The Life and Career of Samuel Isham

Samuel Isham was an American portrait and figure painter. Born in New York City on May 12, 1855, he grew up in a household shaped by the city's commercial life. His father, William Bradley Isham, was a leather merchant who managed factories and warehouses downtown, while his mother, Julia Burhans, helped form the family unit alongside his siblings, Charles Bradford Isham and Julia Isham.

His path toward a life in art was not immediate. After his time at Phillips Academy, he attended Yale University, where he graduated in 1875 with a B.F.A. degree. During those years at Yale, he contributed to the third editorial board of The Yale Record. Though his early years involved the study of law at Columbia Law School and a brief period practicing as an attorney, his focus eventually shifted toward the canvas. He moved away from the legal profession to pursue the study of painting, a choice that would define his presence in the American art scene.

Early Life, Family and Training

Born in New York City, Samuel Isham was the son of William Bradley Isham, a leather merchant who managed factories and warehouses on Gold and Cliff Streets, and Julia Burhans. His family was connected to several notable figures, including his brother Charles Bradford Isham, who married Mamie Lincoln. After his time at Phillips Academy, he moved to Yale University, where he graduated in 1875 with a B.F.A. degree. During his years at Yale, he was a member of the third editorial board of The Yale Record and studied drawing under John H. Niemeyer.

Following his graduation, he spent three years traveling abroad. Upon his return, he turned toward the study of law, enrolling at Columbia Law School in the fall of 1878. He eventually became admitted to the bar and practiced law in New York, working in the office of Lord Day & Lord and later forming a partnership with George E. Coney in 1881. However, the pull of visual art remained. He left the legal profession to return to Europe, seeking formal training in Paris. From 1885 to 1887, he studied painting at the Académie Julian under Gustave Boulanger and Jules Joseph Lefebvre.

Professional Career and Achievements

After completing his studies at Columbia Law School, Isham was admitted to the bar. He began practicing law in the office of Lord Day & Lord before entering into a partnership with George E. Coney in 1881. This legal career was a brief chapter before he turned his attention fully toward painting. He spent time in Paris studying under Gustave Boulanger and Jules Joseph Lefebvre, eventually returning to New York to establish himself in the art world.

His presence in the New York art scene grew through various institutional roles. He served as a director of the Fine Arts Society and was a member of the National Institute of Arts and Letters. In 1904, he was awarded a silver medal at the St. Louis World's Fair. By 1906, he had become a member of the National Academy. His influence extended to the Pan-American Exposition in Buffalo, New York, where he served on the Art Jury in 1901.

Key Works and Artistic Contributions

His brushwork often focused on the quiet presence of figures and the textures of their surroundings. In 1884, he produced Wooded Landscape, a work that captures the stillness of the natural world. His interest in the human form and its relationship to clothing is evident in The Lilac Kimono, an oil on canvas. This piece shows a careful attention to the way fabric sits and folds. Around 1890, he painted Portrait of a lady, further demonstrating his ability to render the subtle details of a subject's likeness.

Beyond the canvas, he turned his attention to the written word to organize the history of his craft. In 1905, he published History of American Painting. This book offered a detailed treatment of the subject, providing a structured look at the development of American art through a sympathetic lens. His writing was noted for its clear style and its ability to provide an adequate account of the movements and artists that shaped the country's visual landscape.

Later Years and Death

The later years of Samuel Isham were spent within the social circles of New York City. He maintained a residence at 471 Park Avenue in Manhattan. His life was tied to the private clubs of the city, including the Metropolitan Club. These spaces provided a steady rhythm to his existence away from the studio.

His time at the Maidstone Club in East Hampton eventually became the site of his passing. On June 12, 1914, he was on the golf course when he suffered from an aneurysm of the arteries. He died there, on the grounds of the club. He was buried in Woodlawn Cemetery in the Bronx.

Legacy and Influence

The weight of his contribution to the understanding of American art is found in his 1905 publication, History of American Painting. This work remains his most significant achievement, marking the first time a complete history of American art was written. It provided a structured way to look at the development of the country's visual language, offering a sympathetic and steady treatment of the subject that moved beyond mere lists of names.

His influence extended into the institutional fabric of the New York art scene. He held a seat within the National Institute of Arts and Letters and contributed to the direction of the Fine Arts Society. These roles placed him at the center of the professional circles that shaped the era's artistic standards. His presence in these organizations helped bridge the gap between the practice of painting and the formal organization of the art world.

Even after his death, his personal interests left a mark on public collections. His estate included a collection of 236 Japanese color prints, which were presented to the Metropolitan Museum of Art. This gift ensured that his private eye for detail and international aesthetics would remain accessible to others, long after his own brushes were set aside.