John La Farge

John La Farge (March 31, 1835 – November 14, 1910) was an American artist whose career spanned illustration, murals, interior design, painting, and popular books on his Asian travels and other art-related topics. 
La Farge is best known for his production of stained glass, mainly for churches on the American east coast, beginning with a large commission for Henry Hobson Richardson's Trinity Church in Boston in 1878, and continuing for thirty years. La Farge designed stained glass as an artist, as a specialist in color, and as a technical innovator, holding a patent granted in 1880 for superimposing panes of glass. That patent would be key in his dispute with contemporary and rival Louis Comfort Tiffany. 
La Farge rented space in the Tenth Street Studio Building at its opening in 1858, and he became a longtime presence in Greenwich Village. In 1863 he was elected into the National Academy of Design; in 1877 he co-founded the Society of American Artists in frustration at the National Academy's conservatism. In 1892 La Farge was brought on as an instructor with the Metropolitan Museum of Art Schools to provide vocational training to students in New York City. He served as President of the National Society of Mural Painters from 1899 to 1904. In 1904, he was one of the first seven artists chosen for membership in the American Academy of Arts and Letters.
La Farge is venerated in the Episcopal Church, sharing a feast day of December 16 on the liturgical calendar, along with American architects Ralph Adams Cram and Richard Upjohn. 
Early life.
La Farge was born in New York City to wealthy French parents and was raised bilingually. As a child, he and his brothers produced a handmade magazine in French entitled "Le Chinois".
His interest in art began during his studies at Mount St. Mary's University in Maryland and St. John's College (now Fordham University) in New York. He studied law. His first visit to Paris, France, in 1856 stimulated him to study painting with Thomas Couture, and become acquainted with an artistic and literary social circle. La Farge's earliest drawings and landscapes showed marked originality, especially in the handling of color values. 
La Farge returned from Europe in October 1857, which ended his relationship with Couture. He returned to continue his law studies although, in his own words, at the same time "stealing as much time as I could for some of my new friends, the painters and architects." These included William James Stillman, George Henry Boughton, and members of the second generation of the Hudson River School. These circumstances changed with the death of his father in June 1858: the pressure to attend law school was gone, and there was a significant inheritance which gave him the freedom to take studio space in the newly created Tenth Street Studio Building at 51 West 10th Street in Greenwich Village. The building's communal spaces for artists set the conditions for social networking; its central atrium and traditional Saturday receptions were important in the careers of its tenants, and to the artistic reputation of the Village. Its architect Richard Morris Hunt recommended that La Farge study under his brother William Morris Hunt in Newport, Rhode Island. The artist Hunt was also a product of Couture's "atelier".
Career.
Between 1859 and 1870, La Fargo took up illustration, with Tennyson's "Enoch Arden" and Robert Browning's "Men and Women", and worked on children's magazine illustrations with engraver Henry Marsh (American, 1826–1912).
In the 1870s, La Farge began to paint murals, which became popular for public buildings as well as churches. His first mural was painted in Trinity Church, Boston, in 1873. Then followed his decorations in the Church of the Ascension (the large altarpiece) and St. Paul's Chapel, New York. He also took private commission from wealthy patrons (e.g. Cornelius Vanderbilt) and was reputedly worth $150,000 at one point. La Farge continued to create murals through his career: for the Minnesota State Capitol at St. Paul, at age 71, he executed four great lunettes representing the history of law. Also among his final works were six murals on the theme of eminent lawgivers, beginning with Moses, for the Baltimore City Court House, now the Clarence M. Mitchell Jr. Courthouse.
La Farge traveled extensively in Asia and the South Pacific, which inspired his painting. He visited Japan in 1886 in the company of Henry Adams, and the South Seas in 1890 and 1891, in particular spending time absorbing the culture of Samoa, Tahiti and Fiji, again in Adams' company. In Hawaii in September 1890 he painted scenic spots on Oahu and traveled to the Island of Hawaii to paint an active volcano. These travels are extensively recounted in his book "Reminiscences of the South Seas," and in Adams' letters.
In 1863 he was elected into the National Academy of Design; in 1877 he co-founded the Society of American Artists in frustration at the National Academy's conservatism (although he retained his National Academy membership). In 1892 La Farge was brought on as an instructor with the Metropolitan Museum of Art Schools to provide vocational training to students in New York City. He served as President of the National Society of Mural Painters from 1899 to 1904. In 1904, he was one of the first seven artists chosen for membership in the American Academy of Arts and Letters. La Farge also received the Cross of the Legion of Honor from the French Government.
La Farge is honored together with Ralph Adams Cram and Richard Upjohn with a feast day on the liturgical calendar of the Episcopal Church (USA) on December 16.
Stained glass.
La Farge experimented with problems of shifting and deteriorating color, especially in the medium of stained glass. His work rivaled the beauty of medieval windows and added new resources by his use of opalescent glass and by his original methods of layering and welding the glass. Opalescent glass had been used for centuries in tableware, but it had never before been formed into flat sheets for use in stained-glass windows and other decorative objects. For his early experiments, La Farge had had to custom-order flat sheets of opalescent glass from a Brooklyn glass manufacturer. 
La Farge filed a patent application on Nov. 10, 1879, shortly after a newspaper account praised a recent window he made for Richard Derby of Long Island as "the first application of a new material [opalescent glass] to windows." He was granted patent no. 224,831 on February 24, 1880, for a "Colored-Glass Window", with technical details about manufacturing opalescent sheet glass and layering it to create windows. 
Work.
Among La Farge's many stained-glass works are windows at:
Several of his windows, including "Peonies Blown in the Wind" (1880), are in the collection of the Metropolitan Museum of Art, New York.
Dispute with Tiffany.
La Farge apparently introduced Tiffany to the new use of opalescent glass sometime in the mid 1870s, showing him his experiments. Sometime in the late 1870s or early 1880s, however, relations between the artists soured, probably due to a lawsuit between the two men.
Eight months later, Tiffany applied for a similar patent, which was granted in 1881 as no. 237,417. The major difference in their patents is that Tiffany lists somewhat different technical details, for instance relating to the air space between glass layers. Since La Farge's patent focused more on the material and Tiffany's more on its use in construction, it appeared that the two patents might be mutually dependent, prohibiting either artist from making stained-glass windows without the other's permission. There is some indication that La Farge may have come to some kind of agreement with Tiffany on the use of La Farge's patent, but the details are unclear and disputed by scholars. What does seem certain is that around 1882 La Farge planned to sue Tiffany, claiming that Tiffany had infringed his patent by appropriating some of his working methods for opalescent sheet glass. Official records of the lawsuit have not been found, suggesting it was never filed, but there are multiple references to it in the correspondence of both men. Possibly, as stained glass increased in popularity, drawing other artists to the medium, both La Farge and Tiffany decided it would be too much trouble to legally defend their patents.
Personal life.
On October 15, 1860, he was married to Margaret Mason Perry (1839–1925) at Newport, Rhode Island. She was the daughter of Christopher Grant Perry, and the granddaughter of Commodore Oliver Hazard Perry. They were descendants of colonial leaders Governor Thomas Prence (1599–1673) and Elder William Brewster (c. 1567–1644), who had been a passenger on the Mayflower. 
Together, Margaret and John had eight children:
La Farge died at Butler Hospital, in Providence, Rhode Island, in 1910. The interment was at Green-Wood Cemetery, in Brooklyn, New York. 
Through his eldest son Christopher, he was the grandfather of Christopher La Farge, a novelist and poet, and Oliver La Farge, a noted writer and anthropologist. Peter La Farge, son of Oliver, was a celebrated songwriter in Greenwich Village in the 1960s. He penned "The Ballad of Ira Hayes," made famous by Johnny Cash.
Through his daughter Frances, he was the grandfather of Frances Sergeant Childs, who was a member of the founding faculty of Brooklyn College, where she was a professor of history.
Writing.
La Farge's writings include: 
His papers, together with some of those of certain children and grandchildren, are held by Yale University Library.
In popular culture.
John La Farge is a minor character in Anya Seton's novel "The Hearth and Eagle", where he appears as a friend of the fictional artist Evan Redlake.