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Etchings, reproducing fifty-four architectural views with annotations regarding history, renovation, and destruction of the structures. Many of his paintings, drawings, and etchings record historic landmarks that were no longer standing at the time of the publication. Another of Woodward's legacies comes through the 1964 posthumous publication of a small guide book, Early Views of the Vieux Carré A Guide to the French Quarter, which illustrates thirty-three of his architectural drawings and etchings. This spiral-bound guidebook, which sold out before it was released, ultimately sold over thirty thousand copies.
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museum. With this successful movement, Woodward's preservationist activities began, as did the preservationist movement in the Vieux Carré. As
Woodward, who reportedly "set up on street corners or mid-street," documented the historic quarter, his awareness of historic preservation increased accordingly. His observance of the ambiance of the Quarter is manifest in his earliest works, particularly an 1891
271:. Woodward, who had taught at the School of Design while still a student, was also a student-teacher at the Art Normal School, a position he resigned before departing for New Orleans. Continuing his studies by correspondence, he graduated in 1886. That year, he also extended his honeymoon through Scotland and England to include a three-month summer study at the
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establishment of a school of architecture, "to introduce in this region an awareness of professional values in design, and especially to provide exercises in the skills of mechanical, freehand and architectural drawing." Woodward's goal was ultimately achieved in 1907 when Tulane formally established the School of
Architecture.
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when he was a small child. In his biographical note, he wrote of his Uncle George, "unmarried and seems to be the first in the family to develop art tendencies, producing crayon portraits of family members including one of my mother, which had much to do in causing me to turn to art for a life work."
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carts, women at market, and residents otherwise engaged in their daily routines. These scenes have been said to "rank as his best of the urban fabric of New
Orleans." He assimilated Impressionist tenets with his own style and ultimately developed a manner of artistic rendering suitable for capturing
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In his retirement, he continued his preservationist activities. His discovery of a plastic plate, Fiberloid, as a matrix for printmaking suited his soft-focused street scenes. Within five years he executed 115 etchings, which were then printed by his brother, Ellsworth. In 1938, he published French
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Additionally, he chaired the Art
Committee of the Artists' Association of New Orleans, and thus spoke with the authority of both positions. Allison Owen, Woodward's former student who continued architectural studies in Boston, supported passage of a city ordinance to establish the Cabildo as a
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He was active in every facet of architecture, including planning for Tulane's new buildings and the disposition of interior rooms and studios. Upon the organization of the
College of Technology, Woodward was appointed Professor of Drawing and Architecture, and worked incessantly toward the
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on the city's main square. His impressionistic views of the Vieux Carré were paramount in focusing attention on the historical structures, many of which were being recklessly destroyed. In 1895, he was in the forefront of the movement against the demolition of
353:, as well as Charles Bein, Frederick Duncan "Fritz" Parham, and Alvin Callender, the latter two who assisted Woodward in documenting the features and dimensions of the St. Louis Hotel while it was being demolished in 1917. Callender, after whom
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provided lifelong artistic inspiration. Unlike the wide-open spaces of his youth, the
Quarter was crowded with European-style residences alongside docks, open air markets, dry goods stores, and hardware stores, all located in the shadow of
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As a youth, he was accustomed to the rural landscape and the close proximity of family and relatives. His family was supportive of his interest in art, an interest he attributed to an uncle, his mother's brother, who had been killed in the
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the soft light, moisture, and romantic essence of the French
Quarter. His palette lightened and the contours of figures and architecture softened. His figures, which are imbued with a sense of immediacy, enliven his architectural scenes.
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and an outbuilding that no longer exists. Woodward printed the name of the
Cabildo in block letters to underscore the historical importance of the structure, a device he used in another image of the Cabildo's gate.
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While painting a mural for the United Fruit
Company in New Orleans in 1921, Woodward fell off a scaffold and injured his spine, resulting in permanent paralysis of the legs. Woodward and his wife retired to
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He was the first artist to focus intensely on the Vieux Carré "before it was fashionable," documenting the city's rich cultural heritage in vignettes of daily lifeÑstreet cleaners, milkmaids driving
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361:. Woodward painted the young aviator's portrait posthumously, using photographs and including the airplane in which Callender crashed, with its propeller serving to mark his grave.
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where he and his younger brother saw art exhibitions. After this exposure to fine art, he began an intense seven years of continuous art training. He undertook studies at the
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in his view of the Cabildo from St. Peter Street. One sees beyond the arches of the loggia into the greenery of the Square, the equestrian statue of
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and watercolor painting, French Quarter Market. His concern for architectural preservation is also evident in the appearance of
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This article is about the American artist born in 1859. For the contemporary American artist, see
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in Paris. This sojourn provided a new direction for his artistic development, for there he saw
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Among his students were the most respected practicing architects of the day: Richard Koch,
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Eleanor Woodward (1889-1939+). She married Clarence Blosser and later George C. Moseley.
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144:(May 1, 1859 – November 17, 1939) was a U.S. artist and educator, best known for his
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Carl Ellsworth Woodward (1894-1972). He married Mollie Holland (1894-1967).
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Alma Louise Woodward (1887-1939+). She married William Bainbridge Logan.
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His impression of the multicultural Vieux Carré in a crescent of the
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works, a style he soon adapted to his architectural scenes.
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In 1886, he married Louise Amelia Giesen (1862-1937) of
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The Historic New Orleans Collection: William Woodward
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His interest in art intensified after a visit to the
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538:Massachusetts College of Art and Design alumni
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222:William Woodward painting of a house in the
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410:William Woodward: American Impressionist
490:University Press of Mississippi webpage
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188:1876 Philadelphia Centennial Exposition
479:Tulane School of Architecture: History
387:William Giesen Woodward (1892-1939+).
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533:Rhode Island School of Design alumni
296:, the seat of government during the
21:William Woodward (artist, born 1935)
573:20th-century American male artists
558:19th-century American male artists
518:People from Seekonk, Massachusetts
235:Old Parish Prison and Treme Market
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224:Carrollton section of New Orleans
543:American Impressionist painters
528:People from Biloxi, Mississippi
414:University Press of Mississippi
196:Massachusetts Art Normal School
154:Gulf Coast of the United States
105:Massachusetts Art Normal School
568:20th-century American painters
553:19th-century American painters
177:also became a notable artist.
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192:Rhode Island School of Design
114:Painter, university professor
101:Rhode Island School of Design
355:Alvin A. Callender Air Field
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377:. They had four children:
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548:Tulane University faculty
357:was named, was killed in
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523:Artists from New Orleans
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265:William Preston Johnston
298:Spanish Colonial period
563:American male painters
302:Vieux Carré Commission
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408:Hinckley, Robert.
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66:November 17, 1939
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351:Emile Weil
165:Early life
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263:In 1884,
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160:Biography
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152:and the
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309:drayage
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214:Career
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63:Died
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