and Worthington Whittredge were contemporaries or slightly older figures whose work celebrated the American wilderness and, in some cases, exotic landscapes abroad. De Forest's early works often featured scenes from his travels in Europe and the Near East, as well as American landscapes.
He exhibited his paintings at prestigious venues such as the National Academy of Design in New York, beginning in 1872, and the Pennsylvania Academy of the Fine Arts. His oil sketches, often painted en plein air, were noted for their freshness and directness, capturing the atmospheric effects of light and color. While he continued to paint throughout his life, his focus began to shift towards the decorative arts in the late 1870s, a field where his passion for Eastern craftsmanship could find fuller expression.
Associated Artists: A Groundbreaking Collaboration
In 1879, Lockwood de Forest became a founding partner in one of the most innovative and influential design firms of the American Aesthetic Movement: Associated Artists. His partners were Louis Comfort Tiffany, renowned for his work in glass; Samuel Colman, a respected painter with a keen interest in decorative patterns; and Candace Wheeler, a pioneer in textile design and a champion of women's roles in the arts.
Associated Artists aimed to create unified and harmonious interiors, integrating all aspects of design from wallpaper and textiles to furniture and architectural details. De Forest's primary contribution was his expertise in carving and architectural embellishments, often incorporating motifs inspired by his travels. The firm undertook prestigious commissions, including the redecoration of several rooms in the White House for President Chester A. Arthur, the Mark Twain House in Hartford, Connecticut, and the Veterans Room at the Seventh Regiment Armory in New York. These projects showcased a rich, eclectic style that blended diverse cultural influences, characteristic of the Aesthetic Movement's pursuit of beauty in all its forms. Other prominent designers of this era, such as the Herter Brothers (Gustave and Christian Herter), also contributed to this rich decorative landscape.
The Lure of India and the Ahmedabad Wood Carving Company
De Forest's fascination with Indian art and craftsmanship deepened significantly during his travels to India in 1879-1881. He was particularly captivated by the intricate wood carving traditions of Gujarat. Recognizing the exceptional skill of Indian artisans and fearing the decline of these traditional crafts under British colonial rule and industrialization, de Forest conceived a visionary plan.
In Ahmedabad, Gujarat, he established the Ahmedabad Wood Carving Company in 1881. His aim was twofold: to revive and preserve traditional Indian wood carving techniques and to create high-quality, authentic Indian craftwork for the American market. He worked closely with local artisans, providing designs and ensuring quality control. The company produced a wide range of items, including intricately carved teakwood panels, screens, furniture (such as cabinets, tables, and chairs), and architectural elements. These pieces were often embellished with pierced work (jali), inlay, and sometimes brass.
De Forest's venture was supported by John Lockwood Kipling (father of Rudyard Kipling), who was then the principal of the Mayo School of Art and curator of the Lahore Museum. Kipling shared de Forest's appreciation for Indian crafts and provided valuable connections and insights. The products of the Ahmedabad Wood Carving Company were imported to the United States and marketed through de Forest's own company, Lockwood de Forest & Co., established after Associated Artists dissolved in 1883.
Lockwood de Forest & Co.: Championing the "East Indian" Style
After Associated Artists disbanded, de Forest continued his mission to popularize Indian art in America through his own firm, Lockwood de Forest & Co., based in New York. He opened a showroom at 9 East 17th Street, which became a sensation, offering a dazzling array of Indian goods. These included not only the carved woodwork from Ahmedabad but also textiles, metalwork, pottery, and other decorative objects sourced during his travels.
His interiors became highly sought after by wealthy patrons who desired the exotic and artistic ambiance that de Forest's "East Indian" style provided. He designed entire rooms and houses, incorporating elaborately carved teakwood panels, arches, and furnishings. Notable commissions included the Andrew Carnegie residence in New York (now the Cooper Hewitt, Smithsonian Design Museum), the Charles Tyson Yerkes mansion, and the Baltimore home of Mary Elizabeth Garrett. His own New York home at 7 East 10th Street was a showcase of his design philosophy, famously described by House Beautiful magazine as "the most Indian house in America." This style was a significant departure from prevailing Victorian tastes, introducing a new level of sophistication and global awareness to American interior design.
De Forest's approach was not merely imitative; he skillfully adapted Indian motifs and techniques to Western forms and functions. His furniture, for example, often retained a Western structural sensibility while being lavishly decorated with Indian carving. This fusion was a hallmark of his work and contributed significantly to the Orientalist trend within the Aesthetic Movement, a broader cultural phenomenon also seen in the works of European painters like Jean-Léon Gérôme and Eugène Delacroix, though de Forest's engagement was more directly involved with the production and promotion of the crafts themselves.
Return to Painting and the California Years
While deeply involved in his design business, de Forest never entirely abandoned painting. He continued to produce landscapes, often inspired by his travels. In the later part of his career, particularly after moving to Santa Barbara, California, in 1915, painting became his primary focus once again. The California landscape, with its unique light, dramatic coastline, and majestic mountains, provided new inspiration.
His California paintings, often small-scale and intimate, captured the serene beauty of the region. Works like Carmel Landscape (c. 1900) exemplify his ability to convey a sense of tranquility and timelessness through subtle color harmonies and delicate brushwork. These later works show a continued refinement of his plein-air technique, focusing on capturing the fleeting effects of light and atmosphere. He became an active member of the Santa Barbara art community, exhibiting his work locally. Another notable painting, The Wreck, with its desert setting, reflects his enduring interest in Orientalist themes and the symbolic representation of nature's power and the passage of time. His landscape work, while perhaps overshadowed by his design achievements during his lifetime, is now recognized for its sensitivity and skill, placing him among notable California painters of the early 20th century.
Landscape Architecture and Garden Design
De Forest's artistic talents also extended to landscape architecture. In Santa Barbara, he designed several notable gardens and residences, applying his aesthetic principles to the outdoor environment. His garden designs often sought to harmonize with the natural California landscape, incorporating native plants alongside more exotic species that thrived in the Mediterranean climate. He understood the importance of creating outdoor spaces that were both beautiful and functional, extending the artistic vision of the home into its surroundings. His work in this field further demonstrates his holistic approach to design, seeing art and environment as interconnected. The archives at the University of California, Santa Barbara (UCSB) Art, Design & Architecture Museum hold some of his landscape design drawings, testament to this facet of his career.
Later Life, Legacy, and Influence
Lockwood de Forest spent his later years in Santa Barbara, continuing to paint and remaining an influential figure in the arts community until his death on April 3, 1932. His legacy is multifaceted. As a painter, he contributed to the American landscape tradition, influenced by the Hudson River School and later capturing the distinct beauty of California. As a designer and entrepreneur, he was a key proponent of the Aesthetic Movement and a pioneer in introducing and popularizing Indian art and craftsmanship in the United States.
His work with the Ahmedabad Wood Carving Company was a remarkable effort in cultural preservation and cross-cultural artistic exchange, predating many later movements focused on ethical sourcing and the support of traditional crafts. He fostered an appreciation for non-Western aesthetics at a time when Eurocentric views often dominated. His influence can be seen in the increased use of exotic motifs and materials in American decorative arts of the late 19th and early 20th centuries. He also played a role in the development of the Arts and Crafts movement in America, which, like the work of British proponents such as William Morris, emphasized handcraftsmanship and artistic integrity.
Major Exhibitions and Collections
Lockwood de Forest's diverse body of work is preserved in numerous public and private collections, and his contributions have been recognized in various exhibitions.
The Cooper Hewitt, Smithsonian Design Museum in New York, housed in the former Andrew Carnegie mansion for which de Forest designed Indian-inspired interiors, holds a significant collection of his work, including furniture, architectural elements from the Ahmedabad Wood Carving Company, and design drawings. The museum has featured his work in exhibitions such as "Passion for the Exotic: Lockwood de Forest, Frederic Church" and "Lockwood de Forest: Furnishing the Gilded Age with a Passion for India."
The Metropolitan Museum of Art in New York also holds examples of his paintings and decorative arts, recognizing his importance in the American Aesthetic Movement. His work can be found alongside contemporaries who shaped the artistic landscape of the Gilded Age.
The Santa Barbara Museum of Art in California has collected and exhibited his California landscape paintings, highlighting his contributions to the regional art scene. His depictions of the local scenery are valued for their atmospheric quality and historical significance.
Other institutions with holdings of de Forest's work include the Brooklyn Museum, which has examples of his design work, and the Art Institute of Chicago. His landscape design drawings are part of the collection at the UCSB Art, Design & Architecture Museum.
Furniture and decorative pieces produced by the Ahmedabad Wood Carving Company under de Forest's direction are also found in collections such as that of Bryn Mawr College. Commercial galleries like the Gerald Peters Gallery have also exhibited his landscape paintings, contributing to a renewed appreciation of this aspect of his oeuvre. The Palm Springs Art Museum has also featured his paintings in exhibitions focusing on California art.
These collections and exhibitions underscore the breadth of de Forest's artistic endeavors and his lasting impact on American art and design. They provide invaluable resources for understanding his unique synthesis of Eastern and Western traditions and his role as a cultural intermediary.
Conclusion: A Visionary Artist and Cultural Bridge
Lockwood de Forest was more than just an artist or a designer; he was a visionary who saw the interconnectedness of global cultures and sought to bring the beauty of distant lands into American homes. His deep appreciation for Indian craftsmanship, his entrepreneurial spirit in establishing the Ahmedabad Wood Carving Company, and his influential design work with Associated Artists and his own firm mark him as a singular figure. He navigated the worlds of painting, decorative arts, and landscape architecture with remarkable skill and foresight.
His collaborations with prominent artists like Frederic Edwin Church and Louis Comfort Tiffany, and his engagement with figures like John Lockwood Kipling, place him at the center of key artistic developments of his time. By championing the "East Indian" style, he not only enriched American interiors but also fostered a greater understanding and appreciation for non-Western artistic traditions. Lockwood de Forest's legacy endures in the beautiful objects he created and collected, the influential interiors he designed, and the pioneering spirit that characterized his remarkable career, bridging continents and artistic disciplines with enduring elegance and insight. His work continues to inspire those who seek beauty and meaning in the rich tapestry of global art.
