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Changing Art Forever: Marcel Duchamp. In 1. 89. 7, ten painters seceded from the Society of American Artists in protest of the group's increasing focus on “too much business and too little art.” These 1. They became known as “Ten American Painters,” or simply “The Ten,” by the press after their first exhibition, called “Ten American Painters,” which featured a Roman numeral X on the program. Today, to celebrate this day of tens, we present 1. The Ten. 1. The title “The Ten” is not the most applicable description for the group. Originally, the founding members intended for there to be 1. Frank Weston Benson, Joseph De.

Camp, Thomas Wilmer Dewing, Childe Hassam, Winslow Homer, Willard Metcalf, Robert Reid, Edward Simmons, Edmund Charles Tarbell, Abbott Handerson Thayer, John Henry Twachtmann, and J. Alden Weir. Homer rejected the group's invitation, though, as he reportedly wasn't a fan of official organizations. The New York Times announced “Eleven Painters Secede” on January 9, 1. Thayer changed his mind, leaving the final tally at ten members.

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Despite their signed agreement, most of the members didn't exhibit every year; most of the annual exhibitions featured works by only nine artists. During the group's 2. William Merritt Chase had joined the group in 1. Twachtman. Pictured above are the 1. The Ten, with Chase and not Twachtman. The Ten were known for their Impressionist works, but at least one member had originally despised Impressionism.

While studying in Paris, J. Alden Weir was first exposed to Impressionism, and it sure left an impression on him. I never in my life saw more horrible things,” he said about the style.

They do not observe drawing nor form but give you an impression of what they call nature.” That's not all, though – he went on to say, “It was worse than the Chamber of Horrors.” Eighteen years later, he was singing a different tune, having adopted the style fully by 1. Above is Weir's "Autumn Rain," 1. Childe Hassam was the most prolific member, which may be why he's also the most well- known of The Ten today. Hassam's first forays into the art world were as a wood engraver and a “black- and- white man” (a freelance illustrator), jobs that necessitated high levels of output. He was successful enough as a freelance illustrator to afford an apartment with a maid for him and his wife in the center of the art community in Paris.

Even as a painter, Hassam continued to produce works in larger quantities than his peers. Hassam's output was so large between 1. Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!” By the time Hassam died at age 7. At left is Hassam's "Flags, Fifth Avenue."4.

They were natural leaders. For many of the members, The Ten wasn't the only group they helped form. William Merritt Chase established the Chase School—known today as Parsons The New School for Design—in 1. He also served as president of the Society of American Artists for 1. Edmund Charles Tarbell, a popular teacher whose followers were dubbed “The Tarbellites,” co- founded The Guild of Boston Artists in 1. Tarbell also served as co- director of the Boston Museum School with fellow Ten member Frank Weston Benson.

J. Alden Weir was the first president of the Association of American Painters and Sculptors, though he only served for one year; he later served as president of the National Academy of Design. At left is Willard Metcalf's "Au Cafe," 1. Their artwork doesn't just hang in museums and collections; it also graces the walls and ceilings of public buildings. Artists like Robert Reid and Edward Simmons are as well- known, perhaps more so, for their decorative work as they are for their Impressionistic paintings. Reid developed a name for himself painting murals and creating stained glass designs. He was also a contributing artist for the frescoes of the dome of the Liberal Arts Building at the 1.

World's Fair in Chicago. Simmons was awarded the first commission from the Municipal Arts Society: a series of murals for the Criminal Courthouse in Manhattan; he also decorated the Waldorf- Astoria (NY), the Library of Congress (DC), and the Capitol at Saint Paul (MN). Above left is Reid's "Knowledge" mural, 1. Library of Congress Thomas Jefferson Building.

At left is Simmons' "Melpomene" (Tragedy) mural, 1. Library of Congress Thomas Jefferson Building. Like any turn- of- the- century artists worth their salt, they all studied in Europe. Paris was, of course, the place to be if you were an artist—nine of the eleven members of The Ten studied in Paris. The Académie Julian was attended by John Henry Twachtman, Robert Reid, Thomas Wilmer Dewing, Frank Weston Benson, Willard Metcalf, Edmund Charles Tarbell, Edward Simmons, and Childe Hassam. J. Alden Weir was the sole member of the group to attend the École des Beaux- Arts. Watch Unnatural Online Hitfix more. Twachtman also studied in Munich, as did William Merritt Chase and Joseph De.

Camp. Both Twachtman and Chase studied at the Academy of Fine Arts, while De. Camp attended the Royal Academy of Munich. Above is Chase's "An Italian Garden," 1. They painted into their old age. All of The Ten continued painting up until their deaths, whether they died relatively young, like Twachtman (age 4.

Simmons (age 7. 9). While they remained creatively productive through the years, the critics didn't always reflect kindly on them. At the 1. 91. 3 Armory Show, Childe Hassam and J.

Alden Weir were nicknamed “the mammoth and the mastodon of American Art” because they were the oldest exhibitors there at ages 5. At left is Twachtman's "Fishing Boats at Gloucester," 1. They retreated from the cities—Boston and New York—to summer houses, farms, and artist colonies. A 1. 90. 2 article in the New York Times observed that The Ten “appear to live in some realm apart from mankind where the important things are not the struggle for existence or the Boer war, but whether Jack Jones has succeeded in painting a child in the full sunlight just right..

Robert Robinson has managed to get the proper atmosphere in his townscape..” The artists' retreats to artist colonies or their own farms probably helped cultivate this distance from worldly concerns. William Merritt Chase, Edmund Charles Tarbell, and Frank Weston Benson all had summer homes, in Shinnecock Hills, NY; New Castle, NH; and North Haven, ME, respectively.