McEntee, Jervis, 1828-1891

Jervis McEntee became a landscape artist, having studied under F.E. Church. McEntee also developed a lasting friendship with Edwin Booth.

From the description of A journal of facts, folly & fun 1845 Oct 9-1846 Sep 29. (Tulsa City-County Library). WorldCat record id: 226993171

Jervis McEntee (1828-1891) was a landscape painter from New York, N.Y.

Born in Rondout, N.Y.

From the description of Jervis McEntee papers, 1796, 1848-1905. (Unknown). WorldCat record id: 220238827

Jervis McEntee was born in Rondout, New York, July 14, 1828. He had early literary and artistic aspirations and studied under Frederic E. Church, who had himself studied under the Hudson River School master, Thomas Cole. McEntee was to maintain a close relationship with Church for the rest of his life. After an unsuccessful stint as a businessman, McEntee settled in New York in 1857 as one of the charter residents of Richard Morris Hunt's Tenth Street Studio Building. Since many of the other occupants were either bachelors or commuters, and since Mrs. McEntee was a lively, sympathetic hostess, the couple became the center of a spontaneous salon frequented by some of the best-known artists, writers, and actors of the time. After his wife died in 1878, McEntee stayed on, an increasingly neglected widower until his death in 1891.

McEntee was identified with the Hudson River School and an accomplished and sensitive painter of autumnal landscapes. He wrote in 1874, "Perhaps what would mark my work among that of my brother artists is a preference for the soberer phases Nature, the gray days of November and its leafless trees." McEntee stood at the center of the interlocking directorate formed by the National Academy of Design, the Century Club, and the Tenth Street Studio Building. In the latter part of the 19th century, these formed a supreme art establishment whose membership was composed of the old guard American artists, such as McEntee's close friends Eastman Johnson, Sanford Gifford, John Ferguson Weir, Worthington Whittredge, and Church, who were fighting an ultimately futile battle against the encroachment of European influences among both artists and collectors.

From the guide to the Jervis McEntee papers, 1796, 1848-1905, (Archives of American Art, Smithsonian Institution)