Museum archivist Jim Moske takes a self-portrait in The Met’s imaging suite. Photo: Courtesy Jim Moske

Deaths of Artists, by former Metropolitan Museum of Art Museum archivist Jim Moske, compiles macabre and often hilarious tales of artist obituaries from 1906 to 1929.

BY KAZEEM ADELEKE, ARTCENTRON

The role of a museum archivist requires meticulous attention to detail.  It involves examining various materials, like maps, films, documents, and paintings, to determine their authenticity, physical condition, and historical significance. Jim Moske, the Managing Archivist at The Metropolitan Museum of Art from 2008 to 2023, undertook this task and made a remarkable discovery.

During his tenure, Moske uncovered two overlooked scrapbooks hidden in the museum’s storage. Compiled between 1906 and 1929, these scrapbooks contained a wealth of old newspaper obituaries of painters, illustrators, sculptors, and photographers, both renowned and obscure. Within these pages lay not just the somber obituaries of luminaries like Claude Monet and Auguste Rodin, but also the tragic and often macabre tales of lesser-known artists whose lives ended in accidents, murders, poverty, and diseases.

Like any diligent museum archivist, Moske was captivated by these discoveries. He pondered the significance of these scrapbooks. Who compiled these obituaries, and what was their connection to the Met Museum? At a point, the art historian in him took over as he wondered if the scrapbooks were a tribute, perhaps just mimetic, to Giorgio Vasari’s celebrated sixteenth-century masterpiece, Lives of the Artists, known for its artist biographies filled with anecdotes.

The Birth of Deaths of Artists (2024)

Driven by curiosity, Moske delved deeper into the scrapbooks and the Met’s archive. He unearthed a treasure trove of information that culminated in the writing of Deaths of Artists (2024). The book shines a light on the forgotten stories and legacies of both renowned and obscure artists. Despite his extensive knowledge of art history, Moske admitted in the book that some of these artists were unknown to him.

Moske was initially captivated by the obituaries due to the “somber poetry of their headlines,” which reflected the bold editorial style and sensationalism of early 20th-century reporting. Examples include “Melancholia Leads Artist to Hang Himself,” “Artist Dies for Her Cat in Fire,” and “Artist Slain: Death Hand on Wall is Clue.” These obituaries, however, did more than just record deaths; they provide fascinating insights into the social and cultural context of the time.

A Tragic and Humorous Anecdote

Deaths of Artists presents a poignant and often humorous look into the lives of artists from 1906 to 1929. This collection of obituaries highlights the varied fates of their quests for immortality. More importantly, it sheds light on the challenges and triumphs they encountered. Each obituary, whether recounting a tragic end or a humorous anecdote, narrates a unique story of an artist’s journey through life and beyond.

Those unique stories about the artists’ lives are rich and riveting. Some of them accentuate the trope of penniless bohemians wasting away in their grottoes. Even more intriguing are the causes of death. The list includes untimely accidents, murders, and rare diseases. Several artists also took their own lives.

One artist whose obituary epitomizes the recurring tropes in this book is “M. Modiglieni, Artist.” It details how the artist was found dead in a “miserable hovel in the Latin quarter” and his fashion sensibilities, which included going to cafes dressed in trousers with legs made of different materials. Even more salacious is what happened after the death of this “destitute,” a “quintessential bohemian” who was known as a “hard partier” with a penchant for alcohol and drugs. An attempt to create a death mask almost ended in a disaster. “They nearly botched the job, tearing skin from the face and winding up with a poor likeness.”

Amedeo Modigliani : Errors and Misrepresentations

The artist referenced in the obituary is Amedeo Modigliani, one of the most celebrated artists of the early 20th century. Since his death, Modigliani has become one of the most sought-after artists. His works have been in major art museums, including the Tate. Additionally, his paintings have fetched record prices at auctions. One example is “Nu Couché,” 1917, which sold for $157 million at Sotheby’s in 2018. There is also “Reclining Nude,” which sold for $170,405,000 at a Christie’s auction in 2019.

Modigliani’s obituary contains several errors and unforgivable misrepresentations. It incorrectly stated his first name initial, misspelled his surname, associated him with Cubism (which was inaccurate), and incorrectly stated the location of his death as a hovel rather than a hospital. Thankfully, a vigilant journalist corrected these errors in an addendum.

However, Modigliani’s obituary pales in comparison to some of the others in Deaths of Artists. Reading the obituaries in this captivating book feels like immersing oneself in a gripping soap opera. Some of them reveal a life story filled with intrigue, passion, and sometimes heartbreak. One of them is the obituary of Adolphe Steinheil with the headline, “Artist Slain in Paris by Stranglers.”

Tragedy in Paris: A Web of Deceit, Scandal, and Betrayal

The obituary tells the story of Adolphe Steinheil, an artist whose life met a tragic end in Paris. Someone found him one day, garroted in his own home, a crime scene that unraveled like a plot from a mystery novel. The investigation into his death revealed twists and turns, involving his wife, Marguerite, and her alleged involvement with powerful men. The obituary hints at a web of deceit, scandal, and betrayal reminiscent of a mystery novel that ultimately led to Steinheil’s demise.

In contrast, the story of Imogene Robinson Morrel tugs at the heartstrings. Despite her best efforts, Morrel faced numerous setbacks in her artistic pursuits. The headline “Famous Artist Dies Penniless and All Alone” paints a heartbreaking picture of her life. Despite marrying into wealth and showcasing her talent in large paintings, Morrel never achieved the success she sought. Someone found her one day, dead and alone in her derelict studio. She died of a stroke. Her story is a reminder of the harsh realities that many artists face in their quest for recognition.

Moske made some significant discoveries while compiling the book. He observed a clear contrast between the obituaries of well-known artists, which were reverential and focused on their life achievements, and those of lesser-known individuals, which often highlighted the peculiar circumstances of their deaths. This discovery would have been more enlightening if he had been able to compare the disparity between old and contemporary obituaries.

Who Assembled the Scrapbooks?

The Quest of a Museum Archivist

Another crucial revelation was the story behind the assembly of the scrapbooks. After months of meticulous excavation of the Met’s archives, Moske discovered that Arthur D’Hervilly was responsible for compiling the obituaries. He started as a gallery attendant in 1894 and rose to become assistant curator of paintings. Despite being a modestly talented artist himself, D’Hervilly ensured that even the most obscure artists of his time would be remembered in the Met’s archives.

Arthur D’Hervilly’s life story parallels those of the artists whose obituaries he compiled; it is both intriguing and tragic. After years of dedicated work and a promotion to manager at Morris, Tasker & Co., D’Hervilly’s life took a dark turn. Authorities arrested him for embezzlement after he stole $15,000 from the company. After years of stalling, he eventually pleaded guilty and received a sentence of one year of hard labor in Moyamensing Prison. Ironically, his own obituary is absent from the book, echoing the fate of art critics, who seldom receive full obituaries. This fact seems to actualize Robert Storr’s contemplation that archivists like Jim Moske may never get their own “full-dress obituaries,” and may be “doomed ever to process and preserve the work of others.”

Diligence and Commitment of the Museum Archivist

Death of Artists is a compelling compilation that demands attention. It illuminates the contributions of artists, including some lesser-known figures, to the art world. Moreover, it reveals their often tumultuous lives, serving as a poignant reminder of life’s fleeting nature and the lasting impact of art. These obituaries might have remained buried in the Met’s archives if not for Jim Moske’s diligence and commitment to bringing them to the public eye.

Through his dedication and passion, Moske has unearthed these forgotten stories, ensuring that these artists’ legacies endure for generations. His exploration of the scrapbooks and archives of The Met not only revealed neglected narratives but also underscored the importance of preserving artists’ legacies, regardless of their fame. Undoubtedly, Moske’s work stands as a testament to the dedication and passion of museum archivists for uncovering history’s hidden treasures.

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