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dispute with the Board of
Directors, which rejected his recommendations for increased faculty salaries, student-teaching grants, building maintenance, and additional painting and life classes. He became the Director of the Stanford University Art Gallery and Museum. His replacement, the highly regarded artist Lee Randolph, is credited with reviving and enlarging the school. The school's name was changed to the California School of Fine Arts (CSFA). In 1926 it moved into a new building on Chestnut Street, still the main campus of the San Francisco Art Institute. In 1941 the celebrated modernist painter William Gaw proved an adept administrator who maintained enrollment by revising the curriculum during World War II. In the spring of 1945 Douglas Macagy became the school's Director.
218:, intended as an annual journal. The Crockers formed committees within SFAA and filled the positions with successful businessmen. A shift in focus occurred in which traditional patronage practices came to the fore—the aesthetic wishes of the corporate class began to affect the artists' choices in subject matter and style. Against best intentions, attendance at the Palace of Fine Arts was too light to prevent heavy operating losses of $ 10,000–14,000 each year from 1915 to 1922, and the collection of public art remained small, overwhelmed by the vast space. Landscape painting, once the strength of SFAA fell off in volume. By the mid-1920s, only one modest landscape by reliably compliant
121:. By 1874, SFAA had 700 regular members and 100 life members, the latter paying $ 100 for the privilege. The quarterly receptions were attracting some 1000 people and the semi-annual exhibitions, running for two months each, brought over 7000 viewers. In 1874, there were similar public art institutions in only three other United States cities:
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in the Civic Center in
January 1935. The opening exhibitions included the SFAA Annual, Gothic and Renaissance tapestries from the collection of Mrs. William H. Crocker, 46 examples of "Modern French Painting" that included Cézannes and Renoirs, and Chinese sculpture which was "to remain at the museum
213:
To direct the museum, the association hired J. Nilsen
Laurvik, a New York art critic who had written a book on modern art in 1913 and co-edited the Catalogue de Luxe of the PPIE Department of Fine Arts. SFAA printed letterhead bearing the title "San Francisco Museum of Art" and in November 1916 began
233:. Large murals began to appear in public spaces, painted by SFAA artists, and were favorably reviewed by art critics and the public alike. A combination of corporate class patronage, CSFA mural training and years of private experience came together to allow the mural artists to succeed. In 1924, the
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stood for the Panama-Pacific group. The building, intended only for temporary use, was deeded to SFAA and the land it was on, formerly part of the
Presidio, was deeded to the City of San Francisco by an act of Congress, contingent on the federal government being granted the right to operate a spur
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in 1872, a web of interconnections between it and SFAA was apparent. Many artists were members of both organizations, and art patronage from well-to-do
Bohemians helped provide a living for the all-male artists who were invited to join the Bohemian Club. SFAA exhibits in the late 19th century were
183:
During his tenure as
Director Pedro de Lemos, an award-winning printmaker, pastelist, and leader of the American Arts & Crafts Movement, created the Departments of Illustration as well as Decorative Design, and introduced the first courses in etching west of Chicago. He resigned after a long
70:, with two goals: the forming of an art library, the promotion of art exhibitions, and the eventual establishment of an art school. Painter Juan B. Wandesforde hosted the organizational meeting and was elected its first president. Other early artist members included
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was a member of the Board of
Trustees at the time and is said to have donated some 1100 of the first 1200 objects in the collection. The museum's governance was separate from that of SFAA, but a cooperative relationship between the two entities continued for years.
192:
An art collection existed at the Mark
Hopkins Institute of Art and could be visited by the public, but it did not take on the identity of a museum. Accounts differ regarding how much of the collection was saved from the 1906 fire. The
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was voted a civic maintenance program, the Legion of Honor museum was finished, and in 1926, a bond was passed to reinforce the weakening Palace of Fine Arts structure. Three public museums were available to San
Franciscans.
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In 1893, the institution moved into the former Mark
Hopkins mansion on Nob Hill, using the name Mark Hopkins Institute of Art (for the building but not the School of Design), and became affiliated with the
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very successful—many of the participating artists sold a year's worth of production to wealthy Bohemian and society patrons. By 1915, SFAA prosperity was intimately tied to Bohemian purchasing habits.
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197:(PPIE) in 1915 increased local public interest in art and calls for San Francisco to have a permanent art museum. Afterward, the exposition organizers decided to give the
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SFAA's own museum operated in the Palace of Fine Arts until 1925. After much fundraising and a bond measure, the San Francisco Museum of Art reopened in the
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to SFAA if $ 30,000 in operating expenses could be raised by May 1, 1916. In writing up the contract, the negotiating teams were each led by a
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In February 1874, SFAA founded the California School of Design, installing Virgil Macey Williams as director. Subsequent directors included:
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destroyed the building. A simpler replacement was built in one year, using the name San Francisco Institute of Art.
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An online facsimile of the entire text of Vol. 1 is posted on the Traditional Fine Arts Organization website.
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SFAA promoted a series of civic bond issues in the mid-1920s, written to fund new museums. Work began on the
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31:. The SFAA – which, by 1961, completed a long sequence of mission shifts and re-namings to become the
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artists, held art exhibitions, published a periodical, and established the first art school west of
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The California School of Design: Supplement of the Mark Hopkins Institute Review of Art
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Painting on the Left: Diego Rivera, radical politics, and San Francisco's public murals
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456:
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364:
287:
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Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1
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455:. Oakland, Calif.: East Bay Heritage Project. pp. 398–406, 583–587, 689–690.
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SFAA was founded on March 28, 1871, by a group of some 23–30 artists, primarily
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In 1961, SFAA merged with CSFA, and the art school took its modern name, the
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Pioneer photographers of the far west: a biographical dictionary, 1840–1865
280:
Nash, Steven A.; Berkson, Bill; Fine Arts Museums of San Francisco (1995).
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among the founders connected the association with the nascent field of
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Buildings and structures burned in the 1906 San Francisco earthquake
286:. University of California Press. pp. 35, 41, 44, 56, 58, 186.
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San Francisco Art Association|Smithsonian Archives of American Art
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member: Charles Templeton Crocker represented SFAA, and his uncle
313:
113:
Within a few months, SFAA had elected its first honorary member:
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San Francisco Art Institute: Illustrious History, 1871–Present
430:. Worcester, Mass.: Davis Publications Inc. pp. 6–18.
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as the nucleus of a permanent display of Oriental art."
39:. Over its lifetime, the association helped establish a
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Facing Eden: 100 Years of Landscape Art in the Bay Area
601:
Arts organizations based in the San Francisco Bay Area
626:
Arts organizations disestablished in the 20th century
320:. United States Government Printing Office. pp.
428:
Pedro de Lemos, Lasting Impressions: Works on Paper
405:. University of California Press. pp. 30–35.
357:Palmquist, Peter E.; Kailbourn, Thomas R. (2000).
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317:Circular of Information of the Bureau of Education
592:
363:. Stanford University Press. pp. 111, 137.
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350:
210:railroad line from Fort Mason to the Presidio.
156:(1890–1906), Robert Howe Fletcher (1907–1915),
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342:. San Francisco Art Institute. pp. 7–10.
263:. The SFAA was officially dissolved in 1966.
178:the devastating fire following the earthquake
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314:United States Bureau of Education (1874).
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23:(SFAA) was an organization that promoted
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195:Panama-Pacific International Exposition
102:. The presence of painter-photographer
616:Arts organizations established in 1871
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548:History of San Francisco Art Institute
544:, Smithsonian Archives of American Art
515:San Francisco Art Association Bulletin
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216:San Francisco Art Association Bulletin
16:Former American nonprofit organization
505:Oakland Tribune, 1 March 1925, p. 80.
636:1966 disestablishments in California
621:Organizations disestablished in 1966
229:, a favorite project of SFAA member
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554:Lights and shades in San Francisco
37:San Francisco Museum of Modern Art
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631:1871 establishments in California
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222:was being shown at the Palace.
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243:War Memorial Veterans Building
43:regional flavor of California
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580:San Francisco Art Association
557:, by Benjamin E. Lloyd (1876)
542:San Francisco Art Association
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227:Palace of the Legion of Honor
35:– was the predecessor of the
21:San Francisco Art Association
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451:Edwards, Robert W. (2012).
426:Edwards, Robert W. (2015).
261:San Francisco Art Institute
33:San Francisco Art Institute
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483:. San Francisco: Newbegin.
135:From the beginning of the
606:History of San Francisco
565:, list of members from
399:Lee, Anthony W. (1999).
338:Karlstrom, Paul (1996).
174:University of California
119:stereoscopic photography
47:as differentiated from
494:San Francisco Examiner
477:Macomber, Ben (1915).
255:Merger and dissolution
96:Charles Christian Nahl
52:American Impressionism
567:Our Society Blue Book
166:William Alexander Gaw
158:Pedro Joseph de Lemos
68:Virgil Macey Williams
344:(Exhibition catalog)
231:Herbert Fleishhacker
220:Arthur Frank Mathews
108:fine art photography
104:George Henry Burgess
76:Gideon Jacques Denny
72:George Henry Burgess
496:, 28–30 April 1916.
199:Palace of Fine Arts
49:Southern California
41:Northern California
585:Betty Hoag McGlynn
207:William H. Crocker
162:Lee Fritz Randolph
164:(1917–1941), and
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176:. In 1906,
92:Arthur Nahl
84:Thomas Hill
595:Categories
267:References
25:California
123:New York
45:Tonalism
66:led by
29:Chicago
587:(1986)
574:(1902)
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129:, and
127:Boston
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578:The
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