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Alan Tompkins
1907 - 2007
Birth-PlaceNew Rochelle, NY
BiographyAlan Tompkins (1907-2007)“A Hartford Biography’
© Gary W. Knoble, 2015
Tompkins was a book illustrator, designer of weapons and household appliances, a lecturer on art and art history, and best know in Hartford as the Dean of the Hartford Art School when it joined the University of Hartford. However, he was foremost a painter, who is said to have painted every year of his life from age 7 until shortly before he died at age 100
Alan Tompkins was born on October 29, 1907 in New Rochelle, New York. Linda Tomasso, in her biography of Tompkins notes that Oscar Neimeyer, Frida Kahlo, and Hartford’s Katherine Hepburn were also born in 1907. Picasso painted “Les Demoiselles d’Avignon”, there was a major retrospective of Cezanne’s work in Paris, and Mark Twain was awarded a honorary doctorate at Oxford University. Locally in Hartford, Russell Cheney was off to Paris to study, Cornelia Cowles Vetter went to New York to study with William Merritt Chase and Robert Henri, while Milton Avery was studying with Charles Noel Flagg at the Connecticut Art Students League. Tompkins’ father, was Edward DeVoe Tompkins, an engineer, who in 1912 became the Deputy Commissioner of Docks for the City of New York. The family moved frequently during Tompkins’ first ten years living in Manhattan, Bronxville, Mount Vernon, and Westport, before settling in Bridgeport, Connecticut in 1917. Both his father and mother were well educated and lovers of the arts. His father was also an amateur painter.
From 1921 to 1925 Tompkins attended military training camps in Massachusetts during the summers. In 1925 he entered Columbia University in Manhattan, initially planning to follow his father as an engineer by enrolling as a pre-engineering student. However, he quickly determined that his love for art and his lack of skills in mathematics suggested another path. “As an idealistic student, I fell so hopelessly in love with art that my friends would muse – with some accuracy – that I would rather paint than eat.” After some cajoling, his parents finally consented to his study of history and art history. He received a BFA from Columbia in 1929. Following his graduation he had the opportunity to work in Europe for the summer, where he explored the art museums.
In the fall of 1929 he enrolled at the Yale art school. His primary academic training at Yale was in mural painting, studying with Eugene Savage. He also studied with Dean Keller Sr.. Donald Mattison and Henrik Mayer, who both were to play key roles in his future, also studied mural painting at Yale with Savage.
Upon obtaining his BFA from Yale in 1933, he received the coveted Winchester prize for eight months of study in Europe. He travelled to Rome, Venice, Florence, Ravenna, and Munich before establishing an atelier in Paris. While in Paris he met his future wife, Florence Coy.
In 1934, Mattison, who had become the dean of the John Herron Art School in Indianapolis, Indiana, hired Tompkins and his former Yale classmate, Mayer to teach there. While in Indianapolis, both Tompkins and Mayer painted murals in post offices around the country as part of the WPA program. Tompkins married Florence Coy in 1935. Mayer was to remain in Indianapolis until 1946. Tompkins, however, returned to Connecticut in 1938, establishing a studio in Stamford where he intended to paint full time. Financial pressures required him to continue to teach part time at Cooper Union in New York City.
During World War II, Tompkins worked at General Electric in Bridgeport. There, he helped develop the Bazooka gun. After the end of the war he worked designing small appliances. He later said that the design of the things around us in our every day lives were just as aesthetically important as the art on our walls.
In 1946 Tompkins returned to Columbia to teach. At the same time Mayer returned to Connecticut to become the director of the Hartford Art School, then located at the Wadsworth Atheneum.
In 1951, Tompkins was hired by Mayer to be a drawing instructor at the Hartford Art School. He quickly rose to the position of Assistant Director. During this time the Art School, the Hartt School of Music, and Hillyer College were in the process of merging to become the University of Hartford. Tompkins played a key role in the design of the new building for the Art School. He also designed the seal for the new university. In 1957 Tompkins replaced Mayer as Director at the Art School. Mayer stayed on to teach there for many years..
In 1957, Tompkins was living at 157 Kenyon Street in Hartford’s West End. He also continued his work as a mural painter, painting murals for the Central Baptist Church of Hartford and the Maple Hill restaurant on Farmington Avenue.
He became a member of the governing Council of the Connecticut Academy of Fine Art in 1958. Sanford Low the Director of the New Britain Museum of American Art was vice president and Louis Fusari was secretary. Tompkins was a key member of the Hartford art community. He served on the Hartford Fine Arts Commission and was a member of the Connecticut Watercolor Society. He also served as an art consultant for the Connecticut General Insurance Company when they were building their modern showcase campus in Bloomfield. Among his accomplishments was the purchase of the tapestries for the Wilde Building.
In 1963, Tompkins and his wife built a new house and studio at 11 Milburn Drive in Bloomfield, close to the University of Hartford campus and in 1964 the Art School moved into its new home. The Hartford Courant reported extensively on the new campus. In one of the articles Tompkins was quoted as saying, “This is not an arts center. This is a facility for educating young artists.” The emphasis was on providing a suitable learning environment for the students. Tomasso in her biography states,
“It was Tompkins’ dream and objective as Art School Director to foster the development of an institution that would have as its product an educated person knowledgeable in the arts. The faculty members he hired to teach at the Art School were more than accomplished artists; they were – hopefully – educated men and women. Tomkins enjoined this faculty to educate the young artist in the history of ideas and not simply to offer training in technique.”
In 1969 Tompkins resigned as dean and was named University Professor. The Art School presented him with a Master of Fine Arts medal, its highest honor. Bernard Hanson replaced him as dean. Tompkins continued to teach art history and visual studies at the Art School until 1974 when he retired. After retirement he continue to teach part time at the West Hartford Art League.
In 1973, his father Edward DeVoe Tompkins died in his home at 30 Gillett Street in Hartford.
Always an eloquent spokesman for his ideals, Tompkins continued to speak out on cultural issues. When the new Civic Center was being built in Hartford, there was an ongoing controversy about what art would be included in the new building. He frequently wrote to the Hartford Courant urging the involvement of local artists in the planning process. He chided the planners when he felt they were not giving sufficient attention to local talent nor showing sufficient respect for the difficulty of mural design. While he initially supported the selection of Sol LeWitt, he lamented the fact that the process had not been more open to local talent.
In January 1980 he wrote in a letter to the Courant:
“It takes courage to risk employing the artists in the community, and that courage, in the ‘Insurance City’ (where risks are habitually avoided), is seriously lacking, to the detriment of the Hartford area as a whole.”
On July 16, 1980 he wrote:
“Mural painting is the most difficult and exacting of the visual arts because of the problems of scale space and light, and symbols. Only the most thoroughly trained artists should attempt it.”
By September LeWitt’s sketches for the project had been rejected for beong too “minimal”. On September 13, 1980 Tompkins wrote:
“It was also obvious that the LeWitt Sketches that were proposed for the civic center were weak and incapable of arousing aesthetic response. Whatever else LeWitt my have produced in his career, these did not measure up. If their rejection was achieved in less-than-admirable manner that is regrettable.”
He also found the “Stone Field Sculpture” of Carl Andre “sterile in conception and execution”. While the LeWitt murals were rejected for the Civic Center, they found a home at the Wadsworth Atheneum where they remain proudly on display to this day. Interestingly, the more “conventional” murals of Romare Bearden that were installed in the Civic Center were removed in 2015 and relocated to the public library.
In 1984 Tompkins held a solo exhibition at the Gallery on the Green in Canton. In 1987, he was awarded the honorary degree of Doctor of Fine Arts by the University of Hartford. In 1990 he moved into the Duncaster retirement facility, not far from former home and studio. He often quipped to visitors that it was like living in the Versailles Palace. At Duncaster he continued his involvement in the arts, giving lectures and organizing exhibitions.
He finally was able to realize his lifetime dream of being able to paint full time. His Hartford Courant obituary stated, “Mr. Tompkins began painting at age 7 and painted every day until shortly before his death.” While he may not have been able to paint full time, he always found the time to paint.
In the summer of 2007, the Hartford Art School honored Tomkins with another solo show, mostly comprised of recent paintings. He was honored, but his focus remained on being paid for his work. He amused many of his long time friends by insisting they buy the Tomasso biography rather than receiving it as a gift from him. With the exception of a self-portrait that was lent by its owner for the exhibit, all of the 33 paintings exhibited were listed for sale at prices ranging from $300 for a small sketch to “6,000 for a large painting entitled “Rebound”. Many of the paintings were in fact sold during the exhibition. On the Sunday afternoon the show was to end, he personally showed up with a crew to supervise the removal of the works not sold.
He not only continued to paint every day, but was always eager to receive visitors and accompany them to the storage area he had at Duncaster to show them his inventory of paintings. There was always an easel in his apartment displaying the latest work in process. Although Tompkins had done many things is his life including illustrating books, designing weapons and household objects, lecturing on art and art history, and running an art school, he always considered himself primarily a painter. Tomasso quoted him as saying, “I’m not a hobbyist, I’m not an educator, I want to be remembered as a painter.” He also said, “If you are passionate about something, keep doing it.” “Enjoy!” Clearly he followed his own advice to the end.
Tompkins died at St Francis hospital in Hartford on Thanksgiving morning, in 2007, after a short illness.
In 2011 a retrospective of his word was held at the Celeste LeWitt Gallery at the UCONN Health Center in Farmington, Connecticut.
Columbia College Today, “Alan Tompkins ’29: A Passion for Painting, November/December, 2007
Hartford Courant, “Alan Tompkins, Art Icon”, December 11, 2007, 4/24/1958
McNally, Owen, HartfordInfo.org, “A Painter at 100”, Hartford Courant, July 29, 2007
Sampliner, Louis, Roundabout Route to Artistic Destiny””, Hartford Courant, 11/8/1964
Tomasso, Linda Powers, Alan Tompkins – painter”, 2006
UNOTES Daily University of Hartford,” Painter and Former HAS Director Alan Tompkins Dies”, November 27, 2007
(“Art Student’s Class”, oil on board, 12’x16”)
(“Abstract Rocky Shore”, pastel on paper, 14”x20 ½”)
NOTES
Born October 29, 1907 in New Rochelle, NY, Tomasso reminds us this was the year Picasso painted “Les Demoiselles d’Avignon” and he year of the Cezanne retrospective in Paris. Also the birth year of Neimeyer, Frida Kahlo, Katherine Hepburn (in Hartford). Oxford gave Twain an honorary doctorate. Spent his early years in Manhattan then Bronxville, Mount Vernon, Wesport and Bridgeport before he was 10. His father, Edward DeVoe Thompkins was Deputy Commissioner of Docks for City of New York in 1912. His mother and father loved the arts, attended the opera, father was an amateur painter
1921-1925 attended military training camps in Mass..
1925 began studying at Columbia. Studied at Columbia class of 1929, “As an idealistic student, I fell so hopelessly in love with art that me friends would muse – with some accuracy – that I would rather paint than eat.” Enrolled as pre-engineering student at his father’s recommendation (he was a civil engineer), but decided to study art. Studied history and art history,
1929 traveled in Europe
BFA from Yale 1933. (Mayer, who later hired him at the Hartford Arts School) got his BFA from Yale in 1931.) His academic training was in mural painting, Painted murals for post offices in Indiana and North Carolina, as did Mayer. Studied mural painting with Eugene Savage, as did Mayer. Also studied with Deanne Keller (Sr.). Upon graduation he was awarded the Winchester prize to study for eight months in Europe. (The prize that had eluded Jennie Burr years before.) Rome, Venice, Florence, Ravenna, Munich, Paris. Met his future wife Florence Coy in Paris.
1934 Taught at John Herron Art School (Mattison was Director and Mayer Assistant) Both had been classmates at Yale. Mayer taught there from 1934-1946,
1935 married Florence Coy, painted murals for post offices.
1938 moved to Stratford, CT
Taught part time at Cooper Union.
1943-1947 During the WWII, Worked at GE in Bridgeport as a designer of small appliances
1946 began teaching at Columbia
Came to Hartford in 1951 as drawing instructor at the art school. (undoubtedly brought by Mayer who he known at Yale and at Herron). Quickly became Assistant Director.
Murals for Maple Hill restaurant and Central Baptist Church.
Director of Hartford Art School 1957-1969 when the art school moved to the new UofH campus . became Vice Chancellor for the Visual Arts
Designed the University of Hartford seal
Mural at Central Baptist Church in Hartford
1957 living at 157 Kenyon St.
1958 member of Council of the Connecticut Academy of Fine Art, Sanford Low was vice president, Louis Fusari was secretary,
Member Hartford’s Fine Arts Commission
Connecticut Watercolor Society
1963 built house and studio in Bloomfield at 11 Milburn Drive
Art Consultant for Connecticut General. Bought tapestries for the Wilde building.
1964 the new art school building opened He was involved in the design of the school “This is not an arts center. This is a facility for educating young artists.” Tomasso “It was Thompkin’s dream and objective as Art School Director to foster the development o an institution;that would have as its product and educated person knowledgeable in the arts. The faculty members he hired o rteach at the Art School were more than accomplished artists; they wer – hopefully – educated men and women. Thomkins enjoined this facuylty to educate the young artist in the history of ideas and not simply to offer training in technique.”
1969 named University Professor, presented the Master of Fine Arts medal by the Hartford Art School. Taught art history and visual studies from 1969-1974 when he retired. Bernard Hanson replaced him as dean.
Also taught at West Hartford Art League Zimmerman also taught at Herron, Hartford Art School and West Hartford Art League
1973 His father died at his home at 30 Gillett St.
1980 Wrote letters regarding the murals for the Civic Center January July 16, 1980. Supports the Choice of LeWitt but suggests regional artists should have been given a chance to submit proposals. “It takes courage to risk employing the artists in the community, and that courage, in the “Insurance City” (where risks are habitually avoided), is seriously lacking, to the detriment of the Hartford area as a whole
July 16, 1980, “Mural painting is the most difficult and exacting of the visual arts because of the problems of scale space and light, and symbols. Only the most thoroughly trained artists should attempt it.” Courant 9/13/80 rejectd the idea tht the murals need to be avant guarde“It was also obvious that the LeWitt Sketches that were proposed for the civic center were weak and incapable of arousing aesthetic response. Whatever else LeWitt my have produced in his career, these did not measure up. If their rejection was achieved in less-than-admirable manner that is regrettable.” Doesn’t like many of the recent choices for public art “But it is obvious that the
Adnre stones are a total failure, sterile in conception and in execution “.
1984 one man show in Gallery on the Green Canton
1987 honorary degree of Doctor of Fine Arts
Moved to Duncaster in 1990. “It’s like living at the Versailles Palace”
Summer 2007 show at the art school to celebrate his 100th birthday
Courant “Mr. Tompkins began painting at age 7 and painted every day until shortly before his death.”
Died Thanksgiving morning 2007, predeceased by his wife and two children
Book illustrator, muralist, portraitist, industrial designer, and lecturer.
“I’m not a hobbyist, I’m not an educator, I want to be remembered as a painter.”
"If you are passionate about something, keep doing it.” “Enjoy!”
2011 Retrospective at Celeste LeWitt Gallery, UCONN Health Center
Person Type(not assigned)
