Early Life
Reuterdahl was born in Malmö, Sweden. He received his academic education in Stockholm.[4] He taught himself to draw, and in 1893 was commissioned to do illustrations of the World's Fair in Chicago. He decided to remain in the United States, and after his 1899 marriage to Pauline Stephenson of Chicago, he made his home in Weehawken, New Jersey.[5] Although he never had any formal training in art,[6] the self-taught Reuterdahl won a job as an illustrator-correspondent during the Spanish-American War. In the years prior to World War I, he traveled extensively with the Navy and became their official artist during the war,[7] where he was head of the poster bureau.[8] At that time, he was considered America's foremost naval artist.[9]
A Controversial Article
Controversial articleAs a civilian, he was both enamored by and critical of the Navy. In January 1908, an article of his was published in McClure's that bluntly criticized the design of the Navy's battleships and blamed the errors on naval bureaucracy, whose "nature compels it to perpetuate mistakes".[10] This was essentially a summary of his close friend William Sims's opinions, who had hoped to create enough of a controversy to force reforms in the Navy, namely the end of bureaucratic control over battleship technology and the establishment of promotion system based on ability.[11] The article had a major impact, causing much consternation among not only the military, but in a large number of newspapers across the country as well.[12] This was published after the Great White Fleet had already departed and when Reuterdahl left the fleet at Callao, Peru because of a serious illness in his family, it was falsely reported he was expelled from the journey.[13] The article itself did eventually accomplish Sims's goals. In February 1908, the United States Senate ordered an investigation into the problems brought to light in the article. Five years later, after much effort spearheaded by Sims and Stephen B. Luce, Congress authorized a reorganization of the Department of the Navy.[14]
Later Life
As an artist, Reuterdahl was a member of the Society of Illustrators and the American Watercolor Society. He exhibited his work in the 1913 Armory Show, although he was not considered a modernist. He also taught at the Art Students League of New York.
In December 1925, Reuterdahl died. He is buried in Arlington National Cemetery.
In December 1925, Reuterdahl died. He is buried in Arlington National Cemetery.
From GreatWhiteFleet.info
Henry Reuterdahl was hand choosen by President Roosevelt, as one of America's leading maritime painters to accompany the fleet and document the voyage on canvas. His work was widely accepted in many books and magazines and his ability to capture everyday events quickly and effectivley made him ideal for this mission.
He was also active with his opinions, and unbeknownst to the President, Reuterdahl had published an article in McClure's Magazine regarding fleet readiness. His critical article discussed the armored belts of the battleships, ability of the gun batteries to fire during pitching seas, and the design of ammunition shafts aboard the ships.
By the time the article was published in December 1907 Henry had already departed with the fleet. When the implication of his article was felt by the fleet, he was put ashore in Punta Areas, Chile to find his own transportation home.
The cover to the left was published in June 1908 during the fleet's visit to California.
A Lieutenant in the United States Navy, Henry Reuterdahl, 1871-1925, was best known for his paintings of Navy warships and recruiting posters for World War I, though he did exhibit in the 1913 Armory Show, in New York City. He also painted landscapes in a kind of tapestry-like, pointillist, impasto style. His trip with the fleet was aboard the USS Culoga where is was able to observe the other ships from the deck of the ships as the appeared to port and starboard in formation steaming.
In viewing each of the images he painted from the fleet's visits it is clear he was able to capture the excitement of the harbor and the atmosphere created by the arrival of the fleet. The painting of the Minnesota in the harbor of Rio de Janeiro with the German cruiser Bremen can be compared to the photo by Brown and Schaffer of the harbor showing the same German cruiser to get some idea of the energy he was able to capture from the scene in the harbor. From the period during which the fleet was at Magdalena Bay, Reuterdahl produced this series of water colors showing snapshots of the Joys of Target Practice. There for almost a month the fleet's practice was something that I don't believe he was present for and competed these illustrations possibly from photos after the fleet arrived in California. From all accounts he had been put ashore in Punta Arenas, Chile for his McClure's article and could have only witnessed these events from the cargo ship he had gained passage on while it went north to California. His images of shipboard activity shows a keen understanding of shipboard life and the events associated with the lengthy target practices that must have seemed endless during the period they were in Magdalena Bay.
The images I have collected so far have all been published in Collier's Magazine in 1908. I have yet to find other locations where his work was published.Though Henry's most famous image of the fleet cruise is an oil painting of the fleet though the Straits of Magdalena, here is a black and white print from a publication in 1914 of a watercolor.
He was also active with his opinions, and unbeknownst to the President, Reuterdahl had published an article in McClure's Magazine regarding fleet readiness. His critical article discussed the armored belts of the battleships, ability of the gun batteries to fire during pitching seas, and the design of ammunition shafts aboard the ships.
By the time the article was published in December 1907 Henry had already departed with the fleet. When the implication of his article was felt by the fleet, he was put ashore in Punta Areas, Chile to find his own transportation home.
The cover to the left was published in June 1908 during the fleet's visit to California.
A Lieutenant in the United States Navy, Henry Reuterdahl, 1871-1925, was best known for his paintings of Navy warships and recruiting posters for World War I, though he did exhibit in the 1913 Armory Show, in New York City. He also painted landscapes in a kind of tapestry-like, pointillist, impasto style. His trip with the fleet was aboard the USS Culoga where is was able to observe the other ships from the deck of the ships as the appeared to port and starboard in formation steaming.
In viewing each of the images he painted from the fleet's visits it is clear he was able to capture the excitement of the harbor and the atmosphere created by the arrival of the fleet. The painting of the Minnesota in the harbor of Rio de Janeiro with the German cruiser Bremen can be compared to the photo by Brown and Schaffer of the harbor showing the same German cruiser to get some idea of the energy he was able to capture from the scene in the harbor. From the period during which the fleet was at Magdalena Bay, Reuterdahl produced this series of water colors showing snapshots of the Joys of Target Practice. There for almost a month the fleet's practice was something that I don't believe he was present for and competed these illustrations possibly from photos after the fleet arrived in California. From all accounts he had been put ashore in Punta Arenas, Chile for his McClure's article and could have only witnessed these events from the cargo ship he had gained passage on while it went north to California. His images of shipboard activity shows a keen understanding of shipboard life and the events associated with the lengthy target practices that must have seemed endless during the period they were in Magdalena Bay.
The images I have collected so far have all been published in Collier's Magazine in 1908. I have yet to find other locations where his work was published.Though Henry's most famous image of the fleet cruise is an oil painting of the fleet though the Straits of Magdalena, here is a black and white print from a publication in 1914 of a watercolor.
