150). Both pictures hung in the upper rotunda of the hotel according to an 1892 report in the St. long) which will take some thousands out of his pocket, but I think he can stand it” (as cited in Stebbins, 2000, p. In a letter dated April 11th, 1887 Heade wrote, “I’m painting two landscapes for him (8 ft. The Great Florida Sunset was one of two tropical scenes Heade painted to fulfill the Flagler commission for the Hotel Ponce de León, the other being the slightly smaller View from Fern-Tree Walk, Jamaica (53 by 90 inches, Private Collection). He no longer sent his paintings to New York and Boston for sale through dealers, but sold most of his works to hotel guests, as well as to the wealthy residents of the increasingly prosperous town of St. Financially secure for the first time, he and his wife Elizabeth hosted receptions at his studio and achieved a certain social distinction apart from Heade’s artistic success. The success of Flagler’s hotel, along with several others in the area, proved to be an inestimable boon to Heade’s career. 146). Heade gave art lessons and met with affluent guests, many of whom became patrons. Stebbins, Jr., The Life and Works of Martin Johnson Heade, New Haven, Connecticut, 2000, p. Two Boston artists, a young German-& ‘me too’ have taken our share” (as cited in Theodore E. In a letter dated June 16 th, 1887, before the official opening of the Hotel Ponce de León in 1888, Heade wrote: “To please the hotel guests, Flagler has put up a row of studios-half a dozen-adjoining the hotel, & they are taken already. in New York since 1879, became one of Heade’s most generous patrons buying over a dozen of the artist’s works over the years. Flagler, already a collector on a prodigious scale who had been buying paintings from M. When he wasn’t painting, Heade was also an avid hunter and fisherman, thus the tropical climes and wilds of southern Florida provided a rich natural environment in which to live and paint from 1883 until his death in 1904. Heade had travelled extensively in South America during the 1860’s and 1870, and remained enthralled by the lush landscapes and flowers of the tropics throughout his life and career. Augustine, when the artist-newly married at 64-was exploring the state of Florida for a suitable place to settle, and Flagler was on his own extended honeymoon with his second wife. Taubman’s Spanish Revival oceanfront home, designed by Addison Mizner and built in Palm Beach in 1924.įlagler met Heade in 1883 in St. Appropriately, The Great Florida Sunset then returned to Florida to hang in Mr. Taubman bought the painting at public sale at Sotheby’s in New York. At some point the painting was moved to Whitehall, the Flagler Beaux-Arts estate in Palm Beach, now the Henry Morrison Flagler Museum. The ambitious painting, the largest of Heade’s career, remained in the hotel which, in 1964, became Flagler College. In 1887, Flagler commissioned Heade to paint The Great Florida Sunset to decorate the grand Spanish Renaissance style Hotel Ponce de León, designed by Carrère and Hastings, which he was building in St. Rockefeller in the Standard Oil Company, was responsible for pioneering the development of Florida’s East Coast Railway and the resort towns of Miami and Palm Beach where he built the 1000-room Royal Ponciana Hotel and the Palm Beach Inn (renamed The Breakers in 1901) in the last decades of the 19 th century. Martin Johnson Heade’s The Great Florida Sunset has had two owners in the last hundred years, Henry Morrison Flagler and most recently, A. Roberta Smith Favis, Martin Johnson Heade in Florida, Gainesville, Florida, 2003, pp. Stebbins, Jr., The Life and Works of Martin Johnson Heade, New Haven, Connecticut, 2000, no. Stebbins, Jr., Martin Johnson Heade, Boston, Massachusetts, 1999, pp. 114 also illustrated in color on the coverĪnn Vileisis, Discovering the Unknown Landscape, Washington, D.C., 1997, jacket illustrationĪlan Gussow, A Sense of Place: The Artist and the American Land, Washington, D.C., 1997, pp. Miller, Dark Eden: The Swamp and 19th Century American Culture, Cambridge, United Kingdom, 1990, pp.
William Gerdts, Art Across America, Two Centuries of Regional Painting, 1710-1920, New York, 1990, vol. 174įranklin Kelly, American Paintings from the Manoogian Collection, Washington, D.C., 1989, p. Avery, American Paradise: The World of the Hudson River School, New York, 1987, p. 161-62, 264, illustrated also illustrated pl. Stebbins, Jr., The Life and Works of Martin Johnson Heade, New Haven, Connecticut, 1975, no.
Marks, Who Was Who in Florida, Huntsville, Alabama, 1973, p. Barbara Novak, “Heade at Peridot-Washburn,” Art in America, vol.
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