In 1889, Tarbell assumed the position of his former mentor, Otto Grundmann, at the Museum School, where he was a popular teacher.
He gave pupils a solid academic art training: before they learned to paint, they had to render from plaster casts of classical statues.
His students included Bertha Coolidge, Margaret Fitzhugh Browne, Marie Danforth Page, F. Luis Mora, Marguerite Stuber Pearson, and Lilian Westcott Hale.
So pervasive was his influence on Boston painting that his followers were dubbed "The Tarbellites."

But in 1912, the Museum of Fine Arts hired Huger Elliott from the Rhode Island School of Design as Supervisor of Educational Work, charged with reorganizing the Museum School, which until then managed its own affairs.
An upheaval ensued.
He lectured Tarbell how to teach, then how to paint.
Tarbell was incensed, making it no secret that he considered Elliott artistically inept.
In December, Tarbell resigned together with Frank W. Benson, his friend and fellow instructor.
The men in 1913 discussed founding a society to encourage art and artists in the city.
With financial backing from Lilla Cabot Perry, painter and affluent Brahmin, The Guild of Boston Artists opened in 1914.
Tarbell was its first president, serving through 1924.

In 1918, Tarbell was hired as principal of the art school at the Corcoran Gallery of Art in Washington, D.C., a position he held until 1926.
But the Museum of Fine Arts wanted him back at the Museum School, appointing him in 1925 as Chairman of the Advisory Council.
For two years he promoted and oversaw construction of the school's new building designed by Guy Lowell.
In 1930, however, the school asked Augustus John to recommend English artists as instructors.
Tarbell and Benson, advocates of indigenous talent, would again resign.
In 1889, Tarbell assumed the position of his former mentor, Otto Grundmann, at the Museum School, where he was a popular teacher. He gave pupils a solid academic art training: before they learned to paint, they had to render from plaster casts of classical statues. His students included Bertha Coolidge, Margaret Fitzhugh Browne, Marie Danforth Page, F. Luis Mora, Marguerite Stuber Pearson, and Lilian Westcott Hale. So pervasive was his influence on Boston painting that his followers were dubbed "The Tarbellites."
But in 1912, the Museum of Fine Arts hired Huger Elliott from the Rhode Island School of Design as Supervisor of Educational Work, charged with reorganizing the Museum School, which until then managed its own affairs. An upheaval ensued. He lectured Tarbell how to teach, then how to paint. Tarbell was incensed, making it no secret that he considered Elliott artistically inept. In December, Tarbell resigned together with Frank W. Benson, his friend and fellow instructor. The men in 1913 discussed founding a society to encourage art and artists in the city. With financial backing from Lilla Cabot Perry, painter and affluent Brahmin, The Guild of Boston Artists opened in 1914. Tarbell was its first president, serving through 1924.
In 1918, Tarbell was hired as principal of the art school at the Corcoran Gallery of Art in Washington, D.C., a position he held until 1926. But the Museum of Fine Arts wanted him back at the Museum School, appointing him in 1925 as Chairman of the Advisory Council. For two years he promoted and oversaw construction of the school's new building designed by Guy Lowell. In 1930, however, the school asked Augustus John to recommend English artists as instructors. Tarbell and Benson, advocates of indigenous talent, would again resign.
Edmund C. Tarbell