“With pipe, solitude and puppy for company”: Hart Crane and Carl Schmitt—Part 1

Harold Hart Crane by Carl Schmitt

Harold Hart Crane, oil on metal support, 17½ x 14½ in. National Portrait Gallery, Smithsonian Institution, Washington, DC. Gift of The Carl Schmitt Foundation.
Painted by Schmitt in the late 1960s or early 1970s from a photograph.

Harold Hart Crane, known to the world as Hart Crane, has been called “unquestionably the major poetic talent of twentieth-century America” (Brom Weber). Though Carl Schmitt knew Crane for only a brief time in his early manhood, Schmitt’s influence on the young poet, according to one of Crane’s biographers, “cannot be over-estimated.”

Crane was born in Garretsville, Ohio, in 1899, but his family had deep roots in Schmitt’s hometown of Warren.  His mother Grace Hart was born in there, and it was there she returned with her husband Clarence, and their five-year-old son Harold.  Carl Schmitt’s father, Professor Jacob Schmitt, counted Grace’s Aunt Bess among his piano pupils at Dana’s Musical Institute in Warren.

JAS and others on steps outside DMI - resized

Prof. Jacob Schmitt (far left) with other faculty and students of the Dana Musical Institute, c. 1910.

Another Warren connection was Zell Hart Deming, publisher of the Warren Tribune newspaper. She was the widow of Grace’s brother Frank Hart and Harold’s godmother.  A generous patron of the arts, she had helped Carl with his education, first in New York and later in Europe.  Through the pages of her newspaper she did everything she could to further the career of the young painter through exhibition notices, flattering reviews and “local boy made good” chronicles of his triumphs in the art capitals of the country.

Carl Schmitt’s portrait of his patron Zell Hart Deming, publisher of the Warren Tribune, painted from a photograph after her death in 1936. The accompanying article from the Tribune reads much like earlier congratulatory pieces published by Deming herself:
“The painting is the work of Carl Schmitt of Silvermine, Conn. (son of Prof. and Mrs. Jacob Schmitt of this city) who was most fortunately adapted to the task by reason of his long acquaintance with Mrs. Deming, in addition to his outstanding qualities as a portraitist. From the time he embarked on his artistic career as a boy, here in Warren, Mrs. Deming recognized Mr. Schmitt’s talent and the possibilities inherent in it, and thruout her life she continued in a very real sense to be his patron.”

After Crane’s family moved from Warren to Cleveland in 1909, they maintained close ties with family in their former home.  Schmitt, ten years older than Hart Crane, probably did not get to know the shy teenager until the summer of 1915.  The artist was fresh from his studies in Italy, back in Warren fulfilling some portrait commissions.

By November 1916, Schmitt had returned to New York, taking a studio apartment in Stuyvesant Square.  Crane’s first letter to Schmitt around this time glows with a warm familiarity.  “Someday, perhaps next summer, I shall come to you and we will work together,” he wrote wistfully.  But the young poet was enduring one of the most trying periods of his short life.  His matter-of-fact report of the breakup of his parent’s marriage disguises both his bitterness towards his father and his overwhelming desire to get away from his boyhood home.

Hart Crane to Carl Schmitt 1916 Nov _ 1 of 2 - CROPPED

Crane’s first letter to Schmitt, probably November, 1916, in the Carl Schmitt Foundation archives.
The date on the letter is in the hand of Crane’s first biographer, Philip Horton, to whom Schmitt lent his letters from Crane in the 1930s.

Dearest Carl: –
     With pipe, solitude and puppy for company, I am feeling resplendent. After a day’s work in a picture store, selling mezzotints and prints, you may not think it, yet there comes a great peaceful exaltation in merely reading, thinking and writing. For occasionally in this disturbing age of adolescence which I am now undergoing, there come minutes of calm happiness, satisfaction.
     I don’t know whether or not I informed you in my last letter, of the step mother and I have taken. Next week mother files her petition in court for her divorce from father. In this I am supporting her. So the first thing to do was to secure some employment. Your poet is now become a salesman, and (it might be worse) a job at selling pictures at Korner and Wood has been accepted.
     I have had tremendous struggles, but out of the travail, I think, must come advancement. Working evenings will give me a little time for composing. And even should it not, I have been christened, I think, and am more or less contented with anything. Carl, I feel a great peace; my inner life has balanced as I expected, the other side of the scale. Thank God, I am young! I have the confidence and will to make fate. Someday, perhaps next summer, I shall come to you and we will work together. You understand, I know.

Zell filled Carl in on the details in letter the following month.  “Grace Crane has sued Clarence for a divorce, gross neglect and extreme cruelty.  Harold has quit school and isn’t at all well.”  She then makes a proposal to Carl.  “He wants to come east for a while. What do you think?  Would you tutor him an hour a day and sort of keep your eye on him for say $10 a week. . . . I think he is in a serious condition or will be if he doesn’t get away.”  Zell’s original plan called for Harold, then attending high school in Cleveland to “get a job and go to school next fall.”

A few weeks later things had taken a turn for the worse: “Harold a nervous wreck. He needs to get away.”  By the end of the month the decision had been made. Hart Crane was to live in New York, with Carl Schmitt as friend, tutor, and guardian.

(To be continued.)


Self-Portrait, charcoal on paper, December 1916.
A work done around the time Schmitt met Crane in New York.

One thought on ““With pipe, solitude and puppy for company”: Hart Crane and Carl Schmitt—Part 1

  1. Pingback: Tracing Carl Schmitt’s “lost” paintings | Carl Schmitt: The Vision of Beauty

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