Walter Shirlaw (1838-1909) stands as a significant, if sometimes overlooked, figure in the landscape of nineteenth-century American art. A Scottish immigrant who rose from the meticulous craft of banknote engraving to become a respected painter, influential teacher, and a key organizer in the burgeoning American art scene, Shirlaw's career embodies the transatlantic currents that shaped artistic development in the United States during a period of profound cultural growth and transformation. His journey from the workshops of New York to the esteemed academies of Munich, and back to a leadership role in American art, reflects a dedication to both technical mastery and the pursuit of a distinct artistic vision.
Early Life and Artistic Awakening
Born in Paisley, Scotland, in 1838, Walter Shirlaw's life took a decisive turn when his family immigrated to the United States when he was merely three years old. Settling in America, his early inclinations towards art found a practical outlet in the demanding field of banknote engraving. He apprenticed and worked in New York, a city rapidly establishing itself as the nation's commercial and cultural hub. This profession, requiring immense precision, a steady hand, and a keen eye for detail, undoubtedly honed his draughtsmanship and instilled a disciplined approach to visual representation that would subtly inform his later work as a painter.
While banknote engraving provided a respectable livelihood, the allure of fine art, particularly painting, grew increasingly strong. Shirlaw was not content to confine his artistic expression to the intricate lines of currency. He yearned for the broader canvases and expressive possibilities that painting offered. This ambition simmered for years, and it wasn't until he was thirty-two, an age when many artists are already well-established, that Shirlaw made the pivotal decision to dedicate himself fully to painting. This led him, like many aspiring American artists of his generation, to seek advanced training in Europe.
The Munich Years: Forging a New Path
In 1870, Walter Shirlaw embarked for Europe, choosing Munich as his primary center for study, a period that would last until 1877. The Royal Academy in Munich was, at that time, a major rival to Paris for American art students. It was particularly renowned for its emphasis on strong draughtsmanship, a rich, dark palette, and vigorous brushwork, often associated with the traditions of the Old Masters, yet open to contemporary realist currents.
During his seven years in Munich, Shirlaw immersed himself in rigorous academic training. He studied under several influential artists, each contributing to his development. Among his teachers were Johann Leonhard Raab, himself an accomplished engraver and painter, who likely appreciated Shirlaw's background. He also learned from Alexander von Wagner, known for his large-scale historical paintings, and significantly, Arthur von Ramberg, a painter of genre scenes and historical subjects, whose full name was Arthur Georg von Ramberg. These instructors provided a solid foundation in academic techniques, figure drawing, and composition.
Beyond formal instruction, Shirlaw was deeply influenced by the artistic ferment in Munich. He became associated with the "Leibl-Kreis," a circle of artists around Wilhelm Leibl. Leibl, a leading figure in German Realism, was himself inspired by the directness and unidealized portrayals of Gustave Courbet and the profound humanism of Rembrandt's later works. This group advocated for a truthful depiction of contemporary life and a painterly approach that emphasized texture and the material quality of paint.
Shirlaw's interactions with fellow American artists in Munich were also crucial. He formed close associations with figures like Frank Duveneck, a charismatic painter who became a central figure for many Americans studying in Germany, and Theodore Steele, who would later become a prominent Impressionist painter of the American Midwest. William Merritt Chase, another towering figure in American art, also spent time in Munich during this period. These artists, often dubbed "Duveneck's Boys," shared studios, models, and ideas, fostering a supportive and stimulating environment. They often engaged in outdoor sketching, particularly in the Bavarian countryside, absorbing the local culture and landscape. This period was instrumental in shaping Shirlaw's technical skills and his artistic philosophy, moving him towards a robust, realistic style.
Return to America: A Leading Voice
Walter Shirlaw returned to the United States in 1877, equipped with sophisticated European training and a mature artistic style. He quickly became a prominent figure in the American art world, which was then experiencing a desire for new modes of expression beyond the established traditions of the Hudson River School. The younger generation of artists, many of whom, like Shirlaw, had studied abroad, sought to introduce a more cosmopolitan and technically proficient approach to American art.
One of Shirlaw's most significant contributions upon his return was his role in challenging the conservative dominance of the National Academy of Design. He was a key founder of the Society of American Artists (SAA) in 1877 and was elected its first president, a position he held with distinction. The SAA provided an alternative exhibition venue for artists whose work did not conform to the National Academy's more traditional standards. This new organization championed greater artistic freedom, diverse styles, and a more professional approach to art, reflecting the influences of European art movements.
His own artwork from this period garnered considerable acclaim. Toning of the Bell, painted in 1874 during his Munich years, showcased his mastery of composition and his ability to capture dramatic narrative. Another major work, Sheep-shearing in the Bavarian Highlands, completed in 1876 (often cited as 1878 in relation to its exhibition), was exhibited at the Paris Exposition of 1878, where it received an honorable mention. This painting, characterized by its rich, dark tones, strong figure depiction, and lively portrayal of a rural scene, exemplified the Munich style and brought Shirlaw international recognition. His paintings were noted for their robust forms, rich coloration, and often, a certain gravitas, even in genre subjects. He also gained a reputation for his skillful depiction of the nude, a subject still approached with caution in some American circles.
A Dedicated Educator
Beyond his own artistic production and his organizational leadership, Walter Shirlaw made substantial contributions to American art as an educator. He believed in the importance of rigorous training and was eager to share the knowledge he had acquired in Europe with a new generation of American artists. His teaching career was extensive and influential, touching many students who would go on to have significant careers.
Shirlaw was one of the founders of the Chicago Academy of Design and was elected an Academician there in 1868, even before his European sojourn, indicating his early involvement in art education. Later, he played a role in helping to organize the institution that would become the Art Institute of Chicago.
In New York, Shirlaw became a vital instructor at the Art Students League. The League, founded in 1875 by students who had seceded from the National Academy of Design due to dissatisfaction with its teaching methods, was a progressive institution that emphasized a more liberal and student-driven approach to art education. Shirlaw taught classes in composition and painting, and his European experience made him a valuable asset. He taught alongside other prominent artists such as William Merritt Chase and J. Carroll Beckwith at the League and also at the Cooper Union, creating a dynamic learning environment. Beckwith was known for his adherence to strict academic drawing, while Chase championed a more painterly, impressionistic approach, offering students a diverse range of influences.
Among Shirlaw's notable students were Frederick Stuart Church, who studied composition with him around 1878. Church, known for his whimsical and imaginative paintings of animals and allegorical scenes, benefited from Shirlaw's guidance at the Chicago Academy of Design and later joined the Art Students League. Another student was Edith Prellwitz, who studied under Shirlaw at the Art Students League and became a respected painter in her own right, often exhibiting alongside her husband, Henry Prellwitz. Kenyon Cox, a prominent muralist, illustrator, and writer on art, also counted himself among Shirlaw's pupils. Cox would become a staunch advocate for academic tradition and classical ideals in American art. Shirlaw's influence as a teacher thus extended through these and many other artists, shaping the course of American art education.
Artistic Style and Thematic Concerns
Walter Shirlaw's artistic style was a complex amalgamation of his early training as an engraver, his rigorous academic studies in Munich, and his own evolving aesthetic sensibilities. He was a versatile artist, comfortable across a range of subjects, including genre scenes, portraits, landscapes, allegorical figures, and particularly, the nude.
His background in engraving endowed him with a strong sense of line and precision, which often underpinned his painted compositions, even when his brushwork became more painterly. The Munich influence was evident in his often rich, dark palette, his solid modeling of forms, and his vigorous application of paint. He was adept at creating a sense of volume and texture, and his compositions were generally well-structured and thoughtfully arranged.
While much of his work can be categorized within the realist tradition, particularly the Munich brand of realism, there are also elements of symbolism and idealism in his art, especially in his decorative commissions and allegorical nudes. Works like Dawn (1886) demonstrate his skill in rendering the human form with both anatomical accuracy and a sense of dynamic energy, moving beyond static, idealized portrayals to something more vital and expressive. His nudes were generally praised for their technical skill and aesthetic quality, contributing to a broader acceptance of the nude as a serious subject in American art.
He was known for his rich use of color and his ability to create compelling narratives or moods within his paintings. Whether depicting a bustling Bavarian sheep-shearing, a quiet moment of reflection, or a classical allegory, Shirlaw brought a sense of conviction and technical assurance to his subjects. His work reflects the broader trends of his time, as American artists sought to synthesize European academicism with American subjects and sensibilities.
Public Commissions and Decorative Work
Walter Shirlaw's talents extended to large-scale decorative projects and illustration, areas where his strong draughtsmanship and compositional skills were particularly valuable. He received several important public commissions, contributing to the burgeoning mural movement in the United States, which sought to adorn public buildings with art that conveyed civic virtues and cultural aspirations.
One of his most notable public art projects was the creation of decorative murals for the Library of Congress in Washington, D.C. This monumental building, completed in the 1890s, was a showcase for American art and craftsmanship. Shirlaw was commissioned to paint murals representing "The Sciences" and "The Arts," allegorical compositions that required both imaginative design and technical proficiency on a large scale. These works contributed to the rich decorative program of the Library, which also featured works by many other leading American artists of the day, including Elihu Vedder, John White Alexander, and Gari Melchers.
Shirlaw also designed murals for other public spaces, such as the New York Courthouse, where one of his designs centered on the themes of Justice, Truth, and Law. These commissions reflect his standing in the art community and his ability to work effectively on a grand scale, integrating his art with architectural settings.
In addition to murals, Shirlaw was active as an illustrator. He collaborated with the writer and artist Francis Hopkinson Smith, another multifaceted talent of the era, on illustrations for several books. Notably, they provided illustrations for James Russell Lowell's The Vision of Sir Launford. They also contributed illustrations for editions of George Eliot's Daniel Deronda and Thomas Hood's Fair Ines. This work in illustration allowed Shirlaw to reach a wider audience and demonstrated his versatility across different artistic media. His illustrative work, like his paintings, was characterized by careful drawing and thoughtful composition.
Later Career and Shifting Tides
Throughout his later career, Walter Shirlaw remained an active participant in the American art world, continuing to paint, exhibit, and teach. He was part of the generation that spearheaded what was sometimes called the "New Movement" in American art during the 1870s and 1880s. This movement, as mentioned, sought to break away from the perceived provincialism of the older Hudson River School and embrace more cosmopolitan styles and techniques learned in the academies of Munich and Paris. Artists like Shirlaw, Chase, Duveneck, and others championed greater technical facility, a broader range of subject matter, and a more direct, painterly approach.
He continued to exhibit his work regularly at venues such as the National Academy of Design (despite his role in founding the SAA, many artists exhibited at both), the Society of American Artists, and various international expositions. His reputation as a skilled figure painter and a capable instructor remained solid.
In his later years, he also engaged in efforts to promote American art on a broader stage. His collaboration with Dorothea A. Dreier, an artist and art patron, aimed at increasing the international visibility and recognition of American artists. This work underscored his commitment to the development and advancement of a distinctly American artistic identity, albeit one informed by international standards of excellence.
The Crow Report: A Controversial Episode
An episode from Shirlaw's later life that warrants attention involves his work for the U.S. government. In 1890, he served as a special agent for the U.S. Census Bureau, tasked with reporting on the Crow Nation in Montana. His report included observations on their culture, living conditions, and prospects for assimilation.
Within this report, Shirlaw made comments that, viewed through a modern lens, are deeply problematic and reflect the prevailing ethnocentric attitudes of the era. He described the traditional Crow "medicine man" (spiritual leader or healer) as a significant obstacle to the "civilization" of the Crow people, accusing them of exploiting the "superstitions" of their community. Such language, common in government reports and popular discourse of the time, dismissed Indigenous spiritual practices and framed them as impediments to progress, as defined by Euro-American society.
Shirlaw also mentioned a young Crow warrior named "Wraps-His-Tail," also known as Sword Bearer, who had led a brief resistance movement in 1887, becoming a figurehead for those who wished to preserve traditional ways of life against the encroachment of white settlement and forced assimilation. While Shirlaw's description of Sword Bearer is more factual, his overall assessment of Crow culture was filtered through the assimilationist ideology of the period.
The provided information does not detail any specific contemporary or later public outcry or criticism directly aimed at Shirlaw for these remarks within the census report. However, this episode highlights the complex and often uncomfortable intersections of art, culture, and government policy in the late 19th century, and it serves as a reminder that historical figures, even those celebrated for their artistic contributions, often held views that are now recognized as prejudiced or culturally insensitive. It is a part of his biography that adds a layer of complexity to his legacy.
Legacy and Conclusion
Walter Shirlaw passed away in 1909 in Madrid, Spain, while on a trip abroad. His death marked the end of a long and productive career that spanned several crucial decades in the development of American art. His legacy is multifaceted, reflecting his diverse contributions as a painter, engraver, influential educator, and an organizer who helped to shape the institutional landscape of the American art world.
As a painter, Shirlaw brought a robust, European-trained sensibility to American art. His works, particularly those from his Munich period and immediately after, are characterized by strong draughtsmanship, rich color, and a confident handling of paint. His success in genres ranging from everyday scenes to allegorical nudes and large-scale murals demonstrated his versatility and technical mastery. Key works like Toning of the Bell and Sheep-shearing in the Bavarian Highlands remain important examples of the Munich School's influence on American painting.
As an educator, Shirlaw played a vital role in training a new generation of artists at institutions like the Art Students League and the Chicago Academy of Design. His students, including figures like Frederick Stuart Church, Kenyon Cox, and Edith Prellwitz, went on to make their own marks on American art, carrying forward aspects of his teaching and influence.
His role as a founder and the first president of the Society of American Artists was pivotal in challenging the established order and creating new opportunities for progressive artists. This helped to foster a more dynamic and diverse art scene in the United States.
Walter Shirlaw may not be as widely known today as some of his contemporaries like William Merritt Chase, Winslow Homer, or Thomas Eakins. However, his contributions were substantial. He was a key figure in the generation of American artists who sought to elevate the standards of art in their country by embracing rigorous European training while striving to forge an authentic American artistic voice. His life and work offer a valuable window into the ambitions, challenges, and achievements of American art in the late nineteenth and early twentieth centuries.
