Thomas Chambers American Landscape and Marine Painter, 1808-1869 Kathleen A. Foster

Philadelphia Museum of Art
Publication date:
02 Sep 2008
160 pages: 229 x 279 x 20mm
25 black & white illustrations + 110 colour images


Labeled as a traveling American folk artist when he was rediscovered in the mid-20th century, the mysterious Thomas Chambers here receives a fresh and creative reassessment. Although his distinctive sea- and landscapes appear in many American collections, little is known about this English-born painter, who arrived in New Orleans in 1832 and disappeared from record in the mid-1860s, leaving many paintings that later resurfaced in rural New York and Massachusetts. In this richly illustrated work, Kathleen A. Foster shows, however, that far from being simply an itinerant painter of folk art, Chambers actually enjoyed a professional, even entrepreneurial, relationship to the art world. Foster performs close studies of Chambers's known works, his stylistic relationship to his brother (English marine painter George Chambers), and a newly discovered American auction record of 1845. Chambers, she argues, provided a popular landscape art for a middle class of mixed cosmopolitan and folk tastes. Bringing "fancy" painting to this new constituency, Chambers worked outside academic circles, drawing astutely from popular culture. In the 20th century, his rediscovery as "America's first modern" paid tribute to his independent spirit and decorative panache.

Kathleen A. Foster is The Robert L. McNeil, Jr., Senior Curator of American Art and Director of the Center for American Art at the Philadelphia Museum of Art. She is the author of Thomas Eakins Rediscovered and editor of A Drawing Manual by Thomas Eakins, both published by Yale.

"The catalog contains text by Foster that not only reveals the results of her research, but places Chambers in the artistic context of his times." ?Antiques & the Arts Weekly

"The catalog . . . is the first book about [Chambers]. . . . Foster has done a trememdous job of research." ?Sanford Schwartz, The New York Review