William Sommer (1867-1949) stands as a significant, if sometimes overlooked, figure in the landscape of early American modernism. A painter and lithographer of considerable talent and unique vision, Sommer carved out a distinct artistic path, primarily in Cleveland, Ohio, where he became a central force in the city's burgeoning avant-garde art scene. His work, characterized by a deeply personal synthesis of European modernist trends and an innate sensitivity to his American surroundings, offers a compelling chapter in the story of how modern art took root and flourished in the United States.
Early Life and Artistic Awakening in Detroit
Born on January 18, 1867, in Detroit, Michigan, William Sommer was the son of Joseph and Christina Zov Sommer. His formative years in Detroit laid the groundwork for his lifelong dedication to the arts. His formal artistic education began modestly, attending Detroit public schools. However, a crucial spark was ignited between 1878 and 1883 when he enrolled in weekend drawing classes conducted by Professor Julius Melchers. These sessions with Melchers, a respected German-born sculptor and woodcarver who also taught other notable Detroit artists like Gari Melchers (his son), likely provided Sommer with foundational skills and an early exposure to disciplined artistic practice.
Parallel to this, Sommer embarked on a practical path into the world of commercial art. From 1881 to 1888, he served as an apprentice at the Calvert Lithographing Company in Detroit. This seven-year period was instrumental in honing his technical skills in lithography, a medium he would continue to explore throughout his career. The demanding nature of commercial lithography, requiring precision and an understanding of reproductive processes, instilled in him a strong work ethic and a mastery of line and tone that would later inform his more personal artistic endeavors. It was during this apprenticeship that he largely became a self-taught artist, absorbing knowledge and refining his craft through hands-on experience.
European Sojourn: Munich and the Seeds of Modernism
Like many ambitious American artists of his generation, Sommer recognized the importance of European study to further his artistic development. In 1890, at the age of 23, he traveled to Europe, making his way to Germany. He enrolled in the prestigious Munich Royal Academy of Fine Arts for the academic year 1890-1891. In Munich, a city then rivaling Paris as a center for artistic innovation, particularly in its more expressive and psychological currents, Sommer studied under Professor Ludwig von Herterich. Herterich was known for his history paintings and portraits, and studying at the Academy would have exposed Sommer to rigorous academic training, but also to the broader currents of European art, including the lingering influences of Symbolism and the nascent stirrings of Expressionism.
This period abroad, though relatively brief, was undoubtedly transformative. It allowed Sommer to see firsthand the masterworks of European art and to immerse himself in an environment where artistic experimentation was actively debated and pursued. The influences he absorbed, particularly from German art movements which often emphasized emotional content and bold forms, would subtly weave their way into his later work, distinguishing him from American artists solely influenced by French Impressionism or Post-Impressionism.
Return to America and Settling in Cleveland
Upon his return to the United States, Sommer spent some time living and working in New York City. The city was already a bustling hub for artists, and this period likely provided him with further exposure to contemporary American art and the challenges of establishing an artistic career. However, it was Cleveland, Ohio, that would become his long-term home and the primary locus of his artistic activity.
In 1907, Sommer made the pivotal decision to move to Cleveland. He initially found employment as a commercial lithographer, a skill set that provided him with a steady income. He worked for the Otis Lithograph Company, which was known for producing vibrant advertisements for traveling circuses and carnivals. This commercial work, while perhaps not artistically fulfilling in itself, kept his technical skills sharp and immersed him in the world of graphic design and popular imagery. Later, he worked for the W. J. Morgan Lithograph Company, a prominent firm in Cleveland, continuing in this field until 1929. This long tenure in commercial art underscores the economic realities faced by many artists of the era, who often had to balance their personal creative pursuits with the need to earn a living.
The Heart of Cleveland's Avant-Garde: The Kokoon Arts Club
William Sommer was not merely a passive participant in Cleveland's art world; he became one of its most active and influential figures. He was a key instigator in the formation of the Kokoon Arts Club (often referred to as the "Kokoon Club" or "Kokoon Bilder Kinstler Verien"), founded in 1911. This club was a vital organization for fostering modern art in Cleveland, providing a space for artists to exhibit, discuss, and challenge artistic conventions. Its members were a mix of commercial artists seeking creative outlets and more radical modernists.
Sommer, alongside fellow artists like William Zorach (who would later gain fame as a sculptor and painter), Henry Keller (an influential art teacher and painter), and Auguste Biehle, helped shape the Kokoon Club into a dynamic force. Zorach, in particular, became a close friend, and the two often painted together on weekends, exploring avant-garde ideas. The club organized regular exhibitions, lectures, and, famously, annual masked balls (the "Bal Masque"), which became legendary events in Cleveland's cultural life, often featuring elaborate, artist-designed decorations and costumes. These events helped to popularize modern art and create a sense of community among artists who felt alienated from more conservative art institutions. Sommer's leadership and participation in the Kokoon Club were instrumental in creating an environment where modernism could take root and flourish in Northeast Ohio. He also participated in another progressive group, the "Secessionists," further highlighting his commitment to advancing modern art.
Artistic Style: A Personal Synthesis of Modernist Influences
William Sommer's artistic style is notable for its eclectic yet highly personal fusion of various modernist currents. He was not a dogmatic follower of any single movement but rather an astute observer who absorbed elements from Cubism, Fauvism, and German Expressionism, reinterpreting them through his own unique sensibility. His deep understanding of Paul Cézanne's structural approach to composition is also evident in many of his works.
The influence of Fauvism, with its emphasis on strong, non-naturalistic color and bold brushwork, as championed by artists like Henri Matisse and André Derain, can be seen in Sommer's often vibrant and expressive palette. He employed color not merely for descriptive purposes but to convey emotion and to structure his compositions. His use of "personal color" meant he chose hues based on their expressive potential rather than strict adherence to reality.
Elements of Cubism, pioneered by Pablo Picasso and Georges Braque, are discernible in Sommer's treatment of form and space. While he rarely ventured into the analytical deconstruction of his Parisian counterparts, he often simplified forms into geometric planes and explored multiple viewpoints, creating a dynamic tension within the picture plane. This is particularly evident in his landscapes and still lifes, where objects and scenes are rendered with a sense of underlying geometric structure.
Perhaps most profoundly, Sommer's work resonates with the psychological intensity of German Expressionism, as seen in the works of artists like Ernst Ludwig Kirchner or Emil Nolde. There is often an emotional depth and a subjective quality to his art, a sense of an inner world being expressed. This is particularly true in his depictions of figures and in the atmospheric quality of his landscapes. He was adept at creating a mood, often one of quiet contemplation or a subtle melancholy.
Key Themes and Subjects: The Poetry of the Everyday
Sommer's subject matter was drawn primarily from his immediate surroundings and experiences. He found beauty and artistic inspiration in the rural landscapes of Northeast Ohio, particularly the Brandywine Valley where he later established a studio that attracted other modernists. His landscapes are not merely topographical records but are imbued with a lyrical quality, often featuring rolling hills, farmhouses, and trees rendered in his characteristic style. These works often evoke a sense of harmony between humanity and nature.
Children were another recurring theme in Sommer's art. He depicted them with a sensitivity and understanding that captured their innocence and unselfconscious grace. These are not sentimentalized portrayals but rather honest and often introspective studies. Still lifes also feature prominently in his oeuvre, allowing him to explore form, color, and composition in a controlled setting. Everyday objects—fruits, flowers, household items—were transformed through his artistic vision into compelling arrangements of shape and hue.
Mastery of Mediums: Watercolor and Lithography
While Sommer worked in oils, he was particularly renowned for his mastery of watercolor. This challenging medium, with its demand for spontaneity and transparency, was perfectly suited to his expressive style. His watercolors are characterized by their fluid lines, luminous washes of color, and a delicate balance between control and freedom. He exploited the unique qualities of watercolor to create works of great freshness and immediacy. His 1936 watercolor "Landscape with Buildings" is a fine example, showcasing his command of geometric abstraction and his nuanced use of color planes to define form and space.
Lithography, his foundational trade, also remained an important medium for Sommer. He brought an artist's sensibility to his prints, moving beyond the purely commercial applications of his early career. His lithographs often display the same strong draftsmanship and compositional intelligence found in his paintings, exploring similar themes of rural life and figurative subjects.
The WPA Era and Mural Work: Art for the Public
The Great Depression brought significant economic hardship to many, including artists. The decline of commercial lithography as a viable profession, coupled with the broader economic downturn, meant that Sommer, like many of his contemporaries, faced financial difficulties after leaving the W. J. Morgan Litho Company in 1929 to pursue art full-time.
The Works Progress Administration (WPA), established during the New Deal, provided a lifeline for many artists by commissioning public artworks. Sommer became a WPA artist, and this period saw him undertake several significant mural projects in Northeast Ohio. These public commissions allowed him to work on a larger scale and to bring his art to a wider audience.
His notable murals include:
Public Auditorium, Cleveland (1933): One of his earlier large-scale public works, contributing to a major civic building.
Brett Hall, Cleveland (1934): Likely a part of the Cleveland Public Library or a similar educational institution.
Post Office, Geneva, Ohio (1938): A classic example of WPA post office murals, often depicting local history or scenes of American life.
Education Building (Board of Education), Akron, Ohio (1940 or 1941): This mural would have been tailored to an educational theme.
Community College (possibly Cleveland Community College or a similar institution) (1944): Reflecting the importance of education and community.
Boston Community Center, Boston, Ohio (1944): A mural for a local community hub in the Cuyahoga Valley.
These murals not only provided Sommer with employment but also allowed him to contribute to the cultural fabric of his community, leaving a lasting public legacy. His mural style often adapted his modernist sensibilities to themes appropriate for public spaces, balancing artistic innovation with accessibility.
Challenges, Resilience, and Continued Creation
The transition from a stable career in commercial lithography to the uncertainties of a full-time artist, especially during the Depression, was undoubtedly challenging. Sommer's resilience and unwavering commitment to his artistic vision are evident in his continued productivity throughout these years. He maintained his studio in the Brandywine Valley, a rural retreat that provided him with inspiration and a space to work. This area, with its picturesque scenery, became closely associated with his art and attracted other artists, creating a small artistic enclave.
Even as artistic styles evolved nationally and internationally, Sommer remained true to his personal artistic language. He continued to explore his favored themes and to refine his distinctive synthesis of modernist influences. His dedication to his craft and his role as a mentor and inspiration to younger artists, including the noted American painter Charles Burchfield who acknowledged Sommer's influence, cemented his importance within the regional art scene.
Later Years, Death, and Posthumous Recognition
William Sommer continued to paint and contribute to the art world until his later years. He passed away on June 20, 1949, at the age of 82. His wife, Martha, passed away two years later. While respected within Cleveland art circles and by fellow modernists during his lifetime, particularly during the 1920s and 30s, Sommer did not achieve widespread national fame during his career. Like many regional modernists, his contributions were often overshadowed by artists working in major art centers like New York or Paris.
However, the decades following his death saw a gradual but significant re-evaluation of his work. Art historians and curators began to recognize the unique quality and historical importance of his art. A key moment in this posthumous recognition came in 1980 when New York Times art critic Hilton Kramer (though the provided text mentions "Hartley critical," Hilton Kramer was a more prominent critic writing for the NYT in that period and known for re-evaluating overlooked modernists; Marsden Hartley was a fellow painter) wrote favorably about his work, bringing it to a wider national audience.
Retrospective exhibitions were organized, most notably by the Cleveland Museum of Art, which holds a significant collection of his works. His paintings and prints are now included in the permanent collections of numerous prestigious American museums, including:
The Butler Institute of American Art in Youngstown, Ohio
The Art Institute of Chicago
The Cincinnati Art Museum
The Akron Art Museum
The Smithsonian American Art Museum (formerly the National Museum of American Art)
The Metropolitan Museum of Art in New York
These institutional acquisitions underscore the art world's growing appreciation for Sommer's unique contribution to American modernism. His work is now seen as an important bridge between European avant-garde movements and a distinctly American artistic expression.
Conclusion: The Enduring Legacy of William Sommer
William Sommer's legacy is that of a dedicated and innovative artist who played a crucial role in the development of modern art in the American Midwest. He was a pioneer who, far from the bustling art capitals, forged a deeply personal and expressive style that synthesized international modernist trends with a profound connection to his local environment. His influence as a co-founder of the Kokoon Arts Club helped to create a vibrant artistic community in Cleveland, nurturing a generation of artists.
His paintings, watercolors, and lithographs, with their sensitive use of color, strong compositional sense, and emotional depth, continue to resonate with viewers today. While he may have been relatively unsung on the national stage during his lifetime, William Sommer's contribution to American art is now firmly recognized. He stands as a testament to the rich and diverse currents of modernism that flowed through America in the early twentieth century, an artist whose quiet dedication and unique vision created a body of work that remains both historically significant and aesthetically compelling. His art reminds us that important artistic innovation often occurs in unexpected places, driven by individual talent and a passionate engagement with the world.
