William Alexander Griffith (1866-1940) stands as a significant, if sometimes overlooked, figure in the narrative of American Impressionism, particularly within the vibrant art scene of early twentieth-century Southern California. An accomplished painter, dedicated educator, and influential community leader, Griffith played a crucial role in the development and popularization of the plein air movement in Laguna Beach, leaving an indelible mark on the artistic landscape of the region. His journey from the heartland of Kansas to the sun-drenched shores of the Pacific Coast mirrors the westward expansion of artistic endeavor in America, and his work captures the unique light and atmosphere that came to define California Impressionism.
Early Life and Artistic Formation
Born in Lawrence, Kansas, on August 19, 1866, William Alexander Griffith's artistic inclinations emerged early. His foundational art education was received at the St. Louis School of Fine Arts at Washington University in St. Louis, Missouri. This institution, like many American art schools of the period, provided a solid grounding in academic drawing and painting techniques, emphasizing draftsmanship and traditional subject matter. However, for ambitious American artists of Griffith's generation, study in Europe, particularly Paris, was considered an essential rite of passage.
In 1890, Griffith made his way to Paris, the undisputed center of the art world at the time. He enrolled in the prestigious Académie Julian, a private art school that offered a more liberal alternative to the rigid curriculum of the official École des Beaux-Arts. The Académie Julian was a magnet for international students, including many Americans, drawn by its renowned instructors and the opportunity to work from live models. During his time there, Griffith studied under prominent academic painters such as Jean-Joseph Benjamin-Constant and Jules Joseph Lefebvre. Both were celebrated for their mastery of figure painting and historical subjects, and their tutelage would have further honed Griffith's technical skills. While Impressionism had already made its revolutionary impact, the academic tradition still held considerable sway, and Griffith's training provided him with a strong classical foundation upon which he would later build his more Impressionistic style.
A Career in Education: The Kansas Years
Upon returning to the United States, Griffith did not immediately pursue a full-time career as a painter in one of the established East Coast art centers. Instead, he returned to his home state of Kansas and embarked on a distinguished career in art education. He accepted a position at the University of Kansas in Lawrence, where he would dedicate over two decades to teaching art. His tenure at the university, beginning in the late 1890s and extending into the late 1910s, was marked by a commitment to fostering artistic talent and appreciation in the Midwest.
As a professor, Griffith would have been responsible for a range of courses, likely covering drawing, painting, and art history. He was instrumental in shaping the art department and influencing generations of students. This period of his life, while perhaps less documented in terms of his personal artistic output compared to his later California years, was crucial in establishing his reputation as a respected educator. His dedication to teaching demonstrates a belief in the importance of art within a broader academic and societal context. It was during these years that he developed the pedagogical skills and community-mindedness that would later serve him well in Laguna Beach.
The Lure of California: A New Beginning
The trajectory of Griffith's life and art took a decisive turn in 1918. During a sabbatical or leave from his teaching duties at the University of Kansas, he traveled to Southern California. A key reason for this visit was to see an old friend and fellow artist, Benjamin Chambers Brown. Brown, who had also studied in Paris (at the Académie Julian, though perhaps at a slightly different time), had established himself as a prominent landscape painter in Pasadena and was a leading figure in the burgeoning California plein air movement. He was known for his evocative depictions of the California landscape, particularly the Sierra Nevada mountains and the Arroyo Seco.
Griffith's visit with Brown included a trip to the burgeoning coastal art colony of Laguna Beach. He was immediately captivated. The dramatic coastline, the unique quality of the light, the picturesque canyons, and the congenial community of artists proved irresistible. The contrast between the Kansas landscape and the vibrant, sun-drenched scenery of Southern California must have been profound. This encounter with Laguna Beach was a transformative experience for Griffith, igniting a new artistic passion and setting him on a different path.
Relocation and Immersion in Laguna Beach
Deeply inspired by what he had seen and experienced, William Alexander Griffith made the momentous decision to leave his long-held academic post in Kansas. Around 1920, he permanently relocated to Laguna Beach, California. This move marked the beginning of the most prolific and, arguably, most significant phase of his artistic career. He quickly became an integral part of the local art community, which was then a close-knit group of painters drawn to the area's natural beauty and supportive atmosphere.
Laguna Beach in the early 1920s was rapidly gaining a reputation as an important art center, often referred to as an "art colony." Artists like Granville Redmond, known for his Tonalist and Impressionist landscapes often featuring poppies and lupines, and also for his work as a silent film actor, were active in California. Edgar Payne, famous for his powerful depictions of the Sierra Nevada mountains and dramatic seascapes, was a towering figure. Anna Althea Hills, a dedicated artist and community organizer, was instrumental in establishing art institutions in Laguna. Frank Cuprien, often called the "Dean of Laguna Artists," specialized in painting the sea in all its moods. William Wendt, sometimes dubbed the "Dean of Southern California Landscape Painters," created strong, structured compositions of the California landscape. These artists, among others, formed the core of the Laguna Beach art scene.
Leadership in the Laguna Beach Art Association
Griffith's organizational skills and respected demeanor, likely honed during his years as an educator, quickly led him to a position of leadership within the Laguna Beach art community. He became actively involved in the Laguna Beach Art Association (LBAA), which had been founded in 1918, the very year of his initial visit. The LBAA was the primary organization for artists in the area, dedicated to exhibiting their work and promoting art appreciation.
Griffith served as the president of the Laguna Beach Art Association for several terms, notably from 1922-1923 and again from 1926-1929. During his leadership, the LBAA flourished. He was instrumental in establishing a permanent gallery space for the association, which was a crucial step in solidifying Laguna Beach's status as an art destination. This gallery would eventually evolve into the modern-day Laguna Art Museum, a testament to the vision of its early founders, including Griffith. His efforts helped to create a stable and supportive environment for artists to show and sell their work, fostering a sense of community and shared purpose.
Beyond exhibitions, Griffith was also involved in other community art initiatives. He is credited with helping to organize the annual summer pageants in Laguna Beach. These early pageants, which involved local residents and artists, were precursors to the world-renowned Pageant of the Masters, a festival where classical and contemporary artworks are recreated with live models. His commitment extended to art education for younger generations, as he reportedly organized a Junior Art Association and made regular visits to local schools to review student artwork, continuing his lifelong dedication to teaching.
Artistic Style, Subject Matter, and Philosophy
William Alexander Griffith's artistic style is best characterized as California Impressionism. Working primarily in oils, he embraced the plein air (outdoor painting) ethos that was central to this movement. His paintings sought to capture the fleeting effects of light and atmosphere on the landscape. Unlike the often more broken brushwork of French Impressionism, California Impressionists, including Griffith, tended to retain a stronger sense of form and structure in their compositions, while still emphasizing vibrant color and the sensory experience of being in nature.
His subject matter was predominantly the diverse landscapes of Southern California. He painted the rolling hills and canyons surrounding Laguna Beach, often featuring the native flora like eucalyptus trees and coastal sage scrub. The dramatic coastline, with its cliffs, coves, and crashing waves, was a recurring theme. Works such as "Laguna Canyon," "Cliffs at Laguna," and depictions of the local beaches showcase his ability to render the specific light conditions of the region – the bright coastal sunshine, the hazy marine layer, or the warm glow of late afternoon. He also painted seascapes, capturing the expanse of the Pacific Ocean and its varied moods.
Griffith believed that art should convey a sense of order, joy, and serenity. This philosophy is evident in his work, which, while true to nature, often possesses a harmonious and tranquil quality. He was less interested in radical experimentation than in conveying the beauty and spiritual essence of the natural world as he perceived it. His paintings are a celebration of the Southern California environment, rendered with a skilled hand and a sensitive eye.
Notable Works
While a comprehensive catalogue raisonné of Griffith's work may be elusive, several paintings and typical subjects stand out. His painting "Low Tide, Laguna Beach" (1923), an oil on canvas measuring 16 x 20 inches and held in a private collection, is a prime example of his work from his most active California period. This piece likely captures the characteristic interplay of sand, sea, and coastal bluffs under the specific light conditions of low tide, showcasing his adeptness at plein air painting.
Other works, known through exhibition records, sales, and reproductions, would include various depictions of:
Laguna Canyon: A frequent subject for many Laguna artists, Griffith would have painted its winding roads, shaded groves, and sunlit hills.
Coastal Scenes: Paintings titled "The Arch, Laguna Beach," "Emerald Bay," or "Moonlight on the Pacific" would be representative, focusing on the unique rock formations and the interplay of water and light.
Eucalyptus Trees: These iconic Australian imports, ubiquitous in the California landscape, were a favorite subject for many Impressionists, and Griffith undoubtedly rendered their distinctive forms and colors.
Desert Landscapes: Like many of his contemporaries, Griffith may have also ventured inland to paint the stark beauty of the California desert, capturing its unique light and flora.
His palette would have been characteristic of the California Impressionists – rich in blues, greens, lavenders, ochres, and oranges, reflecting the vibrant colors of the region. His brushwork, while painterly, would have been controlled, defining forms clearly while still conveying the immediacy of the Impressionist approach.
Contemporaries and the Broader Art Context
Griffith's work and career should be understood within the context of the broader American art scene and the specific development of California Impressionism. He was a contemporary of many notable artists who shaped this movement.
Beyond those already mentioned in Laguna Beach (Benjamin Brown, Edgar Payne, Anna Hills, Frank Cuprien, William Wendt, Granville Redmond), other key figures in California Impressionism included:
Guy Rose (1867-1925): Perhaps the most famous of the California Impressionists with strong ties to Giverny and French Impressionism. His work often featured figures in sun-dappled landscapes.
Franz Bischoff (1864-1929): Known as the "King of the Rose Painters" early in his career, he later became a celebrated landscape painter, particularly known for his rich color and depictions of the Sierra Nevada and Zion National Park.
Alson S. Clark (1876-1949): Another artist with European training, Clark painted a wide range of subjects, including Panama Canal scenes and Impressionistic landscapes of California and Europe.
Marion Kavanagh Wachtel (1876-1954) and Elmer Wachtel (1864-1929): This husband-and-wife duo were prominent figures. Marion was known for her delicate watercolors, while Elmer worked primarily in oils, both capturing the lyrical beauty of the Southern California landscape.
Joseph Kleitsch (1882-1931): A Hungarian-born artist who settled in Laguna Beach, Kleitsch was known for his vibrant, high-keyed Impressionist paintings of street scenes, portraits, and local landscapes.
George Gardner Symons (1861-1930): While also known for his East Coast snow scenes, Symons spent considerable time in California and was associated with the Laguna Beach art colony, painting the local scenery with a vigorous, Impressionistic style.
Jean Mannheim (1863-1945): A German-born artist who settled in Pasadena, Mannheim was an influential teacher and painter known for his portraits and Impressionistic landscapes.
These artists, along with Griffith, shared a common goal: to capture the unique beauty of California using Impressionist techniques adapted to the local environment. They formed a vibrant and supportive community, exhibiting together and contributing to the cultural development of the region. The period from roughly 1900 to 1930 is often considered the heyday of California Impressionism, before the Great Depression and the rise of Modernist styles began to shift artistic tastes.
Legacy and Contribution
William Alexander Griffith passed away in Laguna Beach on May 25, 1940, at the age of 73. He had lived to see Laguna Beach transform from a quiet coastal village into a nationally recognized art colony, a transformation he actively participated in and helped to shape.
His legacy is multifaceted. As an artist, he contributed a significant body of work that captures the essence of the Southern California landscape during a pivotal period of its artistic development. His paintings are valued for their technical skill, their sensitive portrayal of light and atmosphere, and their embodiment of the California Impressionist aesthetic.
As an educator, both in Kansas and informally in California, he influenced numerous students and fostered an appreciation for art. His dedication to teaching underscores a belief in the power of art to enrich lives and communities.
As a community leader and arts administrator, his role in the Laguna Beach Art Association was crucial. His leadership helped to provide a stable foundation for the local art scene, ensuring that artists had a place to exhibit their work and that the community had access to art. The Laguna Art Museum, which grew from the LBAA's early gallery, stands as a lasting monument to the efforts of Griffith and his fellow pioneers.
While perhaps not as widely known today as some of his California contemporaries like Guy Rose or Edgar Payne, William Alexander Griffith's contributions were substantial and essential. He was a dedicated painter, a respected teacher, and a key organizer who helped to build the institutions that would sustain and promote art in Southern California for generations to come. His life and work offer a valuable window into the artistic and cultural development of the American West in the early twentieth century. His paintings remain a testament to his love for the California landscape and his enduring place in the history of American art.
