Edmund C. Tarbell was born in the Asa Tarbell House, which stands beside the Squannacook River in West Groton, Massachusetts.[1] His father, Edmund Whitney Tarbell, died in 1863 after contracting typhoid fever while serving in the Civil War. His mother, Mary Sophia (Fernald) Tarbell, remarried a shoemaking-machine manufacturer. Young "Ned" (as he was nicknamed) and his older sister, Nellie Sophia, were left to be raised by their paternal grandparents in Groton, a frontier town during the French and Indian Wars that the early Tarbell family helped settle.[2]
Tarbell was encouraged to continue his education in Paris, France, then center of the art world. Consequently, in 1883 he entered the Académie Julian to study under Gustave Boulanger and Jules Joseph Lefebvre. Paris exposed him to rigorous academic training, which invariably included copying Old Master paintings at the Louvre, but also to the Impressionist movement then sweeping the city's galleries. That duality would inform his work. In 1884, Tarbell's education included a Grand Tour to Italy, and the following year to Italy, Belgium, Germany and Brittany.
Tarbell returned to Boston in 1886, where he began his career as an illustrator, private art instructor and portrait painter.[3]
Marriage and family
In the Orchard, 1891; Souther siblings, Mrs. Tarbell at far right
Two years after returning to Boston, Tarbell married Emeline Arnold Souther, an art student and daughter of a prominent Dorchester family. Preferring to work from posed models, Tarbell often painted those immediately at hand—his wife, four children (Josephine, Mercie, Mary and Edmund Arnold Tarbell), and grandchildren. The paintings illustrate their lives.
While teaching at the Museum School in Boston, Tarbell and his family lived from 1886 until 1906 in the Ashmont section of Dorchester, the house belonging to his stepfather, David Frank Hartford. Then they lived on Commonwealth Avenue in Boston at the Hotel Somerset, located beside The Fens and not far from his atelier in the Fenway Studios on Ipswich Street.
But in 1912, the Museum of Fine Arts hired Huger Elliott from the Rhode Island School of Design as Supervisor of Educational Work, charged with reorganizing the Museum School, which until then managed its own affairs. An upheaval ensued. He lectured Tarbell how to teach, then how to paint. Tarbell was incensed, making it no secret that he considered Elliott artistically inept. In December, Tarbell resigned together with Frank W. Benson, his friend and fellow instructor.[5] The men in 1913 discussed founding a society to encourage art and artists in the city. With financial backing from Lilla Cabot Perry, painter and affluent Brahmin, The Guild of Boston Artists opened in 1914. Tarbell was its first president, serving through 1924.
In 1918, Tarbell was hired as principal of the art school at the Corcoran Gallery of Art in Washington, D.C., a position he held until 1926. But the Museum of Fine Arts wanted him back at the Museum School, appointing him in 1925 as Chairman of the Advisory Council. For two years he promoted and oversaw construction of the school's new building designed by Guy Lowell. In 1930, however, the school asked Augustus John to recommend English artists as instructors. Tarbell and Benson, advocates of indigenous talent, would again resign.[6]
Works
His 1891 plein air painting entitled In the Orchard established his reputation as an artist. It depicts his wife with her siblings at leisure. Tarbell became famous for impressionistic, richly hued images of figures in landscapes. His later work shows the influence of Johannes Vermeer, the 17th-century Dutch painter. In such works, Tarbell typically portrays figures in genteel Colonial Revival interiors; these studies of light and tone are executed with restrained brushwork and color.[7]
Tarbell's funeral service was held in Boston at King's Chapel, his obituary reading: "Great American Painter Dies," The Boston Traveler, August 3, 1938;
Edmund Tarbell contributed to America's place in the world of art. To him and his work Europe turned its eyes in admiration, as did the whole people in America. Tarbell's works were honest works. In him was none of the transient sensationalism which brought notoriety to others. Tarbell canvases will be speaking to the world centuries from now. His character was as true as his art.[11]
