Second generation artist Robert Vittur would call Lima home

The first generation of the famed family of painters named Vittur came to the region as early as the mid-1890s. But it was second generation artist Robert Vittur who would eventually call Lima home.
Vittur could hardly be called a native. He was born in 1888 in Tyrol, Austria, the son of Josef and Franny Vittur. His father was a relatively well-known artist in their native Austria who took off for America either to avoid conscription into the service or imprisonment as a spy, depending upon which story you choose to believe. In either case, Josef managed to build a solid career painting allegorical scenes on the walls and ceilings of Chicago area churches. By 1893, Josef had made enough money to send for his wife and children. On Oct. 5, 1893, Robert joined his mother and brother on the trek to America. They paid $118.12 for passage for the three, according to the ship's docket
Over time, Josef's career took off. He found work in churches throughout the Midwest, including the churches in Minster, St. Henry and Celina. Robert, a budding artist in his own right, dropped out of school in the seventh grade to begin working with his father. By 1904, his father had left for Cleveland and a now-infamous affair with one of his artist models and Robert entered the Chicago Art Institute to study under such legendary artists as Louis W.. Wilson, Frank Phoenix, John Vanderpoel and Frederick Freer.
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After graduation, Robert stayed on as an instructor at Chicago Art Institute, where he eventually met and married a young art student named Miriam Browning. After short stays in California and back to Chicago, the couple and their growing family settled in Lima where a friend talked Robert into forming a partnership to decorate churches and other auditoriums in the area.
With that, Robert was in the family business full-time. The partnership eventually ended, but Robert continued to paint murals and icons for churches throughout the region. His father's connections and reputation as an artist helped him find work with area priests. The fact that he could speak German -- and there were many German congregations in the area -- undoubtedly helped as well.
According to letters written by his son, Art Vittur, Robert eventually became as well known for his work ethic as his art. To keep expenses down, he would rent a room in the towns where he was working. He would stay on the job for weeks, perfecting the Stations of the Cross and other projects. Local men would be hired to build the scaffolding needed to work in the massive structures.
"Every drop of paint had to be hand-carried into the church, mixed precisely, carried up the scaffolds and applied with large brushes. Robert did the frescoes and other fine works. Flat work on walls, ceilings and halls was done by crew."
To save money, he used double-headed nails to build scaffolding. As his son would remember, he paid his boys to straighten them in the family basement so they could be reused on the next job. To collect their pay, they had to keep a written account of every nail.
Robert eventually built a studio behind the family garage to work on portraits and other projects. From his Market Street home, he developed a clientele of people who appreciated art and wanted an artistic touch to their decorating. But by the time the 1920s ended, and the Great Depression hit, that work had dried up. Churches and people could no longer afford the extravagance of art. As his son recalls, the artist eventually took to going door-to-door to solicit work drawing portraits of neighbor's children.
Eventually, the economy improved and Robert went back to work as an artist. By the time of his death of cancer in 1944, he had contributed works to dozens of churches and auditoriums around the country. Close to home, his works decorated St. Jacob Catholic Church in Anna, Bellefontaine Methodist Church, Bellevue's Carnegie Library and St. Rose Catholic and Market Street Presbyterian churches and the Empire and Orpheum theaters in Lima.
His final work was for the chapel of the Lima YMCA. According to the Lima News's coverage of the October 1944 dedication, the room was "beautifully decorated by the late Robert Vittur, well known artist who decorated many fine churches throughout the country. The chapel is completely furnished to resemble a miniature church and will be used solely for religious purposes."
A fitting finale for a man who, along with his father, made Vittur one of the nation's best-known names in sacred art.
Next week: The third generation, including childrens book illustrator Ann Vittur Kennedy and Bob Vittur, artists for the popular "Mabel" comic strip.