William Laurel Harris, American painter and author (d. 1924)

William Laurel Harris, born on February 18, 1870, and passing away on September 24, 1924, was a profoundly influential figure in American art during his lifetime. He wasn't merely an artist; his career was a rich tapestry woven with roles as a talented muralist, a dedicated educator, a discerning editor, and a dynamic arts organizer. His impact stretched across various facets of the burgeoning American art scene, leaving an indelible mark that resonated long after his passing.

A Pillar of the American Arts Community

Harris was deeply embedded in the artistic and cultural institutions of his era, often taking on leadership roles that shaped the direction of American art. He was a distinguished member of several prestigious organizations, showcasing his commitment to fostering artistic growth and collaboration. Notably, he served as president of the Municipal Art Society in 1912 and held the position of vice president within the Architectural League of New York. His expertise also found a home in The National Mural Painters Society and The Fine Arts Federation. Demonstrating an entrepreneurial spirit for the arts, Harris also co-founded the innovative Art Centre alongside the renowned Katherine Dreier, further solidifying his legacy as an arts advocate and visionary.

The Magnum Opus: Church of Saint Paul the Apostle

Perhaps Harris's most significant artistic undertaking was his extensive work at the Church of Saint Paul the Apostle, affectionately known as the Paulist Fathers Church, located at 59th Street and 9th Avenue in New York City. Here, he took on the monumental task of painting murals and designing intricate decorative elements, seamlessly continuing the artistic vision previously laid out by the esteemed John LaFarge. This ambitious project brought together a constellation of artistic talent, with Harris working alongside other luminaries such as Augustus Saint-Gaudens, Stanford White, Frederick William MacMonnies, and Bela Pratt, making the church a true collaborative masterpiece. Isaac Thomas Hecker, the founder of the Paulist order, famously hailed the church as "an experiment in democracy in American art," a testament to its groundbreaking approach and the collective genius it represented.

A Legacy Marked by Dedication and Loss

Harris poured fifteen years of his life into the Church of Saint Paul the Apostle project, dedicating himself from 1898 until 1913. However, this profound commitment came to an abrupt end when he was reportedly fired by the Paulist Fathers due to what appears to have been a personal dispute—a regrettable turn of events for such a long-standing and significant endeavor. The misfortunes surrounding his work at the church did not cease there. Decades later, in 1958, a truly "disastrous cleaning" tragically resulted in the irreversible removal of fourteen of Harris's beautiful Saints from the side chapel walls, along with much of his unique ornamentation and distinctive color treatment. This unfortunate incident stripped the church of a significant portion of Harris's artistic contributions.

Preservation Amidst Renovation

While the 1958 cleaning proved to be a devastating blow to Harris's legacy within the church, a renovation undertaken in the 1990s offered a glimmer of hope. Although this later renovation did not manage to restore any of Harris's lost decorative painting, it did conscientiously preserve many of his most important surviving works. Among these treasured pieces are a poignant nativity scene, the majestic Virgin Mary Enthroned, the revered St. Patrick's and St. Catherine's altars, a powerful depiction known as "The Precious Blood," a beautifully carved and painted frieze prominently featuring lambs, a solemn memorial dedicated to deceased Paulists, and a breathtaking 60-foot-wide (18 m) crucifixion scene. These preserved works stand as enduring testaments to William Laurel Harris's profound artistic talent and his significant contributions to American religious art.