Walter Griffin (1861-1935) stands as a significant, if sometimes overlooked, figure in the landscape of American Impressionism. His life, spanning a dynamic period of artistic change in both America and Europe, was dedicated to capturing the ephemeral qualities of light and atmosphere. From the rugged coasts of his native Maine to the picturesque countryside of France, Griffin developed a distinctive style characterized by vibrant color, textured brushwork, and a profound sensitivity to the natural world. His journey as an artist reflects the broader currents of his time, including the allure of Parisian training, the camaraderie of art colonies, and the evolving identity of American art.
Early Life and Artistic Awakening in Maine
Born in Portland, Maine, in 1861, Walter Griffin's artistic inclinations were nurtured from a young age. His father was himself a painter and a skilled woodcarver, providing an environment where creative pursuits were valued and encouraged. This early exposure to the visual arts undoubtedly shaped young Griffin's sensibilities. He often accompanied his father on sketching trips throughout Maine, immersing himself in the diverse landscapes of the region – from its rocky shorelines to its verdant inland forests. These formative experiences instilled in him a deep appreciation for nature, a theme that would remain central to his artistic output throughout his career. The raw beauty of Maine, with its dramatic seasonal shifts and unique quality of light, provided an early canvas for his developing eye.
His burgeoning talent did not go unnoticed. Griffin's dedication and promise earned him a scholarship, a pivotal opportunity that allowed him to pursue formal art education beyond the confines of his home state. This marked the beginning of a more structured phase in his artistic development, setting him on a path that would eventually lead him to the epicenters of the art world. The foundation laid during these early years in Maine, with its direct engagement with nature and familial support, was crucial in shaping the artist he would become.
Formal Training: Boston, New York, and the Path to Paris
Griffin's formal artistic training began at the prestigious School of the Museum of Fine Arts, Boston. This institution was a key center for art education in New England, offering students rigorous instruction in drawing and painting. Here, Griffin would have been exposed to academic traditions while also likely encountering the burgeoning interest in newer European styles. Following his studies in Boston, he continued his education at the National Academy of Design in New York City. The Academy was another cornerstone of American art education, and his time there would have further honed his technical skills and broadened his artistic horizons.
During his period in New York, Griffin worked for a Professor Fiedler Akers. This connection proved instrumental, as Akers provided guidance and assistance that helped Griffin realize his ambition to study abroad in Paris, then the undisputed capital of the art world. For any aspiring American artist of that era, a period of study in Paris was considered almost essential for artistic maturation and recognition. The prospect of learning from leading French masters and immersing oneself in the vibrant Parisian art scene was an irresistible draw.
The Parisian Sojourn: Embracing Impressionism
Arriving in Paris, Walter Griffin enrolled in the ateliers of renowned academic painters Raphaël Collin and Jean-Paul Laurens. Both Collin and Laurens were respected figures in the French art establishment, known for their mastery of figure painting and historical subjects. Studying under them provided Griffin with a strong foundation in traditional techniques. However, like many artists of his generation, Griffin was also profoundly influenced by the revolutionary Impressionist movement, which had reshaped the landscape of European art. The works of artists like Claude Monet, Camille Pissarro, and Alfred Sisley, with their emphasis on capturing fleeting moments, the effects of light and color, and outdoor painting (en plein air), resonated deeply with him.
It was during his time in France, particularly while painting in the Brittany region, that Griffin truly began to synthesize these influences into his own burgeoning style. Brittany, with its picturesque villages, rugged coastline, and distinctive local culture, had been an attractive destination for artists for decades. Griffin was captivated by its unique atmosphere and light. His Brittany landscapes from this period showcase his growing command of Impressionist techniques: broken brushwork, a brighter palette, and a keen observation of atmospheric conditions. He began to develop a reputation for his ability to convey the subtle nuances of light and shadow, and the inherent poetry of the French countryside.
Return to America: Hartford and the Old Lyme Art Colony
After his formative years in Paris, Walter Griffin returned to the United States, bringing with him the techniques and sensibilities of French Impressionism. He established a studio in Hartford, Connecticut, where he not only continued his painting career but also took on students, sharing his knowledge and passion for art. Teaching provided a means of support and allowed him to contribute to the development of younger artists.
A significant chapter in Griffin's American career was his involvement with the Old Lyme art colony in Connecticut. Around the turn of the century, Old Lyme, centered around Florence Griswold's boardinghouse, became a vital hub for American Impressionist painters. Griffin became an active member of this vibrant community, forging close friendships and artistic connections with prominent figures such as Childe Hassam, one of the foremost American Impressionists, Willard Metcalf, known for his lyrical New England landscapes, Ernest Lawson, celebrated for his richly textured urban and rural scenes, and John Henry Twachtman, whose work often possessed a delicate, Tonalist quality.
The atmosphere at Old Lyme was one of creative exchange and mutual inspiration. Artists painted together outdoors, discussed ideas, and exhibited their work. Griffin's association with these painters undoubtedly enriched his own art. He participated regularly in annual exhibitions at esteemed institutions like the Pennsylvania Academy of the Fine Arts and the National Academy of Design. His growing reputation was solidified in 1912 when he was elected an Associate member of the National Academy, a significant honor, followed by his election to full Academician in 1922. He also had the distinction of representing the United States in international art exhibitions on two occasions, a testament to his standing in the art world.
Artistic Style, Techniques, and Subject Matter
Walter Griffin's mature artistic style is firmly rooted in Impressionism, yet it bears his unique imprint. He was particularly lauded for his sophisticated understanding and application of color. One of his distinctive techniques involved using a single brush to apply two or more colors simultaneously to the canvas, allowing them to blend subtly and create vibrant, nuanced effects. This "multi-color brush technique," as described, was considered quite challenging but enabled him to achieve a remarkable luminosity and textural richness in his paintings.
His brushwork was often vigorous and expressive, employing impasto – the thick application of paint – frequently applied with a palette knife, especially in his later French period. This technique added a tactile quality to his surfaces, enhancing the sense of light and atmosphere. While primarily an Impressionist, some observers have noted that certain works, particularly those featuring female figures in natural settings, possess a lyrical, almost Neoclassical sense of balance and grace, or perhaps a touch of Symbolism in their enigmatic quality. These figures often appear harmoniously integrated with their surroundings, evoking a sense of timelessness and poetic charm.
Griffin's primary subject matter was landscape, drawn from his experiences in Maine, Connecticut, and various regions of France, including Brittany, the Forest of Fontainebleau (as seen in Springtime, Fleury-en-Bière), and later, Venice. Works like Apple Blossoms showcase his delight in capturing the fleeting beauty of nature. He was a master of depicting different times of day and seasons, always sensitive to the specific quality of light. Beyond pure landscapes, he also painted figurative works. An interesting and somewhat unusual aspect of his oeuvre includes the depiction of symbolic animals, such as the mythical griffin – a creature with the body of a lion and the head and wings of an eagle – which, given his surname, might have held personal significance or been an exploration of more imaginative themes. He was also an accomplished pastellist, a medium well-suited to capturing delicate light effects.
A notable collaborative work, Ladies in the Woods, was painted with his friend Childe Hassam, showcasing a fascinating interplay of their respective styles. Other representative works that highlight his skill include The Grand Canal, Venice, demonstrating his ability to capture the unique light of that city, and numerous views of Stroudwater, Maine.
Later Years: A Return to France and Continued Work
In 1909, Griffin made his first trip back to Europe after his initial return to the United States, and he would spend a significant portion of his later career in France. He traveled and painted in various locations, including Boigneville, Contes, and Veulettes-sur-Mer in Normandy, as well as Venice, Italy, and Norway. The French landscape, in particular, continued to be a profound source of inspiration. He established a home and studio in Fleury-en-Bière, near the Forest of Fontainebleau, a region historically favored by artists like Jean-Baptiste-Camille Corot and Théodore Rousseau of the Barbizon School.
Even while based in France, Griffin maintained connections with the American art world, occasionally sending works back for exhibition. He became a full member of the National Academy of Design in 1922. Despite his deep attachment to France and the rich artistic environment it offered, sources suggest he harbored a strong desire to eventually return permanently to the United States. However, for various personal and professional reasons, this permanent return was delayed. His time in France during these later years was highly productive, and his style continued to evolve, often characterized by an even bolder use of color and texture.
His dedication to his craft remained unwavering. He continued to explore the nuances of light and landscape, producing a significant body of work that reflected his mature artistic vision. His paintings from this period often convey a deep sense of place, imbued with the accumulated experience of a lifetime spent observing and interpreting the natural world.
Final Years in Maine and Posthumous Recognition
Walter Griffin's health began to decline in the early 1930s, prompting his return to the United States in 1933. He settled back in his native Portland, Maine, specifically in the Stroudwater area, which had long been a source of inspiration for him. This return was tinged with sadness, as his close friend and fellow artist Childe Hassam passed away in 1935, the same year that Griffin himself would die. These losses marked the end of an era for American Impressionism.
After his death in Portland in 1935, Walter Griffin's work, like that of many artists of his generation whose styles were eclipsed by modernism, fell into relative obscurity for several decades. His paintings were largely kept in storage, away from public view. However, a significant revival of interest in American Impressionism began in the latter half of the 20th century. A pivotal moment for the reassessment of Griffin's legacy came in 1975, with a major retrospective exhibition of his work held at the Vose Galleries in Boston. This exhibition brought his paintings back into the public eye and was met with widespread critical acclaim, re-establishing his reputation as a gifted and important American Impressionist.
The Vose Galleries exhibition highlighted the quality and breadth of his oeuvre, showcasing his mastery of color, his expressive technique, and the poetic sensibility that infused his landscapes. Since then, his works have been increasingly sought after by collectors and museums, and he is now recognized for his significant contributions to American art. His paintings are held in numerous public and private collections, including the Florence Griswold Museum in Old Lyme, a testament to his connection with that influential art colony.
Distinguishing Walter Griffin the Painter from Walter Burley Griffin the Architect
It is important to note a point of potential confusion: Walter Griffin, the American Impressionist painter (1861-1935), shares a name with another prominent creative figure of a similar era, Walter Burley Griffin (1876-1937). The latter was a highly influential American architect and landscape architect, renowned for his Prairie School designs and, most famously, for winning the international competition to design the city of Canberra, the capital of Australia. Walter Burley Griffin worked extensively in the American Midwest, often in association with Frank Lloyd Wright, before moving to Australia and later India.
While both men were named Walter Griffin and were contemporaries, their fields of artistic endeavor were entirely distinct. Walter Griffin the painter dedicated his life to capturing light and landscape on canvas, working within the traditions of Impressionism. Walter Burley Griffin the architect shaped physical environments, designing buildings and cities with a visionary approach to urban planning and organic architecture. This article focuses exclusively on Walter Griffin, the painter.
Influence and Place in Art History
Walter Griffin's place in art history is secured as a distinguished member of the second generation of American Impressionists. While perhaps not as widely known today as some of his Old Lyme colleagues like Childe Hassam or Willard Metcalf, or other American Impressionists such as Mary Cassatt, Theodore Robinson (an early pioneer of American Impressionism who was close to Monet), J. Alden Weir, Frank W. Benson, or Edmund Tarbell (the latter two key figures in "The Ten American Painters"), Griffin's work possesses a unique strength and sensitivity.
His primary contribution lies in his masterful handling of color and light, and his ability to imbue his landscapes with a palpable sense of atmosphere and emotion. His technique, particularly the "multi-color brush" method and his adept use of the palette knife for impasto, allowed him to create surfaces that are both visually stimulating and texturally rich. He successfully adapted the principles of French Impressionism to American and French subjects, creating a body of work that is both personal and reflective of broader artistic currents.
His involvement with the Old Lyme art colony places him within a crucial movement in American art history, where artists collectively forged a distinctly American interpretation of Impressionism. His years in France demonstrate the enduring importance of European study for American artists of his time, and his ability to absorb and personalize those influences. The renewed appreciation for his work since the 1975 Vose Galleries exhibition underscores his lasting artistic merit.
Conclusion: The Enduring Appeal of Griffin's Vision
Walter Griffin's art offers a window into a world perceived with remarkable sensitivity and rendered with consummate skill. His dedication to capturing the fleeting beauty of the natural world, whether in the familiar landscapes of New England or the picturesque regions of France, resulted in paintings that continue to resonate with viewers today. His journey from a young artist in Maine to a respected figure in American and expatriate art circles is a story of persistent dedication and evolving vision.
Through his vibrant canvases, rich with color, light, and texture, Walter Griffin invites us to share in his profound appreciation for the poetry of nature. His legacy is that of an artist who, while embracing the revolutionary spirit of Impressionism, forged a distinctive and enduring personal style. His paintings stand as a testament to the beauty he found in the world and his exceptional ability to translate that beauty into a lasting visual language.
