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<\/a><\/p>\nFREDERICK TANQUERAY ANDERSON,\n1846-1926
\nFREDERICK T. ANDERSON Red Bluff 35 Years Ago (1907)
\nSOUTHEAST ARKANSAS ARTS & SCIENCE CENTER
\nCIVIC CENTER PINE BLUFF, AR .71601\n
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Curated by Ellen Stern<\/p>\nMAY 8 – JUNE 4, 1983 Antoine Barraque, Frederick’s grandfather, was one of the most prominent\u00a0of Arkansas’ early settlers. Barraque was an officer under Napoleon and fought at Marengo, Austerlitz, Jena, Lodi and Moscow. With the fall\u00a0of Napoleon and the confiscation of his own estate, Barraque fled to\u00a0America. He land ed at Philadelphia and came to Arkansas in 1816. In\u00a01817, he married Mary Therse Dardenne, daughter of Joseph Dardenne\u00a0of Arkansas Post. In 1817 or 1819, he settl ed on the Pine Bluff stretch of\u00a0the Arkansas River and named his new home New Gascony after his old\u00a0home in France. Having been educated in Paris, Barraque was a man of\u00a0culture and learning and had a strong influence on the early history of his\u00a0new community. In 1858, he died at the home of his daughter, Eliza\u00a0Barraque Smith, in Pine Bluff. His name is preserved in Pine Bluff in the\u00a0name of one of its principal streets.<\/p>\n 1850 – \u00a0The 1850 census for Jefferson County lists Hortense Anderson, twenty-three\u00a0years old, as the head of a household in Bolivar township. The\u00a0others in the household were: Julia, aged seven; Frederick, aged four;\u00a0Eliza Harraque, aged seventeen; and Frances Barraque, aged ten. Mrs.\u00a0Anderson must have lived near her father, Antoine Barraque, because he\u00a0is also listed on the same census as the head of a houshold in Bolivar\u00a0township.\u00a0In October of 1850, Hortense Anderson filed a bill for divorce from Richard C. Anderson which\u00a0was granted the following March.<\/p>\n 1850-57 – During this period young Frederick Anderson made several trips by\u00a0steamboat to New Orleans with his grandfather. This may have sparked\u00a0his interest in the Arkansas and Mississippi Rivers, as he was to become\u00a0an ardent admirer of the grand floating palaces that plied the western\u00a0rivers moving cotton, sugar and passengers.<\/p>\n 1857 – Richard C. Anderson and Hortense Anderson were remarried in Jefferson\u00a0County, Arkansas, and then moved to New Orleans. In a note written\u00a0on the 1908 ink drawing of St. Patrick’s Church, Fred wrote: “St. Patrick’s\u00a0Church where we went to mass and vespers over 51 years ago and where\u00a0our sainted mother was so mortified on one occasion by finding pews locked. She led us out and never entered another Catholic church. This circumstance and an accident to me shortly afterwards made us the Baptists we are. St. Patrick’s convent was then the St. John’s Hotel, our first home in New Orleans.”<\/p>\n 1860 – The remarriage of Richard C. and Hortense Anderson did not last. In 1860, she and her two children, Julia, 16, and Frederick, 14, were living in her mother’s home in Bolivar township. This second marriage ended in divorce in November, 1861.<\/p>\n 1861 – Both Frederick’s sister, Julia, and his mother, Hortense, were married in Jefferson County by the Rev. R. J. Coleman. On July 18, Julia married William Daugherty Harris, and this happy marriage lasted until Capt. Harris’ death in 1912, at Bentonville, Arkansas. In December, Hortense Anderson married Dr. Robert A. Watkins. They had two children, Tommy and Hortense, before Dr. Watkins’ death in 1965 at Little Rock.<\/p>\n 1870 – In the early months of 1870, Frederick was living with his mother near Red Bluff, Arkansas. In the summer of 1870, he moved to Memphis and began working as a bookkeeper in the Cotton Exchange.<\/p>\n 1874 – Anderson received public recognition as an artist when the Memphis Daily Appeal published an article telling of a picture hanging on the wall of the Cotton Exchange. It was described as “one of the most natural and beautiful pictures in this city.” The work, Rapidly Ascending th e Mississippi (1872), is a drawing of the ‘Phil Allin’ steaming upstream at night. The reporter wrote: “If Mr. Anderson would place himself under the tutelage of Nast, Morgan or some other famous artist, his talent would soon bring him worldwide recognition.”<\/p>\n 1878 – Frederick T. Anderson married Miss Lula Bruce, a daughter of Noble S. Bruce, prominent Memphian. The wedding took place in the Central Baptist Church, Memphis, Tennessee, with the Rev. Dr. Landrum performing the ceremony. The capacity of the church was described as being ” … tested to its utmost by the brilliant assembly which met to witness this ceremony of marriage. ” Fred and Lula Anderson had three sons: Noble, Clarence and Lewis.<\/p>\n 1879 – Hortense Barraque Anderson Watkins died in Memphis, Tennessee, and was buried in Memphis’ historic Elmwood Cemetery.<\/p>\n 1889-94 – Frederick traveled to Europe to begin studying art seriously. Reputedly, he studied in the studio of French Impressionist, Camill e Pissarro, and traveled in England, France and Switzerland. Returning to Memphis in 1894, he became a frequent contributor to Harper’s Weekly, Leslie’s and other illustrated magazines of the period.<\/p>\n 1903-10 – From 1903-1909, Anderson is listed in Memphis city directories as book<\/p>\n keeper. cotton broker, and real estate agent. In 1910 he appears as “Fred T. Anderson – artist.” 1907-09 Anderson was commissioned to paint President Theodore Roosevelt’s arrival in Memphis to attend the Waterways Convention of 1907. The painting was presented to President Roosevelt in Washington by a committee of Memphis men headed by Mayor James Malone. The President was “delighted” and said, “My, but I wish l had such a picture of the ‘New Orleans,’ the first steamboat ever built to ride Western waters. A relative of mine, one of my forefathers, was commander of the ‘New Orleans, and would not the wonderful contrast in traffic on the mighty Mississippi in those days and the present era of progress be marked? Such a set of pictures would be a treasure to me.” When the committee reported the President’s remarks to Anderson, he sought out details of the boat and painted it for the Chief Executive. Upon completion of the work, Anderson mailed it to Congressman G. W. Gordon (Tennessee) and asked that he present it to the President. Anderson requested that the painting not be presented in his name but in the name of the committee of Memphis citizens to whom the President’s wish for such a scene was made.<\/p>\n Ca. 1915 – The Benton County Democrat printed an article telling of an F. T. Anderson watercolor exhibit held in Bentonville, Arkansas.<\/p>\n 1916 – Lula Bruce Anderson died in August of 1916. Funeral services were held at the residence of her brother, J. W. Bruce, and she was buried in Elmwood Cemetery.<\/p>\n Ca. 1916 – Anderson continued to paint in Memphis and was a frequent visitor to Pine Bluff and Jefferson County.<\/p>\n 1925 – Anderson ‘s sister, Julia Laura Anderson Harris, died January 16, 1925. At the time of her death Frederick was living in Rye, New York.<\/p>\n 1926 – Frederick T. Anderson died on November 14, 1926, at the home of his son, Lewis, in Larchmont, New York. His body was returned to Memphis and buried beside his wife in Elmwood Cemetery.<\/p>\n 1945 – The Brooks Memorial Art Gallery (Memphis, Tennessee) organized an Anderson exhibition. About fifty original watercolor paintings from private collections were shown. A newspaper article printed at that time reports that a set of prints were made from some of the works exhibited. However, to date none of these prints have been located.<\/p>\n Steamboat at Sunset (1903)<\/p>\n THE RIVER WORLD OF F. T. ANDERSON<\/p>\n Frederick Anderson is an enigma. For many years he has been a mystery to those who have come into contact with his work. Anderson was well known and appreciated during his most active two decades as an artist (1895-1915) , yet within a few years he fell into obscurity. His work disappeared for the most part into private collections, and information about him has become virtually nonexistent.<\/p>\n To understand the art of Frederick Anderson and the artistic heritage from which he comes, it is best to start with the late works. The Race Between the ‘Eclipse’ and the ‘Princess’ (1920) and a small 1920 painting of the ‘Pelican’ at an upriver landing are the latest paintings known to have been painted by Anderson. They fully illustrate the maturity of Anderson’s river paintings. The Princess\/Eclipse exhibits the romantic American illustrative style with roots in the early 19th Century Hudson River school. It is an unusual painting in that it comes close to the 19th Century romantic ‘Genre’ style of George Caleb Bingham (1811- 1879). In most of Anderson’s work we see a typically American preoccupation with light and mood- work firmly rooted in the ideas of ‘naturalism’ and its attendant sense of wonder at the natural world – and a concern for ‘things American’ (of which the western rivers steamboat was a truly unique American development).<\/p>\n Like Thomas Cole and other mid-century landscapists, Anderson rarely allows man to impinge on nature. When we do find people in his paintings, they are small and seem as by-standers to the event. Their main purpose is to lead monumentality and to serve as witnesses. This becomes clear in a comparison of the 1920 painting of the<\/p>\n Princess\/ Eclipse and an earlier 1911 version of the same event. Although the two paintings are virtually identical in subject and composition, the moods are quite different. In the 1920 version, more than in any of his other works, people seem to be actively engaged in the race between the two magnificent packetboats. In the 1911 version, however, only a few spectators – fishermen or casual watermen – are present, and they pause only briefly to watch. The two craft grow out of and seem a part of the river itself Anderson’s riverboats appear to be less the creations of man than embodiments of the spirit of the river itself.<\/p>\n They are monumental craft which seem to ply the river independently, always in an imprecise world to their own. Unlike the ‘ship portraitalists,’ Anderson never dwells on the ‘technology’ of steamboats – there is no contest here between man the builder and nature. Furthermore, we never see the human activities of the riverboat world – the passengers, the loading or unloading, the crew, life aboard or a shore – we are shown only the river and the riverboat as its metaphor. Perhaps Anderson understood intuitively George Inness’ (1925-1894), ” … A work of art does not appeal to the intellect. It does not appeal to the moral sense. Its aim is not to instruct, not to edify, but to awaken emotion.” Possibly, Anderson’s finest expression of this idea is found in his small painting of the ‘Pelican’ (1920). Without the overly romantic mistiness, excessive grandeur or the wildly romantic skies that characterize some of his works, here he evokes mood and spirit with an economy of means and a sureness of brushwork that rival the watercolors of Winslow Homer.<\/p>\n The three greatest American watercolorists of the 19th century, Winslow Homer, John Singer Sargent and Maurice Prendergast, were contemporaries of Frederick Anderson. Like Anderson,\u00a0all studied in Europe in the last quarter of the century. Like Anderson, all excelled in watercolor, a medium well suited to the English\/American attitude toward landscape. Unlike Anderson, the others excelled equally in oil painting, Watercolor, and a variety of landscape idioms and subject.<\/p>\n By the middle of the century, the watercolor work of the English school around Turner, Bonnington and Cottman had become the standard in Europe and the United States. Anderson, even more than his contemporaries, reflects this English romantic watercolor technique. Two early views of New York Harbor from 1894, painted shortly after he returned from Europe, demonstrate his mastery of watercolor in the European style. Few of his works, notably Grandfather’s Mill (1911) and Woodcutter’s Cart (1914), show any obvious stylistic influence from his encounter with the Impressionist\/Post-Impressionist styles current at that time in France. While Prendergast, Homer and Sargent used their European studies as a spring-board, Anderson reverted to the traditions of the mid-century American landscapist.<\/p>\n There is a compelling fascination about the river paintings of F. T. And erson. Rarely does a minor artist exert such a commitment from the viewer. As an artist, Anderson certainly does not equal his contemporaries in range or depth. His work is uneven. His landscapes and housescapes rarely equal in feeling or skill his paintings of the river, although his one known portrait, William T. Harris (1912) is a masterful work. He excelled at images of the rivers and the legendary steam riverboats that plied them. After this re-examination of the corpus of his work, it seems safe to say that his reputation rests on his paintings of the river.<\/p>\n David Robinson<\/p>\n Director of Education<\/p>\n New York Harbor (1894)<\/p>\n <\/p>\n I. Rapidly Ascending the Mississippi (1872) ink\/ watercolor on paper, 39.7 x 83.5 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 2. New York Harbor (1894) watercolor on paper, 35.7 x 26.2 cm Mr. & Mrs. Lewis Bruce Anderson<\/p>\n 3. New York Harbor (1894) watercolor on paper, 12.2 x 24.2 cm. Walter Chandler Collection<\/p>\n 4. Steamboat at Sunset (1903) watercolor on paper. 12 x 22.5 cm. Arthur Anderson<\/p>\n 5. Memphis Waterfront (1904 ) watercolor on paper, 14 x 26 cm. Jeff Anderson<\/p>\n 6. Steamboat Around the Bend (ca. 1904) watercolor on paper, 14 x 26 cm. Arthur Anderson<\/p>\n 7. The Steamboat ‘Rees Lee’ (1906) watercolor on paper, 30.5 x 58.5 cm. The Historic New Orleans Collection<\/p>\n 8. Memphis Harbor (1907) halftone reproduction, 20.3 x 50.35 cm. Louisiana State Museum<\/p>\n 9. Red Bluff 35 Years Ago (1907) watercolor on paper, 29 x 56.5 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 10. St. Patrick’s Church (1908) ink on paper, 27.5 x 13 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 11. Barraque Plantation 1860 (1908) watercolor\/ pastel on paper, 19.8 x 38 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 12. The ‘J. N. Harbin’ (1908) watercolor on paper, 32.5 x 63 cm. Southeast Arkansas Arts & Science Center<\/p>\n 13. Memphis on a Smoky Morning (1909) watercolor on paper, 15.3 x 50.8 cm Walter Chandler Collection<\/p>\n 14. The ‘Vicksburg’ (1910) watercolor on paper, 13.5 x 27 cm. Jeff Anderson<\/p>\n 15. The Race Between The ‘Eclipse’ and the ‘Princess’ (1911 ) watercolor on paper, 29.3 x 54.8 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 16. Grandfather’s Mill (1911) watercolor on paper, 17.5 x 36.2 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 17. Nora (1911) watercolor on paper, 21.3 x 32.4 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 18. Battle of Mobile Bay (1911) watercolor on paper, 25.9 x 67.5 cm. Walter Chandler Collection<\/p>\n 19. End of the Battle of Mobile Bay (1911) watercolor on paper, 26.7 x 67 cm. Walter Chandler Collection<\/p>\n 20. Burning of the Steamer ‘Sultana’ (1911) watercolor on paper, 32.4 x 64.2 cm. Walter Chandler Collection<\/p>\n 21. Memphis, June 6, 1862 (1911) watercolor on paper, 30 x 66 cm. Walter Chandler Collection<\/p>\n 22. Confederate Ram ‘Arkansas’ (1911) watercolor on paper, 66.6 x 31.7 cm. Walter Chandler Collection<\/p>\n 23. Hull of the Confederate Ram ‘Arkansas’ (1911) ‘ watercolor on paper, 32.4 x 63.3 cm. Walter Chandler Collection<\/p>\n 24. Arrival of the Replica of the ‘New Orleans’ at Memphis (1911) watercolor on paper, 12.2 x 21.5 cm. Walter Chandler Collection<\/p>\n 25. Chickasaw Bluff (1911) watercolor on paper, 13 x 25.2 cm. Walter Chandler Collection<\/p>\n 26. Arrival of the ‘New Orleans’ (1911) watercolor on paper, 12.2 x 24.2 cm. Walter Chandler Collection<\/p>\n 27. The Hulk of the ‘New Orleans’ (1911) watercolor on paper, 12.3 x 21.4 em. Walter Chandler Collection<\/p>\n 28. First Woodyard on the Mississippi River (1911) watercolor on paper, 12.5 x 22 cm. Walter Chandler Collection<\/p>\n 29. Lakeside Methodist Church (1911) watercolor on paper, 74.5 x 47.5 cm. Lakeside Methodist Church<\/p>\n 30. William T. Harris (1912) watercolor on paper, 35.5 x 27.5 cm. Mr. & Mrs. Eugene Harris Adams<\/p>\n 31. Sinking of the C. S. S. ‘Alabama’ (1912) watercolor on paper, 31 x 60.6 cm. Walter Chandler Collection<\/p>\n 32. First Steamboat on the Western Waters (1912) watercolor on paper, 12.5 x 25.8 cm. Louisiana Maritime Museum (from the collection of Mr. & Mrs. Ray Samuel)<\/p>\n 33. The ‘Natchez’ (1912) watercolor on paper, 13 x 27 cm. Jeff Anderson<\/p>\n 34. The ‘Sultana’ (1912) watercolor on paper, 13.5 x 26.5 cm. Jeff Anderson<\/p>\n 35. The ‘Republic’ (1912) watercolor on paper, 13.5 x 27 cm. Jeff Anderson<\/p>\n 36. The ‘Pelican’ (1912) watercolor on paper, 29.5 x 59.5 cm. Harriette Anderson Steege<\/p>\n 37. Battle of Memphis (1913) watercolor on paper, 31.6 x 57.5 cm. Walter Chandler Collection<\/p>\n 38. Woodcutter’s Cart (1914) watercolor on paper, 27 x 47.2 cm. Eleanor Anderson Harwood<\/p>\n 39. Breakers (1914) watercolor on paper, 32 x 63 cm. Eleanor Anderson Harwood<\/p>\n 40. Arrival of the First Steamboat to Land at New Orleans (1914) watercolor on paper, 28.5 x 16.3 cm. Sagamore Hill National Historical Site<\/p>\n 41. View of Memphis Harbor (1917) watercolor on paper, 31.8 x 86.25 cm. Louisiana State Museum<\/p>\n 42. Steamboat ‘J. M. White’ (ca. 1917) watercolor on paper, 22.6 x 69.5 cm Louisiana State Museum<\/p>\n 43. New Orleans Harbor in 1867 (1917) watercolor on paper, 21.7 x 63.8 cm. Louisiana State Museum<\/p>\n 44. Gideon’s Band (1914) watercolor on paper (illustration for a promotional broadside), 47.3 x 74.3 cm. Louisiana State Museum<\/p>\n 45. New Orleans Wharf in the Early ’70’s (1919) watercolor on paper, 29 x 67 cm. The Historic New Orleans Collection<\/p>\n 46. Arrival of the First Lady of the Land at New Orleans (1919) watercolor on paper, 28 x 16 cm. Sagamore Hill National Historical Site<\/p>\n 47. ‘Princess’ and ‘Eclipse’ in New Orleans (1920) watercolor on paper, 23.5 x 36.3 cm. Harriette Anderson Steege 48. The ‘Pelican’ (1920) watercolor on paper, 14 x 26.5 cm. Jeff Anderson<\/p>\n 49. Steamboat (?) ink on paper, 18 x 18 em. Arthur Anderson<\/p>\n 50. Wharf Scene (?) ink on paper, 18 x 18 em. Arthur Anderson<\/p>\n<\/a><\/p>\nFREDERICK TANQUERAY
\nANDERSON, 1846-1926
\nAn exhibition organized by the Southeast Arkansas
\nArts and Science Center, Pine Bluff, Arkansas\n
\nINTRODUCTION
\nThe Southeast Arkansas Arts and Science Center\u00a0is proud to bring Frederick T. Anderson back to\u00a0Pine Bluff. This exhibition of works by an outstanding regional artist is a dream voiced by\u00a0Hilda Hicks Adams, of Hensley, Arkansas, on a\u00a0spring day in 1981. “I have a few paintings by F\u00a0T. Anderson, a relative of mine,” she said. “I\u00a0not ice you have one in your collection. Would\u00a0you like more information on this artist and perhaps\u00a0have an exhibition of his work?” Thus,\u00a0jointly we began the search. Mrs. Adams researched\u00a0old family records, books and articles,\u00a0and the center staff began locating the works\u00a0which have scattered to collections across the\u00a0country.\u00a0The fulfillment of Mrs. Adams’ dream is more\u00a0than an exhibition of paintings by a local artist. It\u00a0is a regional talent rediscovered and reexamined.\u00a0There is no doubt that the work of Frederick\u00a0Tanqueray Anderson is important as a fine\u00a0example of American art and the “impressionistic romanticism” that was carried over from the\u00a019th Century. Anderson is a product of MidAmerica\u00a0in style and subject, painting elegant\u00a0harbor and river scenes, recreating Civil War\u00a0naval engagements such as the Confederate ram\u00a0‘Arkansas’ in battle, the tragic burning of the\n Memphis Waterfront (1904 )<\/p>\nsteamer ‘Sultana,’ or the truly delightful, romantic view of Red Bluff on the Arkansas River with\u00a0a farmer waving his hat as the packetboat ‘Pat\u00a0Cleburne’ steams past.\u00a0This 1983 exhibition is only the beginning of the\u00a0long overdue recognition of Frederick T. Anderson,\u00a0painter and recorder of a unique moment in\u00a0history. The research is far from over. Many\u00a0aspects of Anderson’s life and work remain a\u00a0mystery which we are continuing to unravel.\u00a0I want to thank the many people who helped\u00a0lead us to the works and offered encouragement\u00a0and interest in the project. Special thanks to\u00a0those who generously loaned their family treasures for this exhibition, to Frederick’s descendants\u00a0(Eleanor Anderson Harwood, Harriette\u00a0Anderson Steege, Lewis Bruce Anderson, Arthur\u00a0Anderson, and Jeff Anderson ), to Judge Wyeth\u00a0Chandler, Beatrice H. Chandler, Lucia Chandler\u00a0Outlan, and Mr. and Mrs. George Treadwell for\u00a0sharing your wealth of information . Most especially,\u00a0thank you, Hilda Adams, for giving us\u00a0your enthusiasm and your contageous fascination
\nwith Frederick T. Anderson.
\nJoseph L. Kagle, Jr.
\nExecutive Director\n
\n<\/a><\/p>\nFREDERICK T. ANDERSON by Hilda Hicks Adams
\n1846 – Frederick Tanqueray Anderson was born July 1, 1846, on his grandfather’s plantation near New Gascony, Jefferson County, Arkansas. The\u00a0son of Dr. Hichard Cuthbert Anderson, a pioneer Arkansas physician,\u00a0and Hortense Barraque Anderson, Frederick was their second child.\u00a0Their first was Julia Laura Anderson , born january 18, 1844. Early in\u00a0childhood this brother and sister developed a very close bond that was\u00a0evident throughout their lives.\n
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\n<\/a><\/p>\n Arrival of the First Steamboat to Land at New Orleans (1914), Arrival of the First Lady of the Land at New Orleans (1919)<\/p>\n Memphis on a Smoky Morning (1909)<\/p>\n Confederate Ram ‘Arkansas’ (1911)<\/p>\n Burning of the Steamer ‘Sultana’ (1911)<\/p>\n
\n<\/a><\/p>\n ‘Princess’ and ‘Eclipse’ in New Orleans (1920)<\/p>\n Sinking in the C. S. S. ‘Alabama’ (1912)<\/p>\n\u00a0Battle of Memphis (1913)<\/p>\n\u00a0View of Memphis Harbor (1917)<\/p>\n
\n<\/a><\/p>\n\u00a0Woodcutter’s Carl (1914)<\/p>\n\u00a0First Woodyard on the Mississippi River (1911)<\/p>\n\u00a0The ‘Republic’ (1912)<\/p>\n
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