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Cmeer, Rommce, and Fmnily wear. But she "wished it" back on my finger, and there it re- mained `till I met her in Liverpool. I spent a few days with my parents at Lehi, and began the correspondence that lasted until we were married, three years later. At the beginning we became engaged, but I must not omit the reply I received from her father in acknowledgement to my proposal. It began like this - and my heart sank: . . . "The principal objection I see to your letter is the bad spelling." In a little trunk that was her childhood possession, it stored all our courtship correspondence of three years. We wrote to each other once a week regularly for the first two years, when her family decided to spend a year in Europe. It was their wish to have me with them but I was at the end of my finances, and five hundred dollars in debt. Her father kindly obtained a loan for me the second year, otherwise I should have had to return? 20 Harwood was the first major Utah artist to sail for Paris. Cyrus E. Dallin (1861-1944), the Utah-born sculptor, joined him within two weeks. Olpin, Dictionmy, 47-57 and Rell G. Francis, Cfyzls E. Ddin, Let Jxstice Be Done ( {Springville, Utah) : Rell G. Francis, 1976). Two years later John Hafen (Part Two, note 13, John B. Fairbanks (1855- 1940), and Lorus Pratt (1855-1940) arrived in Paris. Also enrolled at Julian's was John W. Clawson (1858-1936). In the fall of 1890, Edwin Evans (1860- 1946) joined the Utah group as the fourth artist member of the French mission. Hafen, Fairbanks, Pratt, and Evans were sent by the L. D. S. Church to study in France with the understanding they would paint murals in the Salt Lake Temple. Called "pioneers in reverse," these men first studied with Utah artists, studied in Europe, and then returned to impose on the local culture first an academic "purity," and later, in some cases, a moderated form of European "modernism." Haseltine, 100 Yenn, 16. The locally born and/or bred painters and sculptors who studied in Paris included J. T. Harwood, Cyrus E. Dallin, Herman H. Haag, Harriett Richards, John Hafen, J. B. Fairbanks, L orus Pratt, John W. Clawson, Gutzon Borglum, Solon Borglum, Edwin Evans, L. A. Ramsey, Mary Teasdel, Lara Rawlins, May Jennings, Lu Deen Christensen, Lee Greene Richards, Mahonri Young, A. B. Wright, J. Leo Fairbanks, Louise Richards, Donald Beauregard, Henri Moser, Rose Hartwell, Myra Sawyer, Ralston Gibbs, and Gerard Hale. The Utah artists migration across the Atlantic to Paris, was part of the overall trend common to American artists at this time. The dominant element in this country's cultural growth during the last quarter of the nineteenth century and beyond was the com- pelling attraction of Europe for American artists and writers. For most Utahns the Parisian experience represented draftsman-oriented training within an aura of strict and traditional adherence to form. The European faculty associated with 33 |
