1854 (California, Ohio)
1935 (Indianapolis, Indiana)
Photo of William J Forsyth
Often Known For
landscape, still life, portrait and mural painting, teaching
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Categories of Interest
New York Armory Show of 1913
Impressionists Pre 1940
San Francisco Panama-Pacific Exhibition 1915
|This biography from the Archives of AskART:|
|The following biography, submitted May 2003, is from material developed for Crown Hill Cemetery in Indianapolis, Indiana by Tom Davis: |
William Forsyth (October 15, 1854 - March 29, 1835). Buried in Section 39, Lot 298. Driving east from the SW corner of Section 39 you will soon see the pink granite monument to Forsyth several rows back. A bronze bas-relief portrait of the artist is attached.
It was perhaps no accident that William Forsyth described his teacher John Love as a "tall, . . . blond giant." He was the opposite, and many of his friends and students, and even his daughters, thought that explained a lot about his personality, described by one as that of a "little cocky bantam rooster." One of his Herron Art students recalled "Mr. Forsyth was short, a lot shorter than most men, and I believe that is why he had that feisty way about him, to make up for his height." (Judith Vale Newton, The Hoosier Group (Indianapolis, Eckert Publications, 1985), 131.)
But he used his feistiness to develop more than just a quick temper and a reputation for being "ornery" and a lover of a good argument. Wilbur Peat, describing the Indianapolis art scene in the 1870s in his "Pioneer Painters of Indiana," remarks "it is doubtful if the city had anyone among its youthful citizens with so much zeal for things artistic as he, and with such determination to reach the top in the practice of painting" (p. 205). Short in stature, he became tall in the history of art in Indiana, and probably stands tallest among those artists buried at Crown Hill.
William Forsyth was born in California, Ohio, a small town along the Ohio River not far from Cincinnati. The view of the river was among his earliest memories, and to see it again in his adult life always elicited a wave of strong emotions. Much like Jacob Cox, he soon began drawing on any canvas that was available, which at first was too often the walls of the family home. But rather than punish him, his parents assigned a large mantel in a vacant room, especially painted black for the purpose, as the appropriate place for his artistic expressions. Among the scenes Forsyth recalled sketching there with colored chalks were pictures of the civil war soldiers he would see marching home past as he played outside.
When he was ten, the family moved to Versailles, Indiana before coming to Indianapolis just a few years later. At the age of fifteen, he talked his dad into letting him study art with Barton S. Hays, who with Jacob Cox, was one of the city's leading artists and a teacher of William Merritt Chase and John Love, but the lessons were too expensive for him to continue.
In 1873, he and his brother John began a business painting houses. He used his free time to hang around artist's studios and visit galleries, traveling as far as New York. He often painted in the countryside, occasionally running across Love, who would be doing the same thing with some of his students. When Love and Gookins opened their Indiana School of Art in 1877, Forsyth was the first student to enroll, and because of his growing friendship with Love, and his becoming an assistant instructor after Gookins departed, he was the last to leave. To fill the void left by the school's closing, Forsyth and some friends started the Bohe Club ("Bohemian" Club was too long to fit on a sign on the door window.) This allowed them to maintain some studio space in the same building the art school had been in, and to have a place to gather in which to discuss art and to sally forth from as they traveled on sketching tours south of Indianapolis to places like Brown County.
But Forsyth continued to desire more formal training as an artist. His close friend Theodore Clements Steele was already studying abroad in Munich, and when another good friend, Thomas Hibben, whose family owned a local dry goods store, offered to finance Forsyth's own studies abroad in exchange for one-half of the paintings he did while abroad, he packed according to Steele's recommendations, and was soon studying with Steele at the Royal Academy in Munich. Munich, besides being where Steele was already, was both cheaper and more accepting of foreigners than the schools of Paris.
His formal studies there began in April of 1882. Frequent letters to Hibben describe much about the progress of both Forsyth and Steele, and the financial strains of study abroad. Forsyth and Steele would use their summer vacations to paint as they traveled around Europe, and then send the paintings home to Hibben to sell at exhibitions such as one he conducted late in 1885 at the English Hotel called "An Art Exhibit of the Hoosier Colony in Muchen." These letters also revealed Forsyths goal as an artist. Of one teacher, Forsyth writes: "To certain extent his influence is for good, and I shall try to get all the good out of him I can, but as for becoming [like him], that is out of the question. I'll be myself or nothing." (quoted by Judith Vale Newton, The Hoosier Group, 121.)
This is a precursor of how his daughter Constance, an artist in her own right, summed up his career: "Perhaps his most outstanding characteristic was his independence. He painted what he wanted to paint and in the way he wanted to paint it. He preferred to work in his own way, regardless of what other artists were exploiting in the way of styles and fads. He was never the kind of artist that followed theories or intellectual ideas about what or how to paint. He very early, before studying abroad, developed his own brush technique which varied very little over the years. Even though the general look of his work changed over periods of time, that same technique was still there." (Constance Forsyth to Gary Lynn, March 4, 1975. Quoted by Martin Krause in The Passage, Indianapolis Museum of Art, 1991), 228)
Another letter foretells his future involvement with a group of artists whose goal would be to interpret a particular region "in all the varying moods that are its charm" to the world at large: "Love Hoosierdom? I should think so, there's many a woodland nook and breezy field and quiet brookside that is consecrated ground to me."
Forsyth finished his studies in the spring of 1886 but stayed in Europe another two years, sharing a studio with J. Ottis Adams, who would also later be called one of the "Hoosier Group." Returning to Indiana in September 1888, he was soon assisting Adams at an art school in Fort Wayne. Growing tired of the commute, the two opened their own school in Muncie, where Adams was living, in the fall of 1889. But Forsyth left after the spring term of 1891 to live again in Indianapolis. Here he joined Steele, and became a principal instructor in Steele's Indiana School of Art, which was located on the circle. Steele resigned in 1895, but Forsyth stayed on to teach both day and evening classes until June 1897, when the school was torn down to make way for an expansion of the English Hotel.
It was during this period that the 1894 exhibition of the works of Forsyth, Steele, Otto Stark, and Richard Gruelle at the Denison Hotel attracted the attention that led to the "Hoosier Group" exposition in Chicago, which also included works by Adams. The attention given to this exhibition, and the mood that had created it, led to his joining together with Steele, Adams, and fifteen other Midwestern artists to form the Society of Western Artists in 1896. He remained a member until it disbanded in 1914 and participated in its annual shows, which were held all around the Midwest in order to guarantee the artists a place to show, and thus sell, their works each year.
As he had in Europe, Forsyth always reserved a few weeks in the summer in which to travel and paint with friends. In 1897, he brought along two of his sisters and one of his pupils, Alice Atkinson. Chances are he brought his sisters along so that he could ask Alice to come too. The trip that year was to a friend's childhood home, a farm along the Ohio River near Brandenburg, Kentucky. When the time for painting wound down in the fall, William and Alice made their way up river to Louisville where they were married at the Grace Episcopal Church in Louisville on October 14, 1897. They returned to the farm for their honeymoon, and winter had set in before they made there way back to Indianapolis.
With the art school closed, Forsyth began offering classes on his own during the winter and spring months and painting in various places in Indiana and Kentucky during the summer. Three daughters were born (all buried in the family plot with their mother and father and grandparents), Dorothy in 1899, Constance in 1903, and Evelyn in 1906.
To provide the family with a more country feel all year round, he moved his family in the spring of 1906 from 938 Fletcher Avenue to 15 South Emerson, which was then in the tiny college town of Irvington, with its winding wooded streets and Butler University campus. He attached a studio to the house and planted many gardens of flowers, eternally frustrated that his roses would never grow quite right.
In the fall of that year he joined the faculty of the John Herron Art School, replacing his friend Adams as the principal instructor of drawing and painting. The school had recently outgrown its beginnings in what had been an old house Steele had lived in at 16th and Pennsylvania, and had just moved into its new building at the same site. It was to be a long association, one from which his former students recalled him both as a fiery, sometimes tactless and sarcastic teacher, and as their lifelong friend and encourager. In 1933, when the economic pressures of the Depression led the school's administrator to let him go, along with daughter Constance, Paul Hadley, and five other teachers, the student's protested by hanging an effigy of the director from one of the trees on the campus.
Forsyth, though well into his seventies, had not been prepared emotionally or financially for his abrupt dismissal from Herron. He received a commission for some Public Works Administration pieces for the Indiana State Library, two of which now hang on the fourth floor of the State Museum. His daughters Dorothy and Constance contributed financially, and Alice tried to make do with less. In February 1934, he experienced a heart attack. Never recovering completely, he would sit outdoors as much as possible, surrounded by his family, friends, and flowers, and try to do a little painting each day. On March 29, 1935, he finally succumbed to kidney failure.
In 1914, William Forsyth had varied his usual summer schedule to supervise the painting of 33 murals throughout the Indianapolis City Hospital. He himself painted a large landscape for the entrance hall, while he enlisted Steele, Stark, Adams, and eleven other Hoosier artists to do works in other parts of the building, including many gaily painted scenes of childhood stories for the Children's Ward. All of them worked for house painter's wages, and while Steele and Adams had provided works from their studios in southern Indiana, several of the artists lived at the hospital while executing their murals. For those involved, it seemed to capture the spirit of creating together that they had had in their earlier days but lost as success had led them each in more widely scattered directions.
Forsyth, in his 1916 essay entitled "Art in Indiana," written for the state's centennial, was perhaps the best spokesman for this Hoosier group of artists and the following could easily serve as his epitaph:
"To live out-of-doors in intimate touch with nature, to feel the sun, to watch the ever changing face of the landscape, where waters run and winds blow and trees wave and clouds move, and to walk with all the hours of the day and into the mysteries of night through all the seasons of the year---this is the heaven of the Hoosier Painter!"
|This biography from the Archives of AskART:|
following biography of William J. Forsyth, has been provided by Myrtice
(Gifford) Forsythe, of Lufkin, Texas. It is the story of William
Forsyth's life until 1920, and was written in the year of 1920, several
years before Williams death, as part of A History of the Forsyth Family by Jennie (Forsyth) Jeffries.|
William Forsythe was the
great grandson of Alexander Forsyth who married Rachel O'Neal, a member
of the house of O'Neal, Earls and Princes of Tyrone in Ireland. They
came to the United States in the latter part of the 18th century and
settled in Baltimore. Their third son Elijah was the grandfather of
William. This Elijah had a son Elijah, who was the father of William.
William's mother was Olive Hackett. William was born in Hamilton
County, Ohio, near Cincinnati, and came with his parents to
Indianapolis when a boy. From his childhood he had a innate love for
books, and a passionate love for the beauty of the out-of-doors. He
began drawing very early in his life, and a chance acquaintance with
Ruskin's book on drawing directed him into the paths of art.
began sketching out-of-doors with enthusiasm, studying alone and
against the wishes of his parents. This he continued for several years
before there appeared an opening for advanced study. About this time J.
W. Leave, a student at the Beaux Arts at Paris, and J. Y. Goodkins,
student at Munich, founded the first Indiana Art School. William
Forsyth entered this school and began his first training in drawing and
painting and modeling of clay. To Mr. Leave, William Forsyth
acknowledged a great debt for friendship and encouragement, and for
high respect for the profession which he inculcated.
his own efforts and the patronage of a friend, William went abroad in
1885, remaining in Europe seven years. He was a student in the Royal
Academy of Art in Munich for five years. Here he studied drawing under
Professor Benezm and Nicolas Cyeis, and painting under Van Leoeffz,
then reckoned the greatest teacher of painting in Germany. While there
he was several times honorably mentioned and awarded a medal. He also
exhibited in the Munich International Exposition of 1888.
to the United States, and by preference to Indiana, he was then
continuously active in individual work in painting in oil, water color
and etching and as an instructor. For two years after his return he was
associated with Mr. Adams at Muncie and Fort Wayne, Indiana, in
teaching; then with Theodore Steele in the second Indiana School of Art
at Indianapolis. After the building of the Herron Art Institute he was
the principal instructor in its school. In this work he was unusually
successful. Many of his students were among illustrators in the East
and had a national reputation.
William Forsyth was awarded
numerous distinctions in exhibitions, among them a silver medal for
water color and a bronze medal for oil at the Louisiana Purchase
Exposition at St. Louis in 1904. Also a bronze medal at the Argentine
Exposition at Buenos Ayres in 1910, and a silver medal for water color
and a bronze medal for oil at the Panama Exposition in San Francisco in
1915. At the Fifteenth Annual Exhibition of the Society of Western
Artists in 1910 he won the Fine Arts Building Prize of five-hundred
dollars for the best group of paintings.
He was one of the four
Indianapolis artist composing the Hoosier group, the others being Mr.
Steele, Mr. Adams and Mr. Stark. This group played no small part in the
development of art in Indiana and Middle West. William Forsyth, like
others of the Hoosier group, preferred the southern part of the state
as a field for his outdoor studies. He was especially fond of the
country around Corydon, the old capital of the state, and of old Vernon
in Jennings County, and around Hanover on the Ohio River, the White
Water Valley, the hills of Morgan County and the region about
He was a charter member of the Society of Western
Artists, and served as its secretary and vice-president. He was
represented in permanent collections at Kansas City, Minnesota Art
Association, Indianapolis Art Association, Richmond Art Association,
and other cities.
William Forsythe was awarded the Holcomb prize
for the best water color in the exhibit of Indiana Artists at the
Herron Art Institute in 1920.
He married Alice Atkinson of
Atkinson, Indiana, in 1897. She was a pupil in the Indiana Art School
when he first met her. Their children were Dorothy, Constance and
William Forsyth had one brother, E. J. Forsyth, and
two sisters, Elizabeth F. and Alice I. Forsyth. Both sisters were
teachers in the schools of Indianapolis.
|Biography from William A. Karges Fine Art - Carmel:|
|William Forsyth was born in California, Ohio, in 1854, and moved with his family to Indianapolis in 1860. He studied art briefly as a young man, but financial limitations forced Forsyth to seek work. He formed a house painting business with his brother, and continued to paint in his free time. |
Having saved enough money, Forsyth began attending the Indiana School of Art in 1877, eventually becoming as assistant instructor. In exchange for paintings not yet painted, Forsyth was given the opportunity to join his friend T.C. Steele, who was studying at the Royal Academy in Munich.
Upon his return to the states, Forsyth would serve as a major figure in the “Hoosier School” of painters, exhibiting with T.C. Steele, Otto Stark, Richard Gruelle, and J. Ottis Adams.
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