Frederick Dielman

Those of us who knew Frederick Dielman, who were familiar with his ready conversation and his forthright view of men and things, were a little startled at learning that he had approached his ninetieth year. As a matter of fact Dielman, who was German-born, had painted and taught in this city during more than half a century. As long ago as the immediate aftermath of the Civil War, he had been topographer and draughtsman in the United States Engineering Department; it was in 1876 that he established his own well-known studio at the red-brick building in West 10th Street. Dielman at once came to the front in the period’s artist life. He was always liberal in his views of contemporary art; giving great help to younger artists who were struggling to make their way. At the schools in which he taught, it was Dielman’s habit to remain after teaching hours and answer all the questions that eager scholars asked. Even when physically unable to continue with his Cooper Union “night classes,” he went regularly at other hours to keep track of all the work. Beginning as an enthusiastic promoter of the Society of American Artists he concluded, early in his New York career, that the Academy of Design actually held the field. When he was elected President of that institution—an office which he filled from 1899 to 1910—it was his personal influence which brought the artist community as a whole into that organization.

Dielman’s own painting was distinguished. He painted the mosaic murals “Law” and “History” in the National Library at Washington, designing also numerous mosaics in public buildings elsewhere. He had done in oil and water-color works which gained perhaps lesser repute, but had led in the movement to revive in this country the neglected art of etching. To the Century, the feeling that its members were being associated with a craftsman of character and conviction probably superseded all other views of Dielman’s art.

Alexander Dana Noyes
1936 Century Association Yearbook