A.D.M. Cooper: Rembrandt of the Saloon Nude

A.D.M. Cooper

Picture an artist, who during his lifetime could command more than $60,000 for a single piece of artwork, using his talent to cage drinks from saloon owners across the West in return for painting pictures of scantily clad women, art meant for display behind the bar.  That would be A.D.M. Cooper, the unsurpassed “Rembrandt” of the saloon nude.

Ashey David Middleton Cooper was born in St. Louis, Missouri in 1856.  He was the son of David M. Cooper, a respected physician and Fannie O’Fallon Cooper,  grandniece of the famous explorer, William Rogers Clark.  A family friend was George Catlin, the early artist of Indian life who appears to have been an inspiration to the young Cooper.  After studying art at Washington University in St. Louis, Cooper went West,  recording Indian life and landscapes in his drawings and paintings.  In his depiction's of Native Americans he was able to capture their dignity and bearing in the tradition of “The Noble Savage.”

In 1883 Cooper moved to San Jose, California, building an elaborate studio in the Egyptian style.  His artistry had a taste for the exotic as shown on a oil painting called “The Palms.”  It is a fanciful look at tropical vegetation with shorebirds in the distance.  At the time such views were the passion of many rich Americans.  Cooper’s paintings became the toast of  the California “nouveau riche.”   Among them was Mrs. Leland Stanford, the wife of the railroad baron.  She reputedly paid $62,000, at least 10 times that in today’s dollar, to Cooper for one of his canvases.

Despite his aristocratic background and acceptance by high society, and wealth, Cooper was inclined to “walk on the wild side.”  Edan Hughes, the author of a book on California artists wrote that of the 16,000 he had chronicled, “...None was as colorful as Ashley David Middleton Cooper. That man knew how to live. He was a true Bohemian, and he loved to have a good time. He knew how to party. And paint. And then party some more. He had a zest for life unmatched in the artistic annals of California.”

Cooper is said to have paid many bar bills as he roamed the West by paintings of nude women.  Those pictures came in all sizes and shapes, with one constant:  bare breasts. Saloon owners welcomed them as a known attraction for their almost entirely male clientele.  Shown here is one of Cooper’s most famous nude paintings, known as “The Kansas City Girl.”  It was exhibited throughout the United States, reputedly gathering crowds wherever it went.  It was a sensation at the Trans-Mississippi Exposition of 1898, held in Omaha, Nebraska.

"Kansas City Girl"

According to the story,  Cooper approached a nubile Kansas City lass known for her pretty face and voluptuous figure and asked her to be his model.  He assured her parents that the experience would not sacrifice her “maidenly modesty” and would help pay off the family mortgage.  They agreed and, with mother standing by, she posed for the painting.  A later interview with the young woman by a Washington DC newspaper found her to be not at all bashful about her experience with Cooper.  She was straightforward about the monetary reason for posing, the uncomfortable lounging posture the artist demanded, and  said that she never got tired of watching people gape at her picture.  She told the reporter: “I’ll tell you a secret—in your ear—it’s no profession for an ugly woman.”

"San Francisco Girl"

It probably was a good idea that mother was standing by the Kansas City Girl because Cooper,  handsome and charming,  also had a reputation as a lady’s man.  With those qualities went a penchant for strong drink.  He was a frequent and active patron of saloons wherever he went.  It is said that it was a rare drinking establishment from San Francisco to Santa Cruz that failed to have a Cooper nude hanging behind the bar or prominently on a wall.  One of  Cooper’s favorite bars, The Louvre, is said to have displayed multiple Cooper paintings.

The second nude shown here is called a “San Francisco Girl.”  Why it bears that specific distinction is mystery.  Rather than lounging like The Kansas City Girl she is standing.  Moreover, her settling is an exotic one with velvet curtains, a leopard skin rug, and  scattered flowers.  This kind of background was

"Exotic Me"

common for a number of Cooper paintings.  The one that follows, entitled “Exotic Me Nude” has a similar “Oriental” flavor with its wispy scarf as the total covering.  Also similar is the painting that follows.  Untitled, it clearly is an inferior work possibly painted while Cooper was suffering a hangover.

The next painting is derived from the myth of Pygmalion, a Greek sculptor who carved a woman out of ivory and named her Galatea.  Falling in love with his creation, he prayed to Venus. Then he kissed his ivory statue and found that its lips felt warm. He kissed it again, touched its breasts with his hand and found that the ivory had lost its

"Galatea"

hardness.  Galatea had become a woman and later Pygmalion’s wife and a mother.  The Cooper painting depicts the moment of the statue becoming human.

The artist also reached back to Greek mythology for a the final nude shown here.  She is a nymph.  Nymphs are personifications of the creative and fostering activities of nature, most often identified with the life-giving outflow of springs.  True to form, this figure is garlanded with water lilies.   It is difficult to divine if the look on her face is “come hither” or a kind of world weariness.  Only the artist would know.

After years of painting the unclothed, Cooper married at the advanced age of  62.  The daughter of family friends,  his wife was 26 years his junior.  By all accounts it was a happy union.  But brief.  Only five years later, after a long battle with tuberculosis, the artist died in 1924 at his home in San Francisco and was buried in Oak Hill Cemetery. 

Subsequently A.D.M. Cooper’s reputation as an artist has had its ups and downs as taste in art has changed over time.  Moreover, the saloons for which he painted were shut down during Prohibition. After Repeal, as more and more women frequented drinking establishments,  such paintings increasingly were deemed offensive and stashed in a back room or discarded.  Nevertheless, if one should come across an art work with the signature shown here, it likely still could be pricey to own a painting by the Rembrandt of saloon art.