William Henry Howe, an eminent figure in American art, carved a distinct niche for himself primarily as a painter of cattle and pastoral landscapes. Born on November 22, 1846, in Ravenna, Ohio, and passing on March 16, 1929, in Bronxville, New York, Howe's artistic journey took him from the American Midwest to the art capitals of Europe and back, leaving a legacy of works celebrated for their gentle realism and atmospheric quality. His dedication to capturing the serene life of livestock, particularly cattle, within tranquil landscapes, positioned him as a significant contributor to American Tonalism and Realism at the turn of the 20th century.
Early Life and Artistic Awakening
Howe's early life was not immediately directed towards an artistic career. He spent his formative years in Ravenna and later moved to St. Louis, Missouri, where he engaged in commercial pursuits. However, the allure of art eventually proved stronger than the demands of business. This burgeoning passion led him to make a pivotal decision: to pursue formal art training, a path that would take him across the Atlantic to Europe, the epicenter of artistic education and innovation during the 19th century. This transition marked the beginning of a dedicated artistic life, one that would see him become one of America's foremost animaliers.
His decision to leave a business career for the uncertain life of an artist in his mid-thirties speaks to a profound calling. This was not uncommon for American artists of his generation, many of whom, like Winslow Homer or Thomas Eakins, initially explored other professions or were self-taught to a degree before seeking formal academic training, often abroad. For Howe, this leap was the first step towards mastering a genre that, while popular, required immense skill in animal anatomy and an empathetic understanding of his subjects.
European Sojourn: Düsseldorf and Paris
In 1880 or 1881, Howe embarked for Europe, initially enrolling at the prestigious Royal Academy of Arts in Düsseldorf, Germany. The Düsseldorf Academy was renowned for its meticulous approach to detail and its emphasis on narrative painting and landscape, attracting many American artists in the mid-19th century, such as Albert Bierstadt and Worthington Whittredge. While the height of its influence on Americans had somewhat waned by the 1880s, its tradition of disciplined draftsmanship and thorough technique still provided a solid foundation for aspiring artists.
Following his studies in Germany, Howe moved to Paris, the undisputed center of the art world. There, he sought out instruction from artists who specialized in animal painting, a genre that had gained considerable prestige through the Barbizon School. He became a pupil of Otto de Thoren, an Austro-Hungarian painter known for his depictions of animals and rural scenes, who had himself been influenced by painters like Constant Troyon. Howe also studied under Félix Henri Vuillefroy, another respected French animal and landscape painter. Vuillefroy, a student of Ernest Hébert and Léon Bonnat, was known for his realistic and sympathetic portrayals of cattle, making him an ideal mentor for Howe.
The Parisian art scene of the 1880s was vibrant and diverse. While Impressionism had already made its mark, academic training and the annual Paris Salon still held considerable sway. Howe's training under de Thoren and Vuillefroy would have steeped him in the traditions of French Realism, particularly as applied to animal subjects, a lineage that included artists like Rosa Bonheur and the aforementioned Constant Troyon, whose works celebrated the dignity of rural labor and the animals integral to it.
The Enduring Influence of the Dutch Masters
A significant aspect of William Henry Howe's artistic development and mature style was his deep appreciation for the Dutch Golden Age painters of the 17th century. Artists such as Aelbert Cuyp and Paulus Potter were particularly influential. Cuyp was celebrated for his idyllic landscapes bathed in a warm, golden light, often featuring cattle peacefully grazing. Potter was renowned for his incredibly detailed and lifelike depictions of animals, most famously in his monumental painting "The Young Bull."
Howe's work often echoes the compositional strategies and atmospheric qualities found in these Dutch masterpieces. His careful rendering of cattle, the play of light on their hides, and the serene, pastoral settings are hallmarks that connect him to this rich tradition. The Dutch masters had elevated animal painting to a high art form, imbuing their subjects with a sense of presence and integrating them harmoniously within the landscape. Howe absorbed these lessons, adapting them to his own sensibilities and the American landscape, particularly the luminous, hazy light often associated with Tonalism. Other Dutch animaliers like Nicolaes Berchem and Adriaen van de Velde also contributed to this tradition of pastoral excellence that Howe admired and emulated.
Artistic Style and Thematic Focus
William Henry Howe's artistic style is best characterized as a blend of Realism and Tonalism. His commitment to Realism is evident in the anatomical accuracy of his cattle and the detailed rendering of his landscapes. He possessed a keen observational skill, capturing the unique characteristics of different breeds and the subtle nuances of their forms and movements. His animals are not mere accessories in a landscape but are often the central focus, portrayed with a quiet dignity.
Simultaneously, his work embodies many qualities of Tonalism, an American artistic movement that emerged in the 1880s, characterized by soft, diffused light, muted palettes, and evocative moods. Howe's landscapes often feature a hazy atmosphere, with a harmonious blending of colors—typically greens, browns, grays, and soft blues—creating a sense of tranquility and poetic charm. His paintings frequently depict cattle at rest in meadows, by watering holes, or being herded by shepherds, often accompanied by sheepdogs, under the soft glow of early morning or late afternoon light. This Tonalist approach, shared by contemporaries like George Inness and Dwight Tryon, aimed to evoke emotion and a sense of contemplation rather than a purely objective record of reality.
His specialization in cattle painting set him apart. While many landscape painters included animals, Howe made them his primary subject, earning him the moniker "the cattle painter." His dedication to this theme was unwavering throughout his career, and his ability to convey the peaceful coexistence of animals and nature resonated with audiences who appreciated the pastoral ideal.
The Old Lyme Art Colony and American Impressionism
Upon his return to the United States in 1893, Howe settled in Bronxville, New York, but he became closely associated with the Old Lyme Art Colony in Connecticut. Founded around the boarding house of Florence Griswold, Old Lyme became a significant center for American Impressionism and Tonalism. Howe was one of the early members of this artistic community, arriving around 1900. He was drawn to the picturesque New England landscape and the camaraderie of fellow artists.
At Old Lyme, Howe found himself among a vibrant group of painters. Initially, the colony was dominated by Tonalist painters like Henry Ward Ranger, who is often credited as one of its founders and with whom Howe shared a studio in a barn on the Griswold property for a time. Howe's existing Tonalist tendencies found a supportive environment there. He even painted a panel on one of the doors in Florence Griswold's house, a tradition among the artists who stayed there.
Later, the arrival of Childe Hassam in 1903 marked a shift in Old Lyme towards American Impressionism. While Howe's style remained rooted in his earlier training and Tonalist leanings, he was part of this dynamic artistic milieu that included other prominent artists such as Willard Metcalf, Frank DuMond, and Walter Griffin. Howe played a role in this community, even encouraging his nephew, Will Howe Foote, to join the colony. Foote would go on to become a significant Impressionist painter in his own right.
An amusing anecdote from the Old Lyme period involves a collaborative painting known as "The Fox Chase." This large, somewhat whimsical painting depicted various Old Lyme artists in pursuit of a fox. Howe, as one of the senior figures, participated, and it's recorded that he even invited another artist, Henry Rankin Poore, to add a rock to the composition. In a moment of pique over unpaid club dues, Howe reportedly scratched out the face of fellow artist George H. Bogert from the painting, though it was later restored. Such stories highlight the lively and sometimes spirited interactions within the colony.
Notable Works and Their Characteristics
Throughout his prolific career, William Henry Howe produced numerous paintings that solidified his reputation. One of his most famous works is "Normandy Bull" (also known as "The Truants" or "My Day at Home"), which is housed in the collection of the Florence Griswold Museum in Old Lyme. This painting exemplifies his skill in animal portraiture, depicting a powerful bull with remarkable realism and a strong sense of presence. The meticulous attention to the animal's musculature, hide, and expression, set against a softly rendered landscape, is characteristic of his best work.
Another significant piece, "Return of the Herd," often depicts cattle being guided homeward at dusk, a theme that allowed Howe to explore the effects of waning light and create a nostalgic, peaceful mood. His paintings frequently titled "Cattle in a Pasture" or similar variations showcase his consistent engagement with his chosen subject, each time finding new ways to capture the interplay of light, atmosphere, and animal form.
His European experiences also resulted in works like "Fishing Boats on the Dutch Coast" (Scheveningen). This painting, while departing from his usual cattle subjects, demonstrates his versatility and his ability to capture different atmospheric conditions. The depiction of fishing boats under a dramatic, cloudy sky, rendered in a palette of grays and browns, showcases his adeptness at conveying the mood of the North Sea coast.
His works are generally characterized by a horizontal compositional emphasis, drawing the viewer's eye across the landscape. The use of linear perspective is often subtle but effective in creating a sense of depth. The animals are typically placed in the middle ground, well-integrated into their surroundings, yet clearly the protagonists of the scene. The overall effect is one of harmony and quiet contemplation.
Awards, Recognition, and Legacy
William Henry Howe's dedication and skill did not go unnoticed. He received numerous accolades throughout his career, both in the United States and abroad. His success at the prestigious Paris Salon was a significant achievement for an American artist of his time. He was awarded a third-class medal at the Salon in 1888, an honorable mention in 1886, and continued to exhibit there regularly.
In America, his contributions were also widely recognized. He received the Goldthwait Medal from the Pennsylvania Academy of the Fine Arts in 1890. The World's Columbian Exposition in Chicago in 1893, a landmark event for American art and culture, awarded him a medal, further cementing his national reputation. He was elected an Associate of the National Academy of Design in 1894 and a full Academician in 1897, a mark of high esteem from his peers. His international standing was further enhanced in 1899 when he was made a Chevalier of the Legion of Honour by the French government, a rare and distinguished honor.
His paintings were acquired by major museums, including the National Gallery of Art in Washington D.C., the Cleveland Museum of Art, the Carnegie Institute in Pittsburgh, and, of course, the Florence Griswold Museum, which holds a significant collection of works by Old Lyme artists. These acquisitions attest to the regard in which his work was held during his lifetime.
Later Years and Enduring Impact
William Henry Howe continued to paint into his later years, remaining committed to his pastoral themes. He maintained his studio in Bronxville, New York, and remained an active figure in the art world. While the rise of Modernism in the early 20th century began to shift artistic tastes away from the academic and Impressionist styles, Howe's work retained a following among those who appreciated its technical skill and gentle beauty.
His impact can be seen in several areas. Firstly, he was a master of animal painting, a genre that requires specialized skills. He brought a sensitivity and realism to his depictions of cattle that few of his American contemporaries matched. Secondly, his involvement with the Old Lyme Art Colony contributed to the vibrancy and success of one of America's most important art colonies. His presence helped to establish its early Tonalist character. Thirdly, he served as an example of an American artist who successfully navigated the transatlantic art world, gaining recognition both at home and in Europe.
While his fame may have somewhat diminished in the decades immediately following his death as new artistic movements took center stage, there has been a renewed appreciation for American Tonalism and Impressionism in recent years. Within this context, William Henry Howe's contributions are being re-evaluated and recognized for their quiet strength and enduring appeal. His paintings offer a window into a more tranquil, pastoral America, rendered with a skill and sensitivity that continue to resonate. His legacy is that of a dedicated artist who found beauty in the everyday life of the farm and field, and who masterfully translated that vision onto canvas for generations to appreciate. He stands alongside other dedicated American landscape and animal painters like Alexander Helwig Wyant or J. Alden Weir (though Weir's style evolved more towards Impressionism) in his commitment to capturing the American scene with honesty and poetic feeling.
