Elizabeth Driggs Bacon (1881-1928)

Elizabeth "Beth" Driggs was born on February 1, 1881, in Indianapolis, Indiana. From 1902 to 1905, she taught Saturday classes for children at the Herron School of Art in her home city. That's where she met her future husband, Louis A. Bacon, an art student and supervisor of manual training in the elementary schools of Indianapolis. In 1912, Louis Bacon resigned his position to take a job with Atkinson, Mentzer and Grover, a publisher of textbooks and other books based in Chicago. (Harry E. Wood succeeded him in his position with the Indianapolis schools.) The change came not long after Elizabeth Driggs and Louis A. Bacon were married on June 17, 1911, in Indianapolis. The couple had one daughter, Honoria.

Elizabeth Driggs studied at the Art Students League under William Merritt Chase; at the Art Institute of Chicago under John Johansen, Martha Baker, Frederick Richardson, Frederick Warren Freer, and John Vanderpoel; and at the Brandywine School under Howard Pyle. Baker, Vanderpoel, and Pyle died in in the same year, 1911.

Elizabeth Driggs Bacon was a painter of portraits, landscapes, and still-life. She also created large, decorative scenes from mythology. She exhibited in Indianapolis and Richmond and in Chicago with the Hoosier Salon. Elizabeth won prizes at the Hoosier Salon and at the Indiana State Fair in 1926. The latter was first prize for a poster in color. The titles of her paintings exhibited at the Hoosier Salon include "The Apple Tree," "Theft of the Grapes," "Gazelles," and "The Boar Hunt." She was also a member of several art organizations.

In 1922, Elizabeth Driggs Bacon co-founded Orchard Country Day School, an experimental first grade in Indianapolis. One of the other co-founders of the school, Mary Stewart Carey, donated her home and apple orchard, located at 5050 North Meridian Street, for the school. It is still in operation as The Orchard School and is located at 615 West 64th Street.

In addition to being a teacher and artist, Elizabeth Driggs Bacon was a writer and editor. Her subject of course was art. In 1922, she served as art critic for the Indianapolis News. From 1926 to her unexpected death in 1928, she wrote the weekly newsletter and edited the monthly bulletin of the John Herron Art Institute.

Elizabeth Driggs Bacon died eighty-seven years ago this month, on March 15, 1928, in Indianapolis. She was just forty-seven years old.

A very poor image of art by Elizabeth Driggs Bacon. Images of her art are otherwise unavailable to me.

Text copyright 2015, 2024 Terence E. Hanley

Frank Vietor (1919-2006)

Francis E. "Frank" Vietor was born on December 21, 1919, in Poland, a small town in Clay County, Indiana. He served as a photographer and illustrator in the U.S. Army Air Force during World War II, including time in North Africa and Italy. After the war, he worked as an illustrator with Paton Studios in Indianapolis and graduated from the Herron School of Art in 1948. A decade later, in 1958, he and Jim Bradford formed their own advertising studio, Bradford and Vietor, in Indianapolis.

After many years as an advertising artist, Frank Vietor began painting landscapes and pictures of trains. "I've always loved trains," he wrote in 1984, "and we have a model railroad layout in the garage which competes with the car for the space." Working in acrylic and gouache (opaque watercolor), Vietor specialized in scenes of small towns. "The small towns I paint are typical of midwest rural America," he explained. His small-town landscapes typically show a view from a distance, where town gives way to country.

Frank Vietor died in March 2006 at age eighty-six.

"Summertime," a small painting that looks like a piece of advertising art or commercial art, but alone might be considered a genre painting.

"Man with a Jug"

A very charming still-life called "Indiana State Fair." Again, this painting has the look of a commercial work of art, perhaps the cover of a booklet, but is capable of standing on its own.

"Railway Landscape," a small painting of a large and powerful subject and one of Frank Vietor's specialties.

"Winter in Brookville"--Frank Vietor wasn't the first Indiana artist to paint in Brookville, an old town in the eastern part of the state, nor will he be the last.

Images courtesy of Fine Estate Art. 
Text and captions copyright 2015, 2024 Terence E. Hanley

Moses L. Tucker (1868-1926)

In 1888, Edward Elder Cooper (1859-1908), originally of Jacksonville, Florida, began publishing the Indianapolis Freeman, a successor to the Indianapolis Colored World and soon to be billed as "America's First Illustrated Colored Weekly." Although it did not start as an illustrated paper, The Freeman switched to that format in September 1888. Late that year or early the next, Cooper recruited Henry Jackson Lewis (ca. 1837-1891) of Pine Bluff, Arkansas, to work for him as a cartoonist and illustrator. According to Marvin D. Jeter, Lewis' earliest surviving cartoon in The Freeman is from February 2, 1889. (1) The cartoon is political in nature, making it perhaps the first of its kind by a black artist in an American newspaper. As a pioneer working for a pioneering newspaper, Lewis blazed a trail for other black cartoonists and illustrators, including Garfield Thomas Haywood (1880-1931) and Hale Aspacio Woodruff (1900-1980). Both men worked for The Freeman before it came to a close in 1926.

Probably the first to follow in Lewis' footsteps was Moses Lenore Tucker. Little is known of Tucker's life, but according to James E. Brunson III, Edward E. Cooper hired the Georgia native in 1889 after Henry Jackson Lewis had contracted what would prove to be a fatal case of pneumonia. (2) Edward H. Lee of Chicago joined Lewis and Tucker at The Freeman at about the same time. "Having added a new force to our staff of artists," Cooper announced, "we are now prepared to give a larger quantity and a better quality of illustrations." (3) Together, Lewis, Tucker, and Lee drew the newspaper's masthead, column headings, political cartoons, portrait drawings, and other graphics. As Lewis' illness worsened, more work fell upon Tucker and Lee, and though Tucker was reputed to be a lightning-fast artist--he could draw rapidly with either hand--both men became dissatisfied with their treatment by their editor. That dissatisfaction arose from Cooper's practice of paying flat rates, retaining all rights to his artists' work, and selling that work to other newspapers, presumably without compensating them. (Today we would call that kind of arrangement work-for-hire.) Tucker and Lee finally left The Freeman for another black newspaper called The Appeal. (4) Henry Jackson Lewis' last drawing for The Freeman in his lifetime was published on March 28, 1891. He died less than two weeks later, on April 9, 1891.

Moses Tucker's career in Indianapolis didn't end when he left The Freeman, but there is scant information on his life after his break with the paper. There is only a little more information about him before he arrived in Indianapolis. His story hinges, in part, on the identity of a man named Moses Tucker who was enumerated in the U.S. census as an inmate in Indianapolis in 1900 and 1910. That man had been born in Georgia in 1868. But was he Moses Lenore Tucker, the artist previously with The Freeman? In his article on Edward E. Cooper, James E. Brunson provides evidence that Moses L. Tucker was indeed institutionalized later in life:

Tucker's wild lifestyle, coupled with addictions to cigarettes and opium, [Cooper] wrote, caused a mental breakdown, forcing the artist to enter an insane asylum. There is truth to this claim: in the 1920s, the artist resided in a local asylum, while continuing his creative output. (5)

Mr. Brunson's point is that Cooper often "scolded his critics" and "publicly chastised those who crossed him" (6). By leaving Cooper's employ, Tucker must have brought down Cooper's wrath upon himself. But the quote above also serves to connect the census records with the artist, Moses Tucker. Combined with what we previously knew of him, the knowledge that Tucker was institutionalized helps us draw a fuller portrait of him, although there is still plenty of room for conjecture.

Moses Lenore Tucker was born in 1868 in Georgia less than four years after the Civil War had ended and almost certainly to former slaves. In the 1880 census, Tucker was in Atlanta. When Edward Elder Cooper found him almost a decade later, Tucker was working at the Atlanta Engraving Company and drawing portraits, cartoons, and caricatures for a periodical called The Georgia Cracker. Tucker is also supposed to have contributed to Life and Judge, both of which had been in print since the early 1880s. Tucker would have been about twenty-one when he made the move to The Freeman. 

Moses L. Tucker presumably arrived in Indianapolis in 1889. In the city directory of 1890, he was listed as an engraver at The Freeman, with an address of 518 North West Street. In his article, Mr. Brunson suggests that Tucker left The Freeman not long after that (perhaps in 1890 or 1891) for a job at The Appeal. He may very well have left with Edward H. Lee for Chicago, Lee's home city, where The Appeal had regional offices and published a local edition. In any case, Tucker was in Indianapolis by 1900 when he was enumerated in the census as an inmate. He was again enumerated as an inmate in 1910. According to James E. Brunson III, Tucker remained in "a local asylum" into the 1920s, where he continued to create works of art. As it turns out, that place was the Marion County Asylum for the Incurably Insane, located in Julietta, east-southeast of Indianapolis on the county line. The asylum was opened in 1899. It seems likely that Moses Tucker was at the Julietta asylum in 1900, 1910, and 1920. He died there in September 1926 of tuberculosis.

In this Black History Month, and the 126th anniversary month of what may have been the first political cartoon drawn by a black artist and printed in and American newspaper, we can celebrate Edward Elder Cooper and the artists of The Freeman, including Henry Jackson Lewis, Edward H. Lee, Garfield Thomas Haywood, Hale Aspacio Woodruff, and Moses Lenore Tucker.

Notes

(1) Jeter, Marvin D., ed. Edward Palmer's Arkansaw Mounds (Tuscaloosa, AL: University of Alabama Press, 1990), p. 78.
(2) Brunson, James E., III. "Edward Elder Cooper: Entrepreneur, Journalist, Aesthete, and Baseball Enthusiast," Traces of Indiana and Midwestern History, Fall 2010, p. 32.

(3) Quoted in Brunson, Traces, pp. 32-33.

(4) Originally The Western Appeal, the newspaper was first published in Minneapolis, Minnesota. In 1888, the publishers opened regional offices in Chicago and Louisville. The opening of other regional offices followed. The title of the newspaper was shortened from The Western Appeal to The Appeal in 1889. It is ironic that the editor of a newspaper called The Freeman would treat its artists--one of whom had been born into slavery and at least one other as the child of slaves--in the way that it did, but this is how the world treats artists in general.

(5) Brunson, Traces, p. 33.

(6) Ditto.

Further Reading

Brunson, James E., III. The Early Image of Black Baseball: Race and Representation in the Popular Press, 1871-1890 (Jefferson, NC: McFarland and Company, 2009). Tucker is mentioned in several places in this book.
Brunson, James E., III. "Edward Elder Cooper: Entrepreneur, Journalist, Aesthete, and Baseball Enthusiast," Traces of Indiana and Midwestern History, Fall 2010, pp. 30-35.
Jeter, Marvin D., ed. Edward Palmer's Arkansaw Mounds (Tuscaloosa, AL: University of Alabama Press, 1990), p. 78. The book includes a lengthy discussion of the life and work of Henry Jackson Lewis.

Sachsman, David B., et al., eds. Seeking a Voice: Images of Race and Gender in the 19th Century Press (West Lafayette, IN: Purdue University Press, 2009), p. 134.

Taylor, Garland Martin. "Out of Jest: The Art of Henry Jackson Lewis," Critical Inquiry, Comics and Media issue, Spring 2014 (Vol. 40, Issue 3), pp. 198-202.
And a source that I would very much like to see but which is unavailable to me:
Covo, Jacqueline. "Henry Jackson Lewis and Moses L. Tucker: 19th Century Cartoonists: The Indianapolis Freeman." A paper presented at the 61st Annual Meeting of the Study of Afro-American Life and History, Chicago, Illinois, Oct. 27-31, 1976.

An editorial cartoon by Moses Lenore Tucker from the Indianapolis Freeman, March 21, 1890. From the blog Songs Without Words, "a digital exhibit made possible by a Faculty Development Grant from the State University of New York, College at Old Westbury."

An unsigned cartoon from The Freeman from January 18, 1890. The blog Songs Without Words says that it is probably Tucker's work. Note the reference to Tucker's former home state.

Another cartoon by Tucker, from The Freeman, September 27, 1890. 

The asylum at Julietta, along Brookville Road in far eastern Marion County, Indiana. Moses L. Tucker was institutionalized here as of 1903, probably before and certainly after. At the time, the institution was called the Asylum for the Incurably Insane. It went by other names and served other purposes over the course of its history, from its founding in 1899 to its closing in the 1990s.

Central State Hospital, the Old Main Building and the place where male patients were kept. If Moses L. Tucker was ever institutionalized here, he may very well have lived in this building. Update (Mar. 8, 2017): Based on updated information, it seems unlikely now that Tucker ever lived at Central State.

Updated March 8, 2017. Thanks to Terry S. for further information on Moses Tucker.
Text and captions copyright 2015, 2024 Terence E. Hanley

Jerry Stewart (1923-1995)

Gerald W. "Jerry" Stewart was born on May 18, 1923, in Pine Bluff, Arkansas, onetime home of Henry Jackson Lewis, who is considered the first black political cartoonist in American history. As a high school student, Stewart attended Fort Wayne Art Institute. During World War II he was staff artist on the Dalhart Bomber, camp newspaper of Dalhart Army Air Field in Dalhart, Texas. On March 25, 1946, Stewart started work as a copyboy for the Fort Wayne News-Sentinel. He was the newspaper's first black employee. Three months later he was promoted to staff artist. Stewart spent the next forty years with the News-Sentinel working alongside editorial cartoonists Eugene Craig and William Sandeson.

Jerry Stewart was the author of a number of syndicated comic strips and cartoons, most of which ran in black newspapers. Chickie and L'il Brother, both from 1947, were his first. Those features ran in the Washington Afro-American and possibly other papers. Scoopie, syndicated by the Pittsburgh Courier, was in syndication from June 19, 1949, to August 12, 1950. The title character, as his nickname suggests, is a newspaper reporter. Stewart's longest-running feature was Little Moments, also called Life's Little Moments. A single-panel cartoon, it ran from 1963 to 1972. Beginning in 1977, Stewart also wrote and illustrated a weekly column called "Cooking with Jerry" for the Fort Wayne News-Sentinel.

Stewart retired from the News-Sentinel on May 30, 1986. That same year he won the Indiana Journalism Award from Ball State University, calling it "a nice way to cap off my career." Since 1977, Stewart had been teaching art at St. Peter's Catholic Church in Fort Wayne. He continued that work after retirement. On October 29, 1995, Jerry Stewart died in Fort Wayne. He was buried in the Catholic Cemetery of Fort Wayne.

Jerry Stewart illustrated Lines and Angles, a collection of newspaper columns by Cliff Milnor published in 1980. That's the artist in the upper right looking upon the world from his own little corner as artists often do.

And here is a larger self-portrait from the same book. Jerry Stewart made a place for himself in the history of comics by having his work syndicated in the nation's black newspapers. Unfortunately, that's a chapter missing from the story of American journalism, and especially American newspaper cartooning. We very desperately need a history of black comics. If one is to be written, we must begin by gathering sources. Does anyone have information about the newspapers, the publishers and editors, the syndicates, the comics, and the cartoonists?

Text and captions copyright 2015, 2024 Terence E. Hanley

Mightier Than the Sword

"No political cartoonist is worth his salt who misuses his valuable space by drawing inoffensive, pretty pictures about the news. A political cartoon is a weapon of attack to be used against the evils and the follies of society. It is potentially the strongest weapon in modern journalism. Often it is drawn in good humor and often it is not. It does not matter how it is drawn if it achieves the purpose of the cartoonist. His purpose is not to be well-liked and popular. It is to reveal injustice and deflate humbug. His purpose is to sting you to awareness of what he regards as a social evil."

--Scott Long 

In his preface to The McDonald Book: A Collection of Editorial Cartoons by the Grand Forks Herald’s Award Winning Cartoonist [Stuart McDonald] (1963)

* * *

"In the long, fierce struggle for freedom of opinion, the press, like the Church, counted its martyrs by thousands."

--James A. Garfield

Quoted in Our American Heritage, Charles L. Wallis, editor (1970)

Thanks to BH for the first quote.

Artists Murdered for Their Art

Today, in Paris, five cartoonists were murdered for their art. Their names were Wolinski, Cabu, Honoré, Tignous, and Charb--respectively, George David Wolinski (1934-2015), Jean Cabut (1938-2015), Philippe Honoré (1941-2015), Bernard Verlhac (1957-2015), and Stéphane Charbonnier (1967-2015). One cartoonist, Corinne Rey, escaped with her life. In all likelihood, there have never been so many cartoonists to die in one day, certainly never in a single incident. Those five murdered cartoonists probably outnumber all other murdered cartoonists in history. The men who murdered them subscribe to a belief system that readily and perversely claims martyrdom in murder. The true martyrs today were the cartoonists themselves. Ironically, they worked for a leftist and anti-religious newspaper called Charlie Hebdo, and in consequence might very well decline conventional martyrdom. Perhaps significantly, one of the cartoonists was Jewish.

Like artists everywhere, those five French cartoonists sought to bring new things into creation, to express themselves through their art, and to throw the light of truth upon a benighted earth. And like cartoonists everywhere, they wished to expose the evil, corruption, folly, and oppression that exist among men and their institutions. For that they were murdered by the kind of men who have existed in every time and place, men who seek to deny free expression and to deprive others of their rights, their freedoms, their property, and their lives, men who prefer darkness to light and lies to the truth. These men go by a different name today than they did during much of the twentieth century, yet we have seen their kind before and we have defeated them before. We can defeat them again by recognizing the threat, by taking action against those who threaten us and our way of life, but perhaps most importantly by not sympathizing or collaborating with them, and by not supporting them or excusing their actions in any way, as so many in Europe, Great Britain, and America seem so willing to do. An added irony is that today's murderers did by violence what some Western governments, certain journalists, and various individuals have wished to do by disapprobation, censorship, or force of law--they silenced the voices of dissent.

If we are to survive, we must have the clarity of vision, the uncompromising desire to tell the truth, and the quotidian courage of the artist--the cartoonist--who stands at the barricades against murder, lies, tyranny, and oppression. I have a modest proposal: Let January 7 forever after today be the International Day of the Cartoonist.

Copyright 2015, 2024 Terence E. Hanley

George C. Peed (1913-2002)

George Peed was not well known by name, not like Dr. Seuss or Maurice Sendak, but if you were a child in America in the 1970s, you were probably familiar with his art, for Peed created countless covers for Peter Pan Records of Newark, New Jersey, a place not far from his adopted home. Make no mistake though--George Peed was a Hoosier through and through.

George C. Peed was born on September 27, 1913, in Grandview, Indiana, a place on the Ohio River. A younger brother, William Bartlett Peed, came into the world sixteen months later, on January 29, 1915. When the two boys and their brother were still quite young, they moved with their mother to Indianapolis. Their father had been drafted into the army during World War I, and though he didn't go overseas, he also didn't go back to his family. To those who asked, Mrs. Peed, a teacher, simply said that her husband was a traveling salesman and away on a trip.

The Peed boys grew up on the east side of Indianapolis and attended Arsenal Technical High School. George and Bill, both artists, also attended the Herron School of Art, and both signed on with Walt Disney studios in the 1930s. Bill Peed later changed his name to Bill Peet and went on to a long career with Walt Disney. In the early 1960s, he left Disney and began writing and illustrating children's books. There were three dozen in all, including Bill Peet: An Autobiography (1989), a Caldecott Honor Book and ALA Honor Book. Bill Peet died on May 11, 2002. 

Older brother George enlisted in the U.S. Army in April 1941 and served with a special unit of artists and writers, the Signal Corps Photographic Center, based in Astoria, in Long Island City, New York, and at Fort Monmouth, New Jersey. Among the others in the unit were Frank Capra, William Saroyan, Charles Addams, Sam Cobean, Stan Lee, and the writers Ivan Goff, Ben Roberts, and Gerry Davis. After the war, George Peed worked as a commercial artist, apparently in the area of New York and New Jersey. He did the character designs for the animated television series The Mighty Hercules (1963-1964), but it is for his album cover designs for Peter Pan Records that George Peed is known today. It's Christmastime, and so I would like to show some of them. I will close by noting that George Peed's last place of residence was Park Ridge in Bergen County, New Jersey, and that he died on April 18, 2002, less than a month before his brother Bill.

Merry Christmas To All!

Text copyright 2014, 2024 Terence E. Hanley