Society of Western Artists

The Society of Western Artists, founded on March 11, 1896,[1] emerged as one of the most influential cultural organizations in the American Midwest. At a time when the country’s artistic epicenter remained concentrated along the Atlantic seaboard, the artists of the West—particularly those in Chicago, Cincinnati, Cleveland, Detroit, St. Louis, and Indianapolis—sought to create a unified voice that would represent their shared artistic ideals, regional identity, and professional ambitions. Their effort was anchored in the belief expressed by many at the time: “In union there is strength.”

The founders recognized that Western artists routinely faced marginalization in national exhibitions dominated by East Coast sensibilities. Many were forced to rely on galleries, curators, and critics outside their region to gain recognition. In response, they began imagining a self-governed, artist-led system that would not only foster a sense of community among practitioners but also advance their professional standing. The idea of a “grand circuit” of Western cities—places that would jointly host and circulate a unified annual exhibition—became central to this vision. Artists wished to control the exhibition of their own works, present them directly to the public, and manage sales independently, thereby increasing artistic autonomy and economic stability.

The earliest efforts that led to the Society’s formation originated with the Cosmopolitan Art Club of Chicago.[2] In the mid-1890s, this club, composed largely of younger and emerging artists, had begun hosting exhibitions that attempted to bring together exemplary works from neighboring Midwestern cities. Their successes inspired them to pursue a broader, more ambitious organizational structure—an “Inter-City Amalgamation of Art Interests”—that would formally unite the region’s painters and sculptors.

Interest in such a coalition grew quickly. By 1895, artists in cities like Cincinnati and Indianapolis were already expressing a desire for a regional union,[3] and by early 1896 the movement had gathered sufficient momentum for the Cosmopolitan Art Club to issue a call for a formal convention. Invitations were sent to the leading art clubs of St. Louis, Milwaukee, Cincinnati, Cleveland, Detroit, and Indianapolis, proposing a March meeting in Chicago to coincide with the Cosmopolitan’s annual exhibition.

The convention took place at the Athenaeum Building in Chicago and was attended by delegates from every major Midwestern art center.[4] These delegates—Charles F. Von Saltza, Holmes Smith, Robert P. Bringhurst, J. W. Gies, Francis P. Paulus, Percy Ives, Theodore C. Steele, William M. Forsyth, Otis Adams, Frank Duveneck, Louis Henry Meakin, Henry F. Farny, Charles Henry Ault, William J. Edmondson, George P. Bradley, George L. Schreiber, Frank Charles Peyraud, and Harry Wallace Methven—represented some of the most respected artists in their cities. Their presence gave the convention both artistic legitimacy and regional authority.

Many other Chicago artists attended informally as observers, eager to participate in what they recognized as a historic moment for Western art. After long and detailed discussions regarding the structure, purpose, and authority of the proposed organization, the delegates voted to establish the Society of Western Artists. A constitution and by-laws were drafted and approved, and the first officers were elected: Frank Duveneck of Cincinnati as President, William M. Forsyth of Indianapolis as Vice-President, Harry W. Methven of Chicago as Secretary, and George L. Schreiber of Chicago as Treasurer.[5] Henry F. Farny designed the logo and masthead for the club’s letterhead.[6]

The newly formed Society embraced a model built on fairness, professional rigor, and artistic excellence. An Executive Committee composed of the officers and one representative from each chapter city would oversee the Society’s operations. A rotating annual exhibition, selected by a jury of delegates, would showcase the strongest artistic work produced in the Midwest. Selected pieces would travel to each participating city, where local art institutions would host the show and offer the works for sale.

Yet the early years were not free from conflict. At the first membership-election meeting held in Indianapolis, disagreements erupted over how full membership and associate membership should be awarded. Chicago delegates objected strongly to portions of the policy and insisted on revisions.[7] Ultimately, these disputes were resolved, and at the next annual meeting the leadership positions rotated: Theodore C. Steele, a leading Indiana painter, became President, while Lorado Taft, the prominent Chicago sculptor, was elected Vice-President.[8]

Membership in the Society was based strictly on artistic merit. Artists first submitted works to an annual exhibition; only those whose work met the jury’s standard were offered membership. Once elected, however, all members enjoyed the full rights and responsibilities of the organization regardless of seniority, geographic location, or prior affiliation. Chapters were soon established in each major Midwestern city, with Chicago representing the Northwest and St. Louis representing artists in the South and Southwest.[9]

Society’s exhibitions rapidly gained prominence. The first annual show received nearly 500 submissions, of which approximately 160 works were accepted. Museums such as the Art Institute of Chicago, the St. Louis Art Museum, and the Detroit Institute of Arts became regular hosts of these traveling exhibitions. Critics praised the shows for their quality, diversity, and strong representation of Midwestern artistic ideals.[10]

The Society’s growing national significance was confirmed when, in 1904, the National Academy of Design requested twenty paintings from the Society’s annual exhibition to be included—without jury approval—in its own prestigious annual show. This unprecedented invitation served as national recognition of the Society’s artistic legitimacy and the exceptional quality of work produced by its members.[11]

In 1906, the Chapin family, owners of the Fine Arts Building in Chicago, established the Fine Arts Building Prize, a $500 annual award intended to encourage artistic excellence among Western artists. The award soon became one of the most coveted honors within the Society. It was governed jointly by a jury composed of officers from both the Fine Arts Building Corporation and the Society of Western Artists, and it was restricted to regular or associate Society members. No artist could receive the award more than twice or in consecutive years.

The prize was first awarded in 1906, though it was shared between recipients. Over the ensuing years, it was bestowed upon some of the Midwest’s most respected artists: J. Ottis Adams in 1907, Charles Francis Browne in 1908, Theodore C. Steele in 1909, William Forsyth in 1910–11, L. H. Meakin in 1911–12, William Wendt in 1912–13, and in 1913 to a distinguished group including Oscar E. Berninghaus, Alice Schille, Maud H. Squire, Charles Abel Corwin, and Walter Marshall Clute. Later, the prize was awarded to Herman H. Wessel, Oliver Dennett Grover, Pauline Palmer, Carl Gustav Waldeck, and Gustav von Schlegell.

With the establishment of the Artists’ Guild in the Fine Arts Building, the prize was later divided into five $100 awards distributed across multiple exhibitions each year. Ultimately, as the Guild declined, the prize was transferred to the Chicago and Vicinity annual exhibitions at the Art Institute.

Despite its many successes, the Society eventually faced challenges brought on by the changing cultural landscape. In his 1913 report, Secretary Oscar Berninghaus addressed criticisms that the Society was overly conservative, urging members instead to create art that reflected their personal vision. This push may have been influenced by the arrival of the International Exhibition of Modern Art, the famous Armory Show — which had recently introduced modernist ideas to audiences in New York and Chicago.[12]

As time went on, some of the Society’s chapter cities developed their own strong artistic communities, reducing the need for a regional traveling exhibition. Art critic Lena McCauley observed that the Society showed signs of disintegration, not because of failure or inactivity, but because its original mission had been largely accomplished: the artistic culture of the Midwest had matured. Another writer summarized the Society’s legacy succinctly: “It must be conceded that this society has done valuable pioneer work in the West and deserves full credit for what it has accomplished.”

[1] “In The Social World,” Chicago Times Herald, 3/11/1896, p.5; “Art and Artists,” Chicago Evening Post, 3/14/1896, p.10; and “News Of Current Art,” Chicago Times-Herald, 3/8/1896, p.33: “A number of artists contemplate organization of a ‘Society of Midland Artists,’ …Messrs. Schreyder [George L. Schreiber], Peyraud and Methven are the organizing committee.” “The Society of Western Artists,” Brush and Pencil, Vol. 1, No. 6, March 1898, p.211.

[2] “In The Art Studios,” Chicago Tribune, 3/8/1896, p.36. The club is credited with founding the Society in “Art And Artists,” Chicago Evening Post, 2/12/1896, p.7.

[3] “Art and Artists,” Chicago Tribune, 10/27/1895, p.42.

[4] “Cosmopolitan Art Club’s Exhibit,” Chicago Tribune, 3/11/1896, p.4.

[5] “Art And Artists,” Chicago Evening Journal, 3/12/1896, in Art Institute of Chicago Scrapbooks, vol. 7, p.9, 10. Those artists from outside Chicago at the organizing meeting included: Charles F. Von Saltza, Holmes Smith, Robert P. Bringhurst of St. Louis; Joseph W. Gies, Francis P. Paulus, Percy Ives of Detroit; Theodore C. Steele, William M. Forsyth, J. Ottis Adams of Indianapolis; Duveneck, Louis D. Meakin, Henry F. Farny of Cincinnati; Charles H. Ault, William J. Edmonson, George P. Bradley of Cleveland; and Richard Lorenz of Milwaukee. The Chicago artists included Frank C. Peyraud, Harry W. Methven and George L. Schreiber.

[6] Isabel McDougall, “Art And Artists,” Chicago Evening Post, 10/24/1896, p.10.

[7] “Society of Western Artists,” Arts For America, Vol. 6, No. 5, January 1897, p.146. “Chicago Art and Artists,” Sunday Inter Ocean, 5/23/1897, p.35. Other problems occurred early on with shipments and other matters, detailed in “In The Art Studios,” Sunday Chicago Tribune, 7/4/1897, p.33.

[8] “Art,” Sunday Chicago Tribune, 10/23/1898, p.41.

[9] Gilbert Cranmer, “Is The Star of Art Westward?,” The Illustrated American, 1/22/1898, n.p.

[10] “Gems Of The Pallette [sic],” Chicago Tribune, 12/11/1896, p.7.

[11] Lena M. McCauley, “Art and Artists,” Chicago Evening Post, 12/3/1904 and Chicago Record-Herald, 12/11/1904 in Art Institute of Chicago Scrapbooks, vol. 20.

[12] “Art and Artists,” Chicago Evening Post, 2/13/1915, p.6.