![]() ![]() Numerous artists rented studios in NYU buildings during the postbellum years: tenants of the old University Building (on the future site of the Silver Center, the Grey Art Gallery’s home) included Homer, Eastman Johnson, and George Inness. In addition to painting on ceramic tiles, the Tilers hosted convivial suppers and sponsored occasional sketching jaunts into the countryside. 58-1/2 West Tenth Street (a small cottage in the garden behind the structure that now houses NYU’s Lillian Vernon Center for International Affairs) among the Tilers were the painters Winslow Homer, Edwin Austin Abbey, and John Twachtman the sculptor Augustus Saint-Gaudens and the architect Stanford White. Meanwhile, in 1877, across the street from the Studio Building, local artists formed the Tile Club, an informal association of artists, architects, and musicians who met on a regular basis at No. 126 West 14th Street, where it remained until 1879, when it moved to its present home uptown. After opening briefly in temporary quarters, the museum was transferred in 1873 to No. In 1870 he and a group of friends met there to found the Metropolitan Museum of Art, with Johnson as its first president. One of the most important private picture galleries in the Village belonged to Robert Boorman Johnston’s brother, John Taylor Johnston. With increased economic prosperity after the Civil War, the American art scene burgeoned. Three years later Cooper Union, “dedicated to the advancement of science and art,” opened its doors on Astor Place, at the western edge of the East Village. Among its early tenants were many Hudson River School painters and members of the National Academy, including Frederic Church, John La Farge, and Albert Bierstadt. ![]() Commissioned by the builder James Boorman Johnston (the son of John Johnston, a wealthy merchant who was among the founders of NYU), it was the first purpose-built artists’ quarters in America. In 1857 the Tenth Street Studio Building, which has been described as “the catalyst most responsible for transforming Greenwich Village into a hub for the visual arts,” was erected at No. From 1852 to 1857 the Century Association, an elite private club catering to New York’s leading painters, sculptors, architects, and writers, was housed at No. 663 Broadway near Bleecker, then at the corner of Fourth Avenue and Tenth Street. Chief among them was the National Academy, whose headquarters were then located in Village, first at No. Better-known today as the inventor of the telegraph, Morse was also a founder and the first president of the National Academy of Design, then the most important professional artists’ organization in America, which sponsored an art school and organized frequent public exhibitions of work by its members.īy the 1850s the Village was a lively art colony, attracting many art schools, private galleries, and clubs, as well as artists’ studios. ![]() Three years later he acquired studio space for himself and his students in the newly-built neo-Gothic University Building (demolished in 1894 to make way for the present Silver Center, home of the Grey Art Gallery). Morse, the first professor of painting and sculpture in America, took up his post at the fledgling NYU campus. Art arrived in the Village in 1832, the year Samuel F. ![]() New York University and its art galleries have played key roles in this illustrious history. New York City’s Greenwich Village-bordered roughly by Fourteenth Street on the north, by the Hudson River on the west, by Broadway on the east, and by Houston Street on the south-has long been a fertile spawning ground for the arts. ![]()
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