American Art Union

The American Art-Union (1839–1851) was a subscription-based organization whose goal was to enlighten and educate an American public to a national art, while providing a support system for the viewing and sales of art “executed by artists in the United States or by American artists abroad." Art unions had been popular since the early 19th century in Europe; they first appeared in Switzerland, gaining great popularity in both Germany and the United Kingdom in the 1830s. It was the British version — Art Union of London (AUL) — that was used as a model for the American Art-Union (AAU).

For five dollars a year, the members of the AAU would receive a copy of the minutes from the annual meeting, free admission to the Gallery, at least one original engraving published by the Union from an original piece of art by a contemporary American artist, and in New York City, the members also received a ticket in a lottery to win an original piece of art from within the collection.

In its thirteen years, the AAU became the largest art union in America (Sperling). It made a significant impact on the art literacy of Americans, developed a taste for an American kind of art which was largely nationalistic, and supported the custom of artists and museums. From 1839 until 1851, New York City's population would not hit the 400,000 point, but it is estimated that over three million guests attended the Gallery. The organization grew from 814 subscriptions, in 1840, with art valued at $4,145 to 18,960 subscriptions, valued in excess of $100,000.

The timing for the AAU could not have been better. The American public, providers and politics combined to produce a rapid rise in the popularity of the AAU. A growing, literate middle class was keen to pursue scientific, artistic and leisure activities which they had been unable to pursue or afford in the past. A new generation of businessmen wanted to surround themselves with all the appearances and habits of their more wealthy counterparts.

The numbers of newspapers and periodicals was growing dramatically and the desire for print with images was preferred. The global popularity of science and art, as well as an interest in “exotic people and places” could be accessed through lectures, subscriptions to special interest groups and such diverse venues as P.T. Barnum's, Brady's Daguerrean Miniature Gallery and Peale's Gallery of Fine Arts. The business of advertising was in its infancy and the companies could provide consumers with commodities at their own postal box within shrinking delivery schedules due in large to a growing rail system.

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