Artist
Harvard Graduate 1891
The artist’s father, John Prentiss Hopkinson, ran his own school in Boston, which Charles attended. In 1891, he graduated from Harvard, where his uncle was president. *Frederick W. Kost gave Hopkinson his first lessons in painting, then in 1891, he enrolled in the *Art Students League in New York, where two of his teachers were *John H. Twachtman and *H. Siddons Mowbray. Already in 1892, two of his paintings were accepted for exhibition at the *National Academy of Design. By 1893 he was studying in the *Académie Julian with his new bride, Angelica Rathbone, and privately under *Bouguereau. The marriage would not last — divorce came in 1899. Meanwhile, Hopkinson exhibited in the Paris Salon (1895-97) and discovered the pleasures of painting in *Brittany. Back in Cambridge, Hopkinson painted portraits, including one of the infant e.e. cummings. In 1901 Hopkinson traveled back to Europe — this time to study Spanish and Dutch masters — however, he managed to return to Brittany. At the *Pan-American Exposition in Buffalo (1901) he won a bronze medal. Hopkinson met Elinor Curtis in 1902 and married her a year later. By 1904, he had his first one-man show and was renting a studio in the Fenway Studio Building, in Boston. Hopkinson took part in the *Armory Show in 1913, exhibiting four works there. While *John Singer Sargent was painting murals in the Boston Public Library in 1916, he stayed for a while at Hopkinson’s home, called “Sharksmouth.” Hopkinson became one of the “Boston Five,” a group of progressive watercolor painters, and he continued to exhibit his works. Hopkinson would maintain an active exhibition schedule, especially at the National Academy (1892-1949), at the *Pennsylvania Academy of the Fine Arts (1896-1944) and at the *Corcoran Gallery (1907-53). His awards include the Beck Gold Medal from the PAFA (1915), a medal from the Philadelphia Sesqui-Centennial Exposition, and the *Art Institute of Chicago’s Logan Medal (both in 1926). Seven of his works appeared at the *Panama-Pacific International Exposition in 1915, where he walked away with a silver medal. Hopkinson may be known to many as a portrait painter: Time Magazine proclaimed him the “Dean of U.S. portraitists” in 1948. John D. Rockefeller, George Eastman, Calvin Coolidge, and Oliver Wendell Holmes are only a few of the famous men who sat for him. He also contributed to the series of portraits of the Allied leaders of World War I, the so-called “Versailles War Portraits” (see Platt, 1984). The Museum of Fine Arts, Boston has a magnificent group portrait of the Hopkinson Family dated 1924. Despite his being snubbed by *Paxton and *Tarbell, Hopkinson was highly successful and wealthy, even through the Depression. In his portraits, Hopkinson utilized all the technical refinements of impressionism, common with members of the Boston School, but as a rebel, he became more expressionistic, especially in his watercolors. He was influenced by Japanese prints as well as by certain aspects of modernism. Above all, he insisted on an outstanding pictorial design, and this distinguished his portraits from those of others in which a mere likeness seemed to be the primary goal. REF. H.B.W., 1921; Ralph Flint, “Charles Hopkinson, Boston’s Premier Portraitist,” Creative Art 9 (October 1931): 283-287; Ernest W. Watson, “Charles Hopkinson,” American Artist 21 (September 1957): 72-75; Platt, 1984, fig. 3; plates IV-V; Fairbrother, 1986, pp. 214-215; Anne W. Schmoll, Charles Hopkinson, N.A. (1869-1962): Moods and Moments. Exh. cat. Boston: Vose Galleries, 1991.
Harvard Graduate 1891
The artist’s father, John Prentiss Hopkinson, ran his own school in Boston, which Charles attended. In 1891, he graduated from Harvard, where his uncle was president. *Frederick W. Kost gave Hopkinson his first lessons in painting, then in 1891, he enrolled in the *Art Students League in New York, where two of his teachers were *John H. Twachtman and *H. Siddons Mowbray. Already in 1892, two of his paintings were accepted for exhibition at the *National Academy of Design. By 1893 he was studying in the *Académie Julian with his new bride, Angelica Rathbone, and privately under *Bouguereau. The marriage would not last — divorce came in 1899. Meanwhile, Hopkinson exhibited in the Paris Salon (1895-97) and discovered the pleasures of painting in *Brittany. Back in Cambridge, Hopkinson painted portraits, including one of the infant e.e. cummings. In 1901 Hopkinson traveled back to Europe — this time to study Spanish and Dutch masters — however, he managed to return to Brittany. At the *Pan-American Exposition in Buffalo (1901) he won a bronze medal. Hopkinson met Elinor Curtis in 1902 and married her a year later. By 1904, he had his first one-man show and was renting a studio in the Fenway Studio Building, in Boston. Hopkinson took part in the *Armory Show in 1913, exhibiting four works there. While *John Singer Sargent was painting murals in the Boston Public Library in 1916, he stayed for a while at Hopkinson’s home, called “Sharksmouth.” Hopkinson became one of the “Boston Five,” a group of progressive watercolor painters, and he continued to exhibit his works. Hopkinson would maintain an active exhibition schedule, especially at the National Academy (1892-1949), at the *Pennsylvania Academy of the Fine Arts (1896-1944) and at the *Corcoran Gallery (1907-53). His awards include the Beck Gold Medal from the PAFA (1915), a medal from the Philadelphia Sesqui-Centennial Exposition, and the *Art Institute of Chicago’s Logan Medal (both in 1926). Seven of his works appeared at the *Panama-Pacific International Exposition in 1915, where he walked away with a silver medal. Hopkinson may be known to many as a portrait painter: Time Magazine proclaimed him the “Dean of U.S. portraitists” in 1948. John D. Rockefeller, George Eastman, Calvin Coolidge, and Oliver Wendell Holmes are only a few of the famous men who sat for him. He also contributed to the series of portraits of the Allied leaders of World War I, the so-called “Versailles War Portraits” (see Platt, 1984). The Museum of Fine Arts, Boston has a magnificent group portrait of the Hopkinson Family dated 1924. Despite his being snubbed by *Paxton and *Tarbell, Hopkinson was highly successful and wealthy, even through the Depression. In his portraits, Hopkinson utilized all the technical refinements of impressionism, common with members of the Boston School, but as a rebel, he became more expressionistic, especially in his watercolors. He was influenced by Japanese prints as well as by certain aspects of modernism. Above all, he insisted on an outstanding pictorial design, and this distinguished his portraits from those of others in which a mere likeness seemed to be the primary goal. REF. H.B.W., 1921; Ralph Flint, “Charles Hopkinson, Boston’s Premier Portraitist,” Creative Art 9 (October 1931): 283-287; Ernest W. Watson, “Charles Hopkinson,” American Artist 21 (September 1957): 72-75; Platt, 1984, fig. 3; plates IV-V; Fairbrother, 1986, pp. 214-215; Anne W. Schmoll, Charles Hopkinson, N.A. (1869-1962): Moods and Moments. Exh. cat. Boston: Vose Galleries, 1991.
Artist
Harvard Graduate 1891
The artist’s father, John Prentiss Hopkinson, ran his own school in Boston, which Charles attended. In 1891, he graduated from Harvard, where his uncle was president. *Frederick W. Kost gave Hopkinson his first lessons in painting, then in 1891, he enrolled in the *Art Students League in New York, where two of his teachers were *John H. Twachtman and *H. Siddons Mowbray. Already in 1892, two of his paintings were accepted for exhibition at the *National Academy of Design. By 1893 he was studying in the *Académie Julian with his new bride, Angelica Rathbone, and privately under *Bouguereau. The marriage would not last — divorce came in 1899. Meanwhile, Hopkinson exhibited in the Paris Salon (1895-97) and discovered the pleasures of painting in *Brittany. Back in Cambridge, Hopkinson painted portraits, including one of the infant e.e. cummings. In 1901 Hopkinson traveled back to Europe — this time to study Spanish and Dutch masters — however, he managed to return to Brittany. At the *Pan-American Exposition in Buffalo (1901) he won a bronze medal. Hopkinson met Elinor Curtis in 1902 and married her a year later. By 1904, he had his first one-man show and was renting a studio in the Fenway Studio Building, in Boston. Hopkinson took part in the *Armory Show in 1913, exhibiting four works there. While *John Singer Sargent was painting murals in the Boston Public Library in 1916, he stayed for a while at Hopkinson’s home, called “Sharksmouth.” Hopkinson became one of the “Boston Five,” a group of progressive watercolor painters, and he continued to exhibit his works. Hopkinson would maintain an active exhibition schedule, especially at the National Academy (1892-1949), at the *Pennsylvania Academy of the Fine Arts (1896-1944) and at the *Corcoran Gallery (1907-53). His awards include the Beck Gold Medal from the PAFA (1915), a medal from the Philadelphia Sesqui-Centennial Exposition, and the *Art Institute of Chicago’s Logan Medal (both in 1926). Seven of his works appeared at the *Panama-Pacific International Exposition in 1915, where he walked away with a silver medal. Hopkinson may be known to many as a portrait painter: Time Magazine proclaimed him the “Dean of U.S. portraitists” in 1948. John D. Rockefeller, George Eastman, Calvin Coolidge, and Oliver Wendell Holmes are only a few of the famous men who sat for him. He also contributed to the series of portraits of the Allied leaders of World War I, the so-called “Versailles War Portraits” (see Platt, 1984). The Museum of Fine Arts, Boston has a magnificent group portrait of the Hopkinson Family dated 1924. Despite his being snubbed by *Paxton and *Tarbell, Hopkinson was highly successful and wealthy, even through the Depression. In his portraits, Hopkinson utilized all the technical refinements of impressionism, common with members of the Boston School, but as a rebel, he became more expressionistic, especially in his watercolors. He was influenced by Japanese prints as well as by certain aspects of modernism. Above all, he insisted on an outstanding pictorial design, and this distinguished his portraits from those of others in which a mere likeness seemed to be the primary goal. REF. H.B.W., 1921; Ralph Flint, “Charles Hopkinson, Boston’s Premier Portraitist,” Creative Art 9 (October 1931): 283-287; Ernest W. Watson, “Charles Hopkinson,” American Artist 21 (September 1957): 72-75; Platt, 1984, fig. 3; plates IV-V; Fairbrother, 1986, pp. 214-215; Anne W. Schmoll, Charles Hopkinson, N.A. (1869-1962): Moods and Moments. Exh. cat. Boston: Vose Galleries, 1991.
Harvard Graduate 1891
The artist’s father, John Prentiss Hopkinson, ran his own school in Boston, which Charles attended. In 1891, he graduated from Harvard, where his uncle was president. *Frederick W. Kost gave Hopkinson his first lessons in painting, then in 1891, he enrolled in the *Art Students League in New York, where two of his teachers were *John H. Twachtman and *H. Siddons Mowbray. Already in 1892, two of his paintings were accepted for exhibition at the *National Academy of Design. By 1893 he was studying in the *Académie Julian with his new bride, Angelica Rathbone, and privately under *Bouguereau. The marriage would not last — divorce came in 1899. Meanwhile, Hopkinson exhibited in the Paris Salon (1895-97) and discovered the pleasures of painting in *Brittany. Back in Cambridge, Hopkinson painted portraits, including one of the infant e.e. cummings. In 1901 Hopkinson traveled back to Europe — this time to study Spanish and Dutch masters — however, he managed to return to Brittany. At the *Pan-American Exposition in Buffalo (1901) he won a bronze medal. Hopkinson met Elinor Curtis in 1902 and married her a year later. By 1904, he had his first one-man show and was renting a studio in the Fenway Studio Building, in Boston. Hopkinson took part in the *Armory Show in 1913, exhibiting four works there. While *John Singer Sargent was painting murals in the Boston Public Library in 1916, he stayed for a while at Hopkinson’s home, called “Sharksmouth.” Hopkinson became one of the “Boston Five,” a group of progressive watercolor painters, and he continued to exhibit his works. Hopkinson would maintain an active exhibition schedule, especially at the National Academy (1892-1949), at the *Pennsylvania Academy of the Fine Arts (1896-1944) and at the *Corcoran Gallery (1907-53). His awards include the Beck Gold Medal from the PAFA (1915), a medal from the Philadelphia Sesqui-Centennial Exposition, and the *Art Institute of Chicago’s Logan Medal (both in 1926). Seven of his works appeared at the *Panama-Pacific International Exposition in 1915, where he walked away with a silver medal. Hopkinson may be known to many as a portrait painter: Time Magazine proclaimed him the “Dean of U.S. portraitists” in 1948. John D. Rockefeller, George Eastman, Calvin Coolidge, and Oliver Wendell Holmes are only a few of the famous men who sat for him. He also contributed to the series of portraits of the Allied leaders of World War I, the so-called “Versailles War Portraits” (see Platt, 1984). The Museum of Fine Arts, Boston has a magnificent group portrait of the Hopkinson Family dated 1924. Despite his being snubbed by *Paxton and *Tarbell, Hopkinson was highly successful and wealthy, even through the Depression. In his portraits, Hopkinson utilized all the technical refinements of impressionism, common with members of the Boston School, but as a rebel, he became more expressionistic, especially in his watercolors. He was influenced by Japanese prints as well as by certain aspects of modernism. Above all, he insisted on an outstanding pictorial design, and this distinguished his portraits from those of others in which a mere likeness seemed to be the primary goal. REF. H.B.W., 1921; Ralph Flint, “Charles Hopkinson, Boston’s Premier Portraitist,” Creative Art 9 (October 1931): 283-287; Ernest W. Watson, “Charles Hopkinson,” American Artist 21 (September 1957): 72-75; Platt, 1984, fig. 3; plates IV-V; Fairbrother, 1986, pp. 214-215; Anne W. Schmoll, Charles Hopkinson, N.A. (1869-1962): Moods and Moments. Exh. cat. Boston: Vose Galleries, 1991.
Family Members
Sponsored by Ancestry
Advertisement
Records on Ancestry
Advertisement
