| Ida A. Johnson | |
| Birth Name: | Ida Anna Johnson |
| Birth Date: | 13 January 1850 |
| Birth Place: | Nyack, New York, US |
| Death Place: | Carmel-by-the-Sea, California, US |
| Occupation: | Watercolorist |
| Partner: | Josephine M. Culbertson |
Ida A. Johnson (January 13, 1850 – March 7, 1931) was an American botanical still life and china painter, as well as the partner of artist Josephine M. Culbertson.[1] She played a role in establishing the Carmel Art Association located in Carmel-by-the-Sea, California. Johnson’s dedication to the arts extended to her involvement in various clubs and associations, such as the Carmel Boys' Club and the Dicken's Club. She played a part in founding Carmel's first free library, which developed into the Harrison Memorial Library.[2]
Johnson was born on January 13, 1850, to a Quaker family in Nyack, New York. Her father was Egbert B. Johnson (1821–1906). Her mother was Cordelia Haight (1821-1906).[3]
Johnson received artistic training at the Parker School in Brooklyn, New York. She was one of Josephine M. Culbertson's classmates at the Parker School and lived at the residence of Culbertson's mother.[4] She attended painting, printmaking, and photography classes at Arthur Wesley Dow's Summer School of Art in Ipswich, Massachusetts. Her work as a ceramist and still life painter quickly garnered recognition, earning her acclaim in artistic circles.[5] [6]
Both Johnson and Culbertson decided to pursue artistic careers; they became friends and companions. Johnson became an instructor in ceramics at Adelphi College in New York for almost ten years. She was president of the National Ceramic Society for four years.[6]
Together, Johnson and Culbertson exhibited with the Brooklyn Art Association and garnered recognition within the artistic community. Johnson supported herself largely by painting florals on china, known as china painting, which earned her a national reputation in the medium. In addition to her pursuits in botanical still life and porcelain art, she also showcased her artistic talent in painting watercolors of botanically accurate flowers.[2]
After establishing a studio and salon in Brooklyn, at 193 St. James Place, Johnson exhibited the watercolors Song Birds of Our Land and Twilight Park at her studio in Brooklyn on April 2, 1898.[7] In 1899, she gave what would become an annual exhibit of oil and watercolors at her studio in Brooklyn. She also exhibited ceramic pieces including a Coffee Set.[8]
The two women collaborated on a show in New York City. Johnson painted a single bloom, while Culbertson depicted the same flower in its natural surroundings, showcasing their distinct artistic styles.[4] In 1901, they hosted their annual art reception at their studio, showcasing a collection of their watercolor sketches to visitors and art enthusiasts.[9]
In addition to her artistic pursuits, Johnson held the position of the second vice president at the Cambridge Club. She played a prominent role in church work in Brooklyn, serving as an assistant superintendent for many years at a mission Sunday school. She held the position of president within the National League of Mineral Painters.[6]
One of her notable activities included organizing and leading a boys' club, which was organized before the Boys Scouts.[4]
In 1906, Johnson and Culbertson arrived in Carmel-by-the-Sea, California, shortly after the 1906 San Francisco earthquake.[10] Initially, they lived in a home located on Monte Verde Street and 9th Avenue. Johnson and Culbertson decided to set up an art studio and purchased seven lots, at the southeast corner of Lincoln Street and 7th Avenue, from Carmel developer Frank Davendorf.[4] In 1915, they commissioned master builder M. J. Murphy to construct their new home, a dwelling that featured two studios. Johnson’s studio was designed for ceramic work, with a window overlooking the garden. Culbertson’s painting studio was situated in the opposite wing of the house.[4] [2] They affectionately named their residence "Grey Gables," which quickly became a popular gathering place in the community, attracting both artists and enthusiasts.[11] Grey Gables frequently hosted art exhibitions.[12]
Recorded as a Republican in the Carmel voter index, Johnson also provided evidence in front of the Board of Railroad Commission of the State of California concerning Carmel's water assessment.[6]
Some of her works were published in the Keramic Studio magazine for China painters and potters. Her California Wild Flowers, Matilija Poppy, and California Poppy were among those that were selected for the 1912 publication.[13] In February 1914, The New York Times recognized her as one of Carmel's distinguished artists, praising her dedication to painting wildflowers. Johnson was among the Carmelites who showcased their artworks at the 1915 Panama–Pacific International Exposition in San Francisco, further solidifying her standing in the artistic community.[6]
In March 1917, the general public received an invitation to behold Johnson's newest masterpiece—a captivating "chocolate set, adorned in yellow luster and gold." This creation was showcased during a studio exhibition highlighting her designer porcelain. A mere three months later, her work became a highlight at a charitable exhibition aimed at supporting the Carmel chapter of the American Red Cross. This event was hosted at the Carmelita Art Gallery, owned by William Silva.[6]
In 1919, Johnson and Culbertson collaborated on exhibitions at New York's Fine Arts Gallery on 57th Street and the Brooklyn Botanic Garden, with support from the Architectural League of New York. Another joint showcase occurred in May 1920 at Stanford University Art Gallery, spotlighting "fifty watercolor studies capturing California's flora." These artworks had recently concluded their display in various galleries across the eastern region. The objective behind these three collaborative exhibitions was to depict "the interplay between flowers and their surroundings," portraying both intricate floral details and their harmonious integration within the environment.[6]
Johnson's attention to native plants once again surfaced at Stanford University in June 1921 for a group show of Carmel Artists curated by Mary DeNeale Morgan. Johnson stood among Carmel's early environmentalists, striving to educate the public about the perils posed by unchecked development. Her well-attended lectures across northern and southern California often centered around the beauty and significance of wildflowers.[6]
Johnson was known for her charitable activities, supporting various organizations and causes in Carmel. She actively contributed to the Dramatic Arts Society, Carmel Community Church, Carmel Boys' Club, Missionary Fund, Dickens Reading Club, and Carmel Reading Circle.[6] [14]
Johnson and Culbertson established the Carmel Boys' Club.
A reporter from the Carmel Pine Cone paid a visit to Johnson's studio in May 1927 and provided an assessment of her work, covering her artistic endeavors and passion for capturing the beauty of California's flora.[6]
During the first weeks of December 1929, her watercolor depictions of wildflowers were exhibited at the Pine Inn for the Carmel Women's Club. This display was curated by Charles Judson.[6]
Johnson suffered a severe automobile accident in 1928 in Oakland, California, that left her "bruised and battered." The accident also caused serious injuries to her partner, Josephine Culbertson.[15] However, Johnson survived, continuing to paint.
See main article: Harrison Memorial Library.
Following her and Culbertson's move to Carmel, Johnson became a founding member of the first Carmel Free Library. In 1906, she was elected president of the board. She would continue as president of the library's board until 1912, working to expand the library. She also served as librarian in the redwood cabin that housed the library's collection of 500 books. As a tribute to Johnson's creative contributions to Carmel, the library later named its computer system "IDA" in her honor.[2] [16]
In 1908, Johnson presented a lecture and authored a paper discussing the establishment of the Carmel Free Library Association. On July 16, 1908, she journeyed to Watsonville and gathered at the Christian Church to present her paper, "The Beginnings of a Small Library." During her talk, she outlined the historical development of the small library, emphasizing the importance of promptly cataloging books and records. Furthermore, she provided a comprehensive sketch of the library in its present state, along with its aims and rules. She declared it to be a "free" library, open to all without restrictions on borrowers' applications, merely requiring them to sign a promise to replace any lost books.[17]
See main article: Carmel Arts and Crafts Club.
From 1909 to 1921, Johnson actively participated as a member and contributor to exhibitions in the Carmel Arts and Crafts Club. Being among the founding members, she also served on the Club's board of directors. In the initial Arts and Crafts exhibitions, Johnson's exhibited painted china. Emerging artists sought instruction at the Club, while the Carmel Reading Circle and the Dickens Club held their meetings on the premises.[6] [5]
Johnson and Culbertson taught classes in china painting, watercolors, and clay modeling. From 1911 to 1914, Johnson taught china painting and design, a course with 6 lessons, for Summer School Program at the Arts and Crafts Club. The school's instructors included Johnson and Culbertson as well as other instructors like William Merritt Chase, and Mary DeNeale Morgan.[4] [11] [18] [6]
In 1918, Johnson authored the "Club Notes," providing insights into the annual meeting of the Arts and Crafts Club. The notes covered various topics such as the activities of the Boys' Club, social gatherings oriented towards girls, an adventurous hike to the Pacific Grove Museum, and engaging literary sessions featuring readings from the works of Charles Dickens.[18]
At the Fourteenth Annual Art Exhibition from August 9, to September 4, 1920, Johnson exhibited a collection of watercolors, each one titled California Wild Flowers. Continuing her theme, the following year at the same venue, she once again presented a selection of her paintings of wildflowers.[6] [18]
During Daisy Brown's visit to Johnson's studio for the Carmel Pine Cone in June 1926, she discovered that the artist had delved into the study of Native American and Mexican flower lore. Johnson had diligently cataloged the botanical and common names of hundreds of plants throughout California, along with the traditions surrounding them. A month later, at a joint exhibition with Culbertson, Johnson exhibited fifty watercolor studies of wildflowers in the Arts and Crafts Hall, which were praised for their detailed, accurate depictions of California flowers in their natural state.[6]
See main article: Carmel Art Association.
Johnson painted more than 100 watercolors of California native plants, which bloomed abundantly throughout the Carmel area each spring.[19]
Johnson died on March 7, 1931, at the age of 81, in Carmel, California. Her remains were sent to Atascadero, California, for cremation.[20] [4] [21]
Upon her passing, Johnson left 78 original wildflower paintings to the library, which have been restored by the staff of the Harrison Memorial Library in partnership with Johnson's descendants, Jerome and Hope Hasty. The paintings were on fragile rice paper; the restoration process, led by Harry Timmons, involved carefully removing the original rice paper from the cardboard and remounting them on museum-quality paper. The Native Plant Society contributed to the restoration efforts by updating the botanical labeling inscribed on the back of each painting.[19]