Jun 282018
 

Everett Gee Jackson (1900-1995), the renowned American painter, illustrator and art educator, lived at Lake Chapala, apart from some short breaks, from 1923 to 1926 (and returned there in 1950 and 1968). Jackson loved Mexico and during his first visit to Chapala he became intimately acquainted with the artistic creativity of Mexico’s ancient pre-Columbian civilizations, later teaching and writing on the subject.

Unlike so many other early foreign visiting artists who have left very little trace of their presence, Jackson wrote entertaining accounts of his experiences in Chapala and Ajijic in his two memoirs —Burros and Paintbrushes, A Mexican Adventure (1985) and It’s a Long Road to Comondú (1987), both published by Texas A&M University Press. Both memoirs are informative and beautifully illustrated.

Given the wealth of available material on Jackson’s life and art, this post will focus on the personal and wider significance of his earliest extended trip to Lake Chapala.

Cover painting is "Street in Ajijic", ca 1924

Cover painting is “Street in Ajijic”, ca 1924

Jackson was born in Mexia, Texas, on 8 October 1900. He enrolled at Texas A&M to study architecture but was persuaded by one of his instructors that his true talents lay in art. In 1921 Jackson moved to Chicago to study at the Art Institute where impressionism was in vogue. At the end of the following year he eschewed another Chicago winter in favor of completing his art studies at the San Diego Academy of Art in sunnier California. He eventually completed a B.A. degree from San Diego State College (now San Diego State University) in 1929 and a Masters degree in art history from the University of Southern California in 1934.

As an educator, Jackson taught and directed the art department at San Diego State University (1930-1963) and was a visiting professor at the University of Costa Rica (1962).

Prior to his first visit to Chapala in 1923, Jackson had already undertaken a brief foray into Mexico, traveling just across the border from Texas into Coahuila with Lowell D. Houser (1902-1971), a friend from the Art Institute of Chicago. In summer 1923, the pair of artists decided to venture further into Mexico, to the city of Guadalajara. After a month in the city, they rented a house in Chapala and were among the earliest American artists to paint at Lake Chapala and Ajijic, though they were not the first, given that the Chicago artist Richard Robbins and Donald Cecil Totten (1903-1967), among others, had painted Lake Chapala much earlier, as had many artists of European origin.

Mexico, though, exerted a much more powerful influence over Houser’s and Jackson’s subsequent art than it did over any of these earlier visitors.

Jackson and Houser stayed in Chapala until the summer of 1925 when they decided to move to Guanajuato to experience a different side of Mexico. En route, they stopped off in Mexico City to view some of the famous Mexican murals, by Diego Rivera and others, that they had heard so much about.

After a few months in Guanajuato, the two young artists briefly parted ways when Jackson went back to El Paso to meet his girlfriend, Eileen Dwyer.

Everett Gee Jackson. ca 1923. Fisherman's Shacks, Chapala. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Everett Gee Jackson. ca 1923. Fisherman’s Shacks, Chapala. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Jackson returned to Mexico, newly engaged to Eileen, and discovered that Lowelito had decided to rent another house, not in Chapala but in the smaller, more isolated, village of Ajijic. Jackson is almost certainly correct in writing that they were the “first art students ever to live in Ajijic”, but there may be a hint of exaggeration in his claim that they were, “the only Americans living in Ajijic.”

After Jackson married Eileen in July 1926, the couple had an unconventional honeymoon, sharing a house in Chapala with Lowelito and a friend. In November the group moved to Mexico City, where they were welcomed by Anita Brenner and an elite circle of young artists and intellectuals that included Jean Charlot (1898–1979). They were also visited by the great muralist José Clemente Orozco (1883–1949). Early the following year, at Brenner’s insistence, Jackson and his wife visited the Zapotec Indian area of the Isthmus of Tehuantepec before returning home to San Diego.

Everett Gee Jackson. 1926. Lake Chapala. (Hirshl & Adler Galleries, New York)

Everett Gee Jackson. 1926. Lake Chapala. (Hirshl & Adler Galleries, New York)

Even before their return, fifty of Jackson’s Mexican paintings had been exhibited at the “The Little Gallery” in San Diego. The exhibit was warmly received by critics and art lovers and further showings of his “ultra-modern canvasses” were arranged for venues in Dallas and New York. Among the paintings that attracted most attention in The San Diego exhibition were “The Lake Village,” (Chapala), which had won first prize at the Texas State Fair in Dallas in October 1926, and “Straw Shacks in Chapala”.

There is no question that Jackson’s subsequent artistic trajectory owed much to his time in Chapala at the start of his career. His encounter with Mexican art — from pre-Columbian figurines to modern murals — transformed him from an impressionist to a post-impressionist painter. He was one of the first American artists to be so heavily influenced by Mexican modernism, with its stylized forms, blocks of color and hints of ancient motifs. Jackson’s work remained realist rather than abstract.

Jackson’s work was widely exhibited and won numerous awards. His major exhibitions included Art Institute of Chicago (1927); Corcoran Gallery (1928); Whitney Museum of American Art; School of the Museum of Fine Arts, Boston (1928; 1946); Pennsylvania Academy of Fine Arts (1929-30); San Francisco Art Association; San Diego Fine Arts Society; and the Laguna Beach Art Association (1934). Retrospectives of his work included a 1979 show at the Museo del Carmen in Mexico City, jointly organized by INBA (Instituto Nacional de Bellas Artes and INAH (Instituto Nacional de Antropologia e Historia); and an exhibit at San Diego Modern in 2007-2008.

Jackson’s wonderful illustrations enliven several books, including Max Miller’s Mexico Around Me (1937) and The Wonderful Adventures of Paul Bunyon (1945).

Everett Gee Jackson, Drying Nets, ca 1924., pen and ink. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Everett Gee Jackson, Drying Nets, ca 1924., pen and ink. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

In addition to his two volumes of memoirs, Jackson also wrote and illustrated Goat tails and doodlebugs: a journey toward art (1993).

Jackson’s time in Mexico led to a lifelong interest in pre-Columbian art, as evidenced by his short paper, “The Pre-Columbian Figurines from Western Mexico”, published in 1941, and his book, Four Trips to Antiquity: Adventures of an Artist in Maya Ruined Cities (1991). In his 1941 paper, which included images of two figurines found at Lake Chapala, Jackson considered the varying degree of abstraction or expressionism in different figurines.

Everett Gee Jackson, author, pioneering artist, illustrator and much more besides, died in San Diego on 4 March 1995.

Acknowledgment

  • My thanks to Texas art historian James Baker for his interest in this project and for sharing his research about Everett Gee Jackson.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Sources

  • Anon. 1927. “Talented Artist Of Mexia To Have Dallas Exhibition”, Corsicana Daily Sun, 29 Jan 1927, p 13.
  • Archives of American Art. 1964. Oral history interview (by Betty Hoag) with Everett Gee Jackson, 1964 July 31. Archives of American Art, Smithsonian Institution.
  • D. Scott Atkinson. 2007. Everett Gee Jackson: San Diego Modern, 1920-1955. San Diego Museum of Art.
  • Everett Gee Jackson. 1941. “The Pre-Columbian Ceramic Figurines from Western Mexico”, in Parnassus, Vol. 13, No. 1 (Jan., 1941), pp. 17-20.
  • Everett Gee Jackson. 1985. Burros and Paintbrushes, A Mexican Adventure. Texas A&M University Press.
  • Everett Gee Jackson. 1987. It’s a Long Road to Comondú. Texas A&M University Press.
  • Jerry Williamson. 2000. Eileen: The Story Of Eileen Jackson As Told By Her Daughter. San Diego Historical Society.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcome. Please use the comments feature at the bottom of individual posts, or email us.

 

Jun 132018
 

Lee Freeman Hersch (1896-1953) was born 5 September 1896 in Cleveland, Ohio. He was a painter in realist and abstract styles. He died in Madrid, Spain, in 1953.

Hersch attended the University of Cincinnati and spent the winter of 1917-1918 in Taos, New Mexico, where he painted scenes with Indians of the Taos Pueblo. His Taos paintings established his reputation as an outstanding artist. His formal artistic training included classes with Henry Keller, Kenyon Cox and Douglas Volk at the Cleveland School of Art and the National Academy of Design.

Hersch enlisted in August 1918 and served with the American Expeditionary Forces in France from 28 October 1918 to 11 July 1919. He was honorably discharged a week later. This was his first time overseas and was the start of extensive travels.

In 1920, at age 24, he left the U.S. to return to Europe. On his passport application, he said he planned to visit and paint France, Italy, Spain, England, Holland, Belgium, Switzerland, Morocco and Algeria. Hersch had not been long in Paris when he met American novelist Helen Virginia Davis (1896-1978). They married on 21 April 1921.

For some years thereafter their joint studio on the Left Bank was a popular gathering-place for painters, writers, and other intellectuals. They became close friends of Mexican artist Ángel Zárraga (1886-1946) who had moved to Paris in 1911 to live there permanently. As a gift, Zárraga painted a portrait of “Miss Davis” shortly before she married.

In 1925, Lee Hersch held a solo exhibit at the Montross Gallery in New York. In the 1930s, he was painting mainly landscapes, dividing his time between California and New York. His painting of Lake Chapala is believed to date from about 1930.

Lee Hersch: Lake Chapala (ca 1930)

Lee Hersch: Lake Chapala (ca 1930)

Relatively little is known about some parts of his life, but his works include a “super modernist impressionist painting” of Mexico’s Lake Chapala, described by the Bruce Palmer Galleries as having “great color and energy, and in fine condition”. It is thought to have been painted relatively early in his career (circa 1930) and was sold at William Doyle auction house in New York in 2005.

Hersch catalog

After the second world war, his work became more abstract, and he joined the ranks of New York’s influential abstract expressionists, an art movement that rivaled or echoed what was happening in the Parisian art world. Hersch was given a one-man show by Peggy Guggenheim in her gallery in New York, which became well-known for shows of abstract expressionism, by artists such as Jackson Pollock, William Baziotes and Hans Hofmann.

Hersch was a member of the Painters and Sculptors of Los Angeles and the Woodstock Art Association. He exhibited at the Pennsylvania Academy of Fine Art, Art Institute of Chicago, the Whitney Museum of American Art and the Salons of America. A retrospective of his work, with accompanying catalog, was held in Paris in 1954.

Examples of his work hang in many major museum collections, including that of the Fine Arts Museums of San Francisco.

Note: This is an updated version of a post first published on 22 March 2012.

Credits / references

  • Albuquerque Journal, 3 February 1918, 10.
  • Edan Hughes. Artists in California, 1786-1940.
  • Peter Falk. Who Was Who in American Art.
  • Bruce Palmer Galleries. “Lee Hersch”.
  • Lee Hersch and Michel Seuphor. 1954. Lee Hersch. Paris: Librairie-Galerie Arnaud, 42 pp.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 3:06 pm  Tagged with:
May 242018
 

Lowell D. Houser (1902-1971) lived and painted in Chapala, and later Ajijic, in the mid-1920s. He was subsequently hired to paint copies of Mayan murals for an archaeological survey of the Yucatán Peninsula.

Houser was born in Chicago on 18 May 1902. During his childhood, the family moved to Iowa, where Houser graduated from Ames High School in 1921. He then studied briefly at Iowa State University before switching to the Art Institute of Chicago. Lowell D. Houser’s long connection with Mexico began in the company of his fellow artist Everett Gee Jackson. The two had studied together at the Art Institute of Chicago.

Following a brief exploratory foray into Mexico, traveling just across the border from Texas into Coahuila, the pair of artists decided to venture further into Mexico, to the city of Guadalajara, in the summer of 1923. They later rented a house in Chapala.

They were among the earliest American artists to paint at Lake Chapala and Ajijic, though they were not the first, given that the Chicago artist Richard Robbins and Donald Cecil Totten (1903-1967), among others, had painted Lake Chapala before this. So, too, had many artists of European origin. Mexico, though, exerted a much more powerful influence over Houser’s art than it did over any of these previous visitors.

Lowell Houser. 1925. Maidens carrying water jars, Ajijic.

Lowell Houser. 1925. Maidens carrying water jars, Ajijic.

Houser’s “Maidens Carrying Water Jars” has been aptly described by James Oles as a “study in patterns… the women almost seem cut from the same mold, and even their faces lack individuality…”.

A chance encounter with the well-connected young author and art critic Anita Brenner (1905-1974) led to Houser being invited back to Mexico a couple of years later to be the illustrator for an archaeological group studying Mayan ruins on the Yucatán Peninsula.

After returning from Mexico, Houser lived for a short time in New York before returning to Ames to teach at the Arts Students Workshop in Des Moines (1933-36) and at Iowa State College (1936-37). Houser developed his own art career in oils, watercolors and block printing and also undertook commercial illustrations for books and magazines. While living in Ames, Houser worked under Grant Wood on nine murals for the new library at Iowa State College.

Houser was then commissioned by the Works Progress/Projects Administration (WPA; 1935-1943) to paint a mural in the town’s Post Office. The bold mural depicts the evolution of corn (maize), from both an indigenous Indian and more modern American farmer’s perspective.

In 1938, Houser accepted a position teaching printmaking, drawing and painting in the art department at San Diego State College, where his good friend Everett Gee Jackson was directing the art program.

Houser died in Fredericksburg, Virginia, in 1971.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Partial list of sources:

  • Peter H. Falk et al. 1999. Who was who in American art, 1564-1975: 400 years of artists in America. Madison, CT: Sound View Press, 1999.
  • Everett Gee Jackson. 1985. Burros and Paintbrushes, A Mexican Adventure. Texas A&M University Press.
  • Meghan A. Navarro. 2013. “Indians at the Post Office. Native Themes in New Deal-Era Murals: The Evolution of Corn”. Smithsonian National Postal Museum.
  • James Oles. 1993. South of the Border: Mexico in the American Imagination, 1914-47. Smithsonian Institution Press.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Apr 262018
 

The talented visual artist Sidney Schwartzman was born in New York City on 2 June 1917 and lived almost thirty years in Ajijic from about 1973 until his death there, at the age of 84, on 27 March 2002.

Schwartzman, the son of two Russian-born immigrants, grew up in New York and was a member of the honor society, Arista, at a public high school (the Thomas Jefferson High School, according to The Brooklyn Daily Eagle, though he told his son he attended the Dewitt Clinton High School).

In an interview late in life, Schwartzman recounted how especially proud he was that, at age 8, one of his paintings (of a circus) had been chosen for a school art exhibition at the Metropolitan Museum of Art in New York.

He initially wanted to be a writer but thought the school’s writer’s club snobbish, so joined the art club instead. He later took drawing and paintings private lessons and decided to dedicate himself to his art. He painted his first nude while in high school and took art classes at the New York Adult Evening School of Art and the Art Students League with American illustrator and painter Churchill Ettinger (1903-1984). While living in New York, Schwartzman also taught children and the physically challenged under the auspices of the Works Progress/Projects Administration.

Schwartzman, a conscientious objector, was imprisoned for about a year during World War II for declining to serve in the military. He had married Elizabeth Mary Murphy and Schwartzman was released on parole shortly after the birth of their son, David, in June 1944.

Sidney Schwartzman. 2001. Study in Color. Reproduced by kind permission of David Schwartzman.

Sidney Schwartzman. 2001. Study in Color. Reproduced by kind permission of David Schwartzman.

In about 1946, Schwartzman moved to Washington D.C. where he worked as a night janitor (and sometimes watchman) at the Corcoran School of Art while taking classes there under the Hungarian-born artist Eugen Weisz (1890-1954). Schwartzman was encouraged to experiment with different styles and his vibrantly-colored landscapes and nudes began to sell. He also held his first solo exhibition at about this time either in Bethesda or Arlington, Virginia (the family records are unclear on this point).

From 1948 to 1959 Schwartzman lived in Woodstock, Vermont. Each time he moved he left behind most or all of his completed paintings and started a new phase in his artistic career. This has made it very difficult to document his lifetime’s work, though each phase stimulated fresh artistic exploration and discovery.

In 1957, he was lucky to survive a single vehicle accident in Woodstock, in which his brother-in-law Stanley Murphy was killed instantly. Schwartzman, who had been driving, was devastated by this loss.

Two years later, in August 1959, Schwartzman was one of a very large number of artists exhibiting at the annual Cracker Barrel Bazaar art show in the village of Newbury, Vermont, alongside such distinguished painters and illustrators as Norman Rockwell and Maxfield Parrish.

In 1959, Schwartzman moved to Los Angeles, California, where he lived and worked for about a decade. He had a job with TV Fanfare Publications and appears to have lost interest in painting (for the only time in his life) for a few years. He then took a small studio in Hollywood where he painted ten major, large paintings many of which are still in the family, before moving to Sunset Boulevard in Echo Park where he later opened (with son David as partner) the Woodstock Gallery .

Work from this time formed the basis for the joint show he held at this gallery in 1972, with friend Tom Darro, entitled “Life Drawings”.  The exhibition was later repeated at the Livingstone Evans Gallery, on North La Cienega Boulevard in the same city. The gallery was not a financial success and Schwartzman decided to abandon Los Angeles and visit Mexico. His mother-in-law had lived for a short time in Ajijic in the 1950s, so Schwartzman headed for Lake Chapala.

Sid Schwartzman. Reproduced by kind permission of Synnove Pettersen.

Sid Schwartzman. Untitled. Reproduced by kind permission of Synnove Pettersen.

Productive years in Ajijic

Schwartzman, whose eyesight was failing, arrived in Ajijic in about 1973, after living for a few months in Jocotepec. In Ajijic he shared the “Mill House”, at the foot of Flores Magón street near the lake, with fellow artists John K. Peterson and Ernesto Butterlin. After successful cataract surgery, the mustachioed, bushy-haired Schwartzman became artistically active again, producing numerous pencil sketches and paintings of nudes. He made fairly frequent trips back to Los Angeles, and brought some of his American work back with him to Ajijic. These trips also enabled him to renew his Mexican tourist papers every six months.

He shared a studio from about 1974 with Daniel Palma at Constitución #45A, Ajijic. He also had a studio for a time in the building that is now the office of the Lake Chapala Society. Initially, Schwartzman was not a frequent exhibitor, concerned that his prolific output of nudes might antagonize some viewers.

Schwartzman held an auction of his paintings and sketches at El Tejaban (Zaragoza #1) in Ajijic, on 17 November 1974. The pieces included “figurative sketches, mixed media and oils”, with reserve prices ranging from 250 to 9000 pesos.

The following month, he participated in another art auction, this time at the home of Frank and Rowene Kirkpatrick in San Antonio Tlayacapan, with the proceeds going to local charities. Other artists whose work was auctioned on that occasion included Rowene Kirkpatrick; Rocky Karns and Antonio Santibañez.

Portrait of Sidney Schwartzman. Reproduced by kind permission of David Schwartzman.

Portrait of Sidney Schwartzman. Reproduced by kind permission of David Schwartzman.

Schwartzman was a member of Clique Ajijic, a grouping of eight artists that held several group shows in 1975 and 1976: in Ajijic, Chapala, Guadalajara, Manzanillo and Cuernavaca. The other members of this very talented Mexican Group of Eight were  Tom Faloon, Hubert Harmon,  Todd (“Rocky”) Karns, Gail Michaels, John K. Peterson, Synnove (Shaffer) Pettersen, and Adolfo Riestra. Pettersen, the youngest of the group, credits Schwartzman, whom she recalls as easy-going but serious about art, with being very encouraging of her own artistic efforts.

According to a review of a group show in Guadalajara in 1975, Schwartzman had also exhibited his mixed media works in Los Angeles, San Francisco, Washington D.C. and Boston. Fregoso added that his canvasses, influenced by Schwartzman’s time in Vermont, had “an incomparable beauty” that invited refection.

Schwartzman was especially encouraging to several young Ajijic-born artists, including Efrén González, Antonio López Vega, Jesús López Vega, Dionicio Morales, Daniel Palma and the late Julian Pulido, all of whom became successful artists or art teachers. Schwartzman’s legacy lives on through their efforts.

In the early 1980s he shared a studio at the intersection of Zaragoza and Colón, first with Julian Pulido and later with Dionicio Morales.

In the late 1980s, with the help of local art patron Sally Sellars, who purchased several of his works, Schwartzman opened his own gallery in Ajijic where several noteworthy shows were held. Among those whose work was exhibited at the gallery were American CIA agent Mitch Marr Jr., local Ajijic-born artist Efren González, the talented mixed media and textile artist Hey Frey, and the former Hollywood star Todd (“Rocky”) Karns. The Karns exhibit opened on 10 December 1988.

The Sellars-Schwartzman Galería, at Felipe Angeles #12 in Ajijic, held annual auctions to benefit Oak Hill School (Ajijic’s only bilingual school at the time) and the galley remained the artist’s main working space until shortly before his death.

In 1980 Schwartzman married his Ajijic girlfriend Regina Galindo, taking on the responsibility of helping raise her four daughters, one of whom later married local Ajijic artist and muralist Efrén González. Schwartzman and Regina had two children of their own, both boys. [Born ca 1981 and 1984]

After 1990, the Casa de la Cultura in Ajijic held annual exhibitions of works by “invited members”. Schwartzman’s last showing of a painting in Ajijic was in one of these shows in November 1996. On display was Trapeze, an early “visual jazz” painting that collector Patrick Dudensing had given back to Schwartzman.

Dudensing had previously submitted Trapeze to a Special Collectors’ Show in 1994 at the South Shore Art Center in Cohasset, Massachusetts. Schwartzman was justly proud of the fact that his work had hung there alongside a Fernand Léger and not far from a Miró, a Picasso and a Chagall!

Schwartzman’s eldest son, David, arranged a posthumous show of his father’s works (paintings and drawings) at the Library in Woodstock, Vermont, in September 2013. In an interview at the time, David noted that his father “painted in an impressionistic – expressionistic style from the start of his professional career”, and that “He was infatuated with color theory and was considered a painter’s painter.”

Acknowledgments

I am greatly indebted to David Schwartzman, who is working on a book about his father, for sharing his knowledge and research. My sincere thanks, also, to Alan Bowers, Dionicio Morales and Synnove Pettersen for sharing with me their personal memories of Sidney Schwartzman.

Sources

  • The Brooklyn Daily Eagle, 9 Apr 1930, 17.
  • The Burlington Free Press (Vermont), 9 Oct 1957, 1; 6 Jul 1959, 7.
  • Martha Fregoso. 1975. “La Galeria OM y el Buen Gusto en Exposiciones, Esta Vez Ocho Pintores de Ajijic.” El Diario de Guadalajara, 24 Oct 1975.
  • Guadalajara Reporter: 9 Nov 1974; 4 Jan 1975.
  • The Los Angeles Times: 24 Sep 1972, 481; 07 Jan 1973, 420.
  • El Ojo del Lago. 1986. “Portrait of the Artist.” El Ojo del Lago, January 1986.
  • Jackie Hodges. “Focus On Art: Sid Schwartzman“. El Ojo del Lago, ca 2000.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:12 am  Tagged with:
Apr 052018
 

Frank Ward Kent (1912-1977) was a talented illustrator and painter who lived at Lake Chapala for much of the last decade of his life, from about 1968 to 1976.

Born in Salt Lake City, Utah, on 16 February 1912, Kent spent much of his youth riding and sketching in the Teton Mountains and is best known for his landscapes and scholarly portraits of Native Americans, including the Shoshone and Blackfoot Indians. He later turned some of the sketches into paintings. In the 1940s, Kent completed many social realism paintings depicting racial and social problems.

Frank Ward Kent. ca 1941. "They Shall be Free". (Decatur Daily Review)

Frank Ward Kent. ca 1941. “They Shall be Free”. (Decatur Daily Review)

Kent began his formal education at the University of Utah (1930) before studying art at the Chicago Art Institute (1931), the Art Students League in New York (1931-32), and privately in Paris, France (1934). At age 23, he married Helen Gladys Allred, 25, of American Falls, Idaho, in June 1935.

Frank Kent. ca 1973. Lake Chapala shoreline. Reproduced by kind permission of Katie Goodridge Ingram.

Frank Kent. ca 1975. Lake Chapala shoreline. Reproduced by kind permission of Katie Goodridge Ingram.

Kent completed a Bachelors degree in Fine Arts in 1937 and a Masters in Fine Arts in 1938, both from Syracuse University, New York. He worked as an illustrator for Wild West magazine in New York and also worked for many years as a specialist in identification, attribution, appraisal and cataloguing for various museums and colleges, including the Metropolitan Museum of Fine Art in New York. He was a Professor of Fine Arts at Bradley University in Illinois (1938-1944) and at Syracuse University in New York (1944-1958).

He was the Director of the Crocker Art Gallery in Sacramento, California for 11 years (1958-1968), after which he became a fine arts appraiser, researcher, and restorer for Hunter Gallery in San Francisco.

Kent had undertaken private study in Mexico in 1946 and 1952, and apparently also taught at the Mexican Art Workshop (organized by Irma Jonas) from 1949 to 1955. The 1949 workshop was based in Ajijic, with an “overflow” workshop in Taxco. In the succeeding years, the workshop was based entirely in Taxco.

Frank Kent. 1975. Untitled. Reproduced by kind permission of Richard Tingen.

Frank Ward Kent. 1975. Untitled. Reproduced by kind permission of Richard Tingen.

After he retired from his position at Crocker Art Gallery, Kent moved to Lake Chapala.

According to a brief note in the Guadalajara Reporter in 1975, “The well known California painter Frank W. Kent has settled into his Villa Formosa apartment and expects to be busy portraying the Lakeside beauty on canvas.”

A few months later, Katie Goodridge Ingram, who was director of La Galeria del Lago in Ajijic, announced an exhibition of 10 of his works. The artist, who had been painting in the area for eight years, gave a talk on opening night (in February 1976) about creativity and composition. Ingram said that “his work has an original and characteristic style reflected in the colorful breakdown of shapes and planes. His paintings of Mexican children reflect joy and movement, and his depictions of street musicians are marked by a real freshness of approach.”

Kent’s award-winning art was exhibited widely during his lifetime, including at the San Francisco Museum of Art (1934); Springville, Utah (1934-40); University of Utah (1935, 1936, 1939, 1940); the All-Illinois Exhibition (1940, 1942); Peoria Art League (1940-43); Syracuse Art Association (1945, 1946); Heyburn, Idaho (1934); Syracuse Museum of Fine Arts (1944-55); Rochester Memorial Art Gallery, Utica, New York; Pan-Am Union; New Georgetown Gallery, Washington, DC; and the Mexican Embassy, Washington, DC.

Examples of his work are included in the permanent collections of the Chicago Art Institute; Rochester Memorial Museum; Syracuse Museum of Fine Arts; Iowa State University; University of Utah; Crocker Art Gallery, Sacramento; and in many private collections.

Kent, who died in Sacramento, California, on 14 July 1977, also wrote two art-related books: A Search into the Unknown (1968) and Icons of the Community (1970).

Sources

  • Anon. Undated. “Profile of Frank W. Kent, M.F.A., A.S.A.”. Document that accompanied a painting purchased in 1980 and submitted to askart.com by Dr. Sherburne F. Cook, Jr. of Sherburne Antiques & Fine Art, Inc. in Olympia, Washington.
  • The Decatur Daily Review (Illinois), 2 December 1941, 24.
  • Guadalajara Reporter: 26 July 1975; 14 February 1976.
  • Frank W. Kent. 1964. Crocker Art Gallery – Catalogue of Collections. Sacramento: Crocker Art Gallery.
  • The Salt Lake Tribune (Salt Lake City, Utah): 26 June 1932, 25; 1 June 1935, 47; 2 Jun 1935, 92;
  • Richard Tingen. Personal communication, 27 Oct 2017.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Mar 292018
 

Gayle Jemison Hoskins was born into an American military family in Ancón in the Canal Zone of Panama on 28 July 1920 and died in Henrico, Virginia, on 6 January 2010. Jemison Hoskins, as he was usually known, attended the Robert E. Lee High School in Jacksonville, Florida, and served in the U.S. Navy between 7 December 1942 and 8 May 1946.

Shortly after his military service, Hoskins was “a guest instructor with the Mexican Art Workshop in Ajijic and Taxco”. This means he was in Ajijic for one of the summers between 1947 and 1949 inclusive.

Jemison Hoskins. 1976. Hand-tinted line drawing of Congregation Mickve Israel in Savannah.. Digital image copyright 2012, The College of Charleston Libraries. Reproduced with permission.

Jemison Hoskins. 1976. Hand-tinted line drawing of Congregation Mickve Israel in Savannah.. Digital image copyright 2012, The College of Charleston Libraries. Reproduced with permission.

Unfortunately, I have failed to find any details relating to his time at Lake Chapala, or examples of his work there. If you can help, please get in touch!

He studied in New York City at the Art Students League, gained a bachelor’s degree from the University of Florida, and a Masters in Fine Art from the University of North Carolina. He subsequently taught visual arts at Maryville College (Maryille, Tennessee), St. Andrews College (Laurinburg, North Carolina), Louisiana Tech (Rustin, Louisiana), and, beginning in 1967, was Assistant Professor of Art at the Wesleyan College in Macon, Georgia, where he remained at least until 1971.

He retained links to Florida, where he grew up. In 1967, for instance, Hoskins gave a six weeks summer art course for teenagers at the Norton School of Art in West Palm Beach.

Records exist for several art exhibits featuring Hoskins’s own work. Venues for these include Laurinburg, North Carolina (September 1961 and March 1962), at the Louisiana Tech (March 1967) and the Gallery 209 in Savannah, Georgia (1992),

Gayle Jemison Hoskins also wrote a book, Criteria for a Painter Today, published by the University of North Carolina at Chapel Hill in 1959.

Sources

  • Anon. Bulletin of Wesleyan College, Macon, Georgia. Catalogues, 1968-1969 and 1970-71.
  • The Lance (St. Andrews, Laurinburg, North Carolina), 20 March 1962, 1.
  • The Palm Beach Post (West Palm Beach, Florida), 19 June 1967, 23.
  • The Robesonian (Lumberton, North Carolina), 19 September 1961, 12.
  • The Times (Shreveport, Louisiana), 22 February 1967, 42.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

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Mar 222018
 

Visual artist and architectural designer Tom (“Tomas”) Faloon first arrived in Ajijic in 1970 and lived and worked in the village for more than forty years.

John Thomas Faloon was born on 30 January 1943 in New York City. After graduating in 1960 from Oakwood Friends School, a Quaker college preparatory school in Poughkeepsie, New York, he enrolled in Rutgers University. He traveled to Florence, Italy, to study art the following year, returning with fluent Italian and a determination to pursue art as a career. In the summer of 1962, he took a summer course at the Douglass College campus of Rutgers with the renowned modern artist Roy Lichtenstein. Faloon transferred to the University of Mississippi, “where the faculty of the time was young and progressive”.

Tom Faloon, 1965 (Univ. of Mississippi Yearbook)

Tom Faloon, 1965 (Univ. of Mississippi Yearbook)

Faloon had only just arrived on the Mississippi campus when the Ole Miss race riot of 1962 erupted, following the enrollment of the university’s first black student, James Meredith, a military veteran with strong academic credentials. Faloon recalled becoming an active participant in the anti-racist movement, involved in preparing anti-racist posters and paintings.After he completed his degree in Fine Arts (Painting) in 1965, Faloon transferred to the Pratt Institute in Brooklyn.

On 30 July 1966, Faloon married Shannon Elizabeth Rodes in Melbourne, Florida. The couple had two young daughters. Faloon began working for his father’s agricultural chemical firm in Clarksville, Mississippi, but soon decided that the environmental impacts of agrochemicals often outweighed their benefits. He and his wife had first visited Ajijic over the winter of 1967/68 and, in 1970, Faloon gave up his position in the family business to live at Lake Chapala full-time, focus on his art and raise his children in a welcoming, friendly, eclectic community.

Roy Lichtenstein. 1962. (The Central New Jersey Home News)

(l to r): Tom Faloon, Mrs Everett Sherrill, Roy Lichtenstein. 1962. (The Central New Jersey Home News)

The family lived for a short time at La Villa Apartments (on Javier Mina) in Ajijic before purchasing a home on Donato Guerra. Described as “a serious 28-yr-old artist who studied in New York and Italy”, Tom “comes fully equipped: talent, a stunning Cherokee Indian-Irish wife named Shannon, two girl children and two dogs.” (Guadalajara Reporter, 6 March 1971.)

Faloon quickly made friends with his Mexican neighbors and became seamlessly integrated into local life, developing a particular love of Mexican handicrafts, folk traditions and design.

In May 1971, he was one of the large number of artists exhibiting in the “Fiesta of Art” group show held at the residence of Mr and Mrs E. D. Windham (Calle 16 de Septiembre #33). Other artists at that show included Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; John Frost; Dorothy Goldner; Burt Hawley; Peter Huf; Eunice (Hunt) Huf; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.

This example of his work was published in A Cookbook with Color Reproductions by Artists from the Galería (1972).

Tom Faloon. ca 1972. "La Mujer"

Tom Faloon. ca 1972. “La Mujer”

Tomás, as he was known in Ajijic, remained in the village after he and Shannon separated in 1973. (They divorced in 1979.)

Faloon was an active member of the “Clique Ajijic” which existed for 3 or 4 years in the mid 1970s. This group held exhibitions in Ajijic, Chapala, Guadalajara, Manzanillo and Cuernavaca. The other members of this very talented Mexican Group of Eight were Hubert Harmon,  Todd (“Rocky”) Karns, Gail Michaels, John K. Peterson, Synnove (Shaffer) Pettersen, Adolfo Riestra, and Sidney Schwartzman.

Faloon’s paintings were mostly abstract or impressionist. He participated in several local exhibitions and one of his paintings was purchased for the permanent collection of a museum in Memphis, Tennessee.

Recognizing that art sales might not earn him sufficient income, in the 1980s Faloon began working on remodeling and redesigning traditional village homes. His own artwork took a back seat (though he continued to paint occasionally and complete mixed media works) as he quickly found he was in his element working on homes, undertaking projects that combined his interests in architecture, design and craftsmanship with his love of Mexican materials and handicrafts. Most of the many homes that Faloon lovingly transformed incorporated some whimsical elements: “las locuras de Tomás” as he called them.

Faloon, fluently bilingual, was a generous, kind and sensitive individual, and always wiling to help causes close to his heart, including those related to the environment and animal welfare. He was a great supporter of Mexican artisans and their colorful, creative folk art.

Faloon met his soul mate, Carlos Rodriguez Miranda, in the mid-1970s. Their partnership lasted until Faloon’s untimely passing on 5 August 2014 from complications following what should have been a routine surgery in a hospital in Guadalajara.

In her obituary for him, Dale Hoyt Palfrey was absolutely correct to call Tom Faloon an “icon of Ajijic’s expat community” and “one of the community’s most prominent and endearing long-time foreign residents.”

Acknowledgment

My sincere thanks to the late Tom Faloon for his encouragement with this project and for so generously sharing his knowledge and memories of the Ajijic art community with me in February 2014.

Sources

  • Clarion-Ledger (Jackson, Mississippi) 16 April 1965, 44.
  • La Galería del Lago de Chapala. 1972. A Cookbook with Color Reproductions by Artists from the Galería. 1972. (Ajijic, Mexico: La Galería del Lago de Chapala).
  • Guadalajara Reporter, 6 March 1971.
  • Lake Chapala Society, Oral History project: “Tom Faloon” (video).
  • Dale Hoyt Palfrey. 2014. “Remembering Tomás Faloon, icon of Ajijic’s expat community”, Guadalajara Reporter, 29 November 2014
  • Poughkeepsie Journal (Poughkeepsie, New York) 26 June 1960, 4B.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Mar 152018
 

Canadian artist John Russell Richmond (1926–2013) began drawing and painting as a child, “around the time that he was learning to hold a crayon without eating it.” He was still producing highly original work at Lake Chapala well into his eighties.

John Richmond

John Richmond

Richmond was a painter, illustrator, muralist, educator and author. He was born in Toronto on 25 October 1926 and died in Lindsay, Ontario, on 17 January 2013.

He retired from his position at the Ontario College of Art & Design in 1991 to divide his time between Ontario and Ajijic. Richmond was a member of the Royal Canadian Academy of Arts, the Canadian Society of Painters in Watercolour, the Ontario Society of Artists and the Arts and Letters Club.

Richmond wrote and/or illustrated numerous publications, including Gambit (1958); Around Toronto (1969); Discover Toronto (1976); and the “Discover Ontario” series of whimsical maps and columns, published in Toronto Calendar Magazine in the 1970s. Together with his wife, Lorraine Surcouf, he also published A Tearful Tour of Toronto’s Riviera of Yesteryear (1961).

John Richmond also undertook mural commissions and was responsible for works in the original Maple Leaf Gardens and the former Air Canada Centre (both in Toronto), and the Public Library in the township of Uxbridge where Richmond made his home and studio. Richmond was a founding member of the Uxbridge Celebration of the Arts.

Richmond’s art was exhibited widely during his lifetime in Canada, and later in Mexico, where he adopted the art name Juan Compo.

Juan Compo (John Richmond). Tree Goddess.

Juan Compo (John Richmond). Tree Goddess.

As Juan Compo, in Ajijic, he produced an impressive series of mixed-media images of imaginary ancient American goddesses as well as more traditional paintings.

Juan Compo (John Richmond). Moon Goddess.

Juan Compo (John Richmond). Moon Goddess.

This 5-minute YouTube video is a good introduction to his project.

Like many artists before and since, living at Lake Chapala jolted this artist of talent into an entirely fresh, creative phase of his career. His stated ambition was “to raise awareness of The Ancient American Goddess among all inhabitants of both American continents, North and South.”

Sources

  • Anon. 2013. John Russell Richmond (obituary). The Globe and Mail, 22 January 2013.
  • Anon. “Focus on Art.” Ojo del Lago, February 2003.
  • Anon. 2013. John Russell Richmond – Obituary. Toronto Star, 22 January 2013.
  • Juan Compo. “Ancient American Goddess Art by Juan Compo“, MexConnect. 1 August 2008.
  • Juan Compo. “Ancient American Imaginary Goddesses.” (artist’s former website)
  • Shelagh Damus. 2013. “Artist John Richmond dies at 86.” The Uxbridge Cosmos, 31 January 2013, p12.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 

Mar 012018
 

Ixca Farías was a key figure in the artistic, literary and cultural circles of Guadalajara of the early twentieth century. He was a frequent visitor to Lake Chapala and the lake inspired some of his best artwork. He also wrote a newspaper article about Chapala recalling his early visits to the lake in the 1880s and 1890s.

Farías (whose birth name was Juan Farías y Álvarez del Castillo) was born in Guadalajara on 16 March 1873. He adopted the name Ixca, which comes from a Nahuatl word for “roasting in embers”, a technique used to make traditional pottery.

Isca Farías.Paisaje de Guadalajara. (Guadalajara landscape).

Ixca Farías.Paisaje de Guadalajara. (Guadalajara landscape).

Farías studied at the Art Institute of Chicago, and later took art classes in Paris. He subsequently taught art in a variety of educational institutions in Guadalajara, influencing an entire generation of young aspiring artists. Perhaps the most famous of all his students was Raúl Anguiano (1915-2006) one of Mexico’s best-known muralists, who studied art from the age of 12 with Farías at the Regional Museum’s Escuela Libre de Pintura.

In art circles, Farías is primarily known as a landscape painter. His work apparently included some outstanding images of Lake Chapala, which were exhibited north of the border and helped widen the appeal of some of Mexico’s finest scenery. If anyone has photos of any of his Lake Chapala paintings and is willing to share them, then please get in touch!

Ixca Farías is best known in Guadalajara as one of the two co-founders (alongside Jorge Enciso who also painted Lake Chapala) of the city’s Regional Museum. The museum opened its doors in 1918 and Farías was its director for almost thirty years, until his death in 1947.

As an author, Farías’s most useful work from our perspective is his Biografía de pintores jaliscienses, 1882-1940 (1939) in which he sketched the influences and careers of artists who worked in Jalisco. Several of these painters, muralists and sculptors were closely associated with Lake Chapala, including José Guadalupe Zuno and José Othón de Aguinaga.

Farías also wrote El cultivo del dibujo en la escuela primaria de Guadalajara (1923) and Artes populares (1938). A selection of his newspaper articles was collected posthumously and republished as Casos y cosas de mis tiempos: artículos costumbristas sobre Guadalajara (1963).

Farías’s newspaper article “Casos y cosas de mis tiempos: Chapala” was first published in El Informador in 1937. It is by-lined December 1936 at “Villa Perico, Chapala”. If anyone knows where this building was, and whether or not it still exists, please get in touch!

In the piece, Farías recalled that his first visit to Lake Chapala was in the 1880s, when he traveled to Chapala on horseback in the company of Manuel Rivera Basauri, owner of Hacienda de la Concepción, and of brothers Modesto and Gonzalo Ancira, owners of a lithography business in Guadalajara.

At that time the beach in Chapala had piles of wood stacked up to refuel the Ramón Corona steamboat which traveled regularly between Ocotlán and Chapala, and occasionally other ports of call. (That boat sank in 1889, so we know for sure which decade is being described.)

Looking back on these early visits, Farías wrote, disparagingly, in 1936 that,

“The Chapala of that time was very different to the Chapala of today, because it has lost its natural charm and become a grotesque copy of a gringo spa. The Chapala of that time did not have the plague of hyacinths and of “beer gardens”, the first with their vermin and the second with their drunks.” (My translation)

In the same newspaper, El Informador, but much more recently, José Manuel Gómez Vázquez Aldana claims that Farías was at the forefront of a movement to drain Lake Chapala, during the presidency of Lázaro Cárdenas del Río in the late 1930s, This is hard to reconcile with Farías’s obvious love of the lake, at least of the lake as he first saw it in his youth.

Sources

  • Ixca Farías. 1937. “Casos y cosas de mis tiempos: Chapala”, El Informador, 17 January 1937, 6, 12; reprinted in Informador 22 December 1963, 2, 12.
  • Ixca Farías. 1939. Biografia de pintores Jaliscienses, 1882-1940. Guadalajara: Ricardo Delgado.
  • José Manuel Gómez Vázquez Aldana. 2008. “Chapala: Patrimonio de la Humanidad nacional”, El Informador, 27 July 2008.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Feb 212018
 

Jean McCrum Caragonne was born in Bradford, Pennsylvania, on 21 February 1906 and studied at Allegheny College, Pennsylvania. After taking courses in fashion design at the Cleveland Museum School of Fine Art in Ohio in the mid-1920s she moved to Boston to become a fashion illustrator.

Jean Caragonne. Flower at window.

Jean Caragonne. Flower at window.

Her husband George (1891-1981), born in May 1891 was an accomplished portrait photographer. When the couple visited his family in Greece, Jean fell in love with the spectacular scenery and the colorful day-to-day life.

In 1948, the couple moved to Houston where George opened his own studio.

They made their first visit to Mexico in 1949, when they drove down to Mexico City. In between return visits to Greece, they returned for vacations in Mexico several times in the 1950s and 1960s.

Jean Caragonne. Quiet Hill.

Jean Caragonne. Quiet Hill.

At age 58, Jean started taking classes towards a Masters in English Literature, and also took painting classes under George Shackleford and Bernard Lammie.

In 1967, shortly after George retired, the Caragonnes planned another trip to Mexico, intending to visit San Miguel de Allende where Jean had enrolled in Instituto Allende, the city’s fine arts school. Their plans changed when they reached Guadalajara and found a motel near Plaza del Sol.

According to the Guadalajara Reporter, while George “fills his time touring in his Rolls Royce and giving lectures on photography… Mrs Caragonne teaches English…”

The Caragonnes rented a home on Avenida Madero in Chapala in 1968. The view from there towards Cerro San Miguel, the hill that overlooks the town center, was the subject of Jean Caragonne’s first painting in Chapala. The painting was used many years later (1986) for an Amigos de Salud fund-raising greetings card. In 1970, Jean Caragonne was working on quilts and tapestry, as well as “beautifully composed and well drawn” paintings. Caragonne also made embroidered evening skirts, jackets and bags.

Jean Caragonne. Market.

Jean Caragonne. Market.

In 1971, the Caragonnes moved to Ajijic where they rented a house for several years before purchasing a studio-home on Calle Hidalgo. Jean Caragonne held at least five one-person shows in Ajijic. (If you are reading this and can supply details of dates and venues, then please get in touch.)

Jean Caragonne. Lake Chapala. ca 1975. Reproduced by kind permission of Katie Goodridge Ingram.

Jean Caragonne. Ajijic, Lake Chapala. ca 1975. Reproduced by kind permission of Katie Goodridge Ingram.

In February 1974, Caragonne’s latest paintings were included in a group show at La Galeria in Ajijic, alongside works by Jane Porter, Violet Wilkes and Allen Foster (the Galería’s president).

Jean Caragonne. Tulips and ebony.

Jean Caragonne. Tulips and ebony.

By August 1974, the Galería had moved to a new home at Calle Colón #6 in Ajijic where they displayed works by Caragonne and numerous other local artists including Luz Luna; the late Ernesto Butterlin; Jerry Carr; Fernando Garcia; Jane Porter; José Olmedo; Odon Valencia; Mildred Elder; Robert Neathery; Jose Santonio Santibañez; Allen Foster; Vee Greno; Armando Galvez; Arthur Ganung; Virigina Ganung; Gloria Marthai; Dionicio Morales; Antonio López Vega; Priscilla Frazer; Eleanor Smart; Rowene Kirkpatrick and Sylvia Salmi.

In May 1985, Caragonne was one of the group known as “Pintores de la Ribera” who exhibited at the Club Campestre La Hacienda (located at km 30 of the Guadalajara-Chapala highway). Other artists at this show included Laura Goeglein; Carla W. Manger; Jo Kreig; Donald Demerest; B.R. Kline; Hubert Harmon; Daphne Aluta; De Nyse Turner Pinkerton; Eugenia Bolduc; Emily Meeker; Eleanor Smart; Tiu Pessa; Sydney Moehlman; Xavier Pérez.

When interviewed in the 1980s, Caragonne claimed that there was more color in Mexico but better light in Greece. With the exception of the Lake Chapala panting, all artwork illustrating this profile were all completed between 1982 and 1990.

Acknowledgment:

  • My sincere thanks to Penelope Caragonne, not only for fact-checking this profile, but also for sharing images of her mother’s artwork, and for permission to use them in this profile.

Sources:

  • Guadalajara Reporter: 2 May 1970; 2 Feb 1974; 31 August 1974; 31 May 1975.
  • El Ojo del Lago. Portrait of the artist: Jean Caragonne. El Ojo del Lago, December 1986.
  • El Informador: 4 May 1985.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jan 292018
 

Roscoe (“Rocky”) Karns lived in Ajijic with his wife (Kate Karns) and family from 1971 until his death on 5 February 2000. Karns had retired from careers in acting and sales and devoted himself in Ajijic to his painting and working as producer and director on shows at the Lakeside Little Theater.

Roscoe (“Rocky”) Todd Karns Jr., was born in Hollywood, California, on 15 January 1921, to character actor and comedian Roscoe Karns and his wife Mary Fraso.

Rocky Karns as Harry Bailey

Todd Karns as Harry Bailey

Karns’ movie career was interrupted by four years service in the Army during World War II.

After the war, when Rocky was assigned to work in Los Angeles as a military recruiter, he and his wife, Kate, established their home in Hollywood and Rocky began to build his acting career even as they started a family.

Rocky’s most significant movie role was as “Harry Bailey” in the classic Christmas holiday movie It’s a Wonderful Life (1946), starring Jimmy Stewart (playing Harry’s elder brother “George Bailey”) and Donna Reed.

The movie was nominated for five Academy Awards including best picture. Though it did not do terribly well when it was released, it has gained popularity in recent years and has now made the American Film Institute’s list of the 100 best American films ever made.

Todd Karns. Moulin Rouge. (sold 2012 at Capo Auction)

Todd Karns. Moulin Rouge. (sold at Capo Auction, 2012)

Karns had minor roles on several other films, including My Foolish Heart (1949), It’s a Small World (1950, Battle Zone (1952), Invaders from Mars (1953), China Venture (1953) and The Caine Mutiny (1954).

He also worked in television, co-starring with Helen Chapman in a sitcom entitled Jackson and Jill (1949). In 1950, he also worked alongside his father, the star of a popular cop series, Rocky King, Private Detective.

Karns retired from acting in about 1954 and began a 17-year career in sales and public relations for the North American Philips Corporation, eventually becoming its West Coast manager. In 1971, Karns retired from the company and moved to Ajijic. During his “retirement”, Karns focused on his painting, and on directing local theater shows.

Todd Karns. Circus. (sold 2012 at Capo Auction)

Todd Karns. Circus. (sold at Capo Auction, 2012)

Karns directed numerous plays at the Lakeside Little Theater (LLT) , beginning in 1973 with Barefoot In The Park and The Pleasure of his Company. Other plays directed by Karns at LLT included the comedies Sauce For The Goose, Squabbles, Marriage-Go-Round, Noel Coward In Two Keys, The Gin Game and Last Of The Red Hot Lovers, as well as the fantasy A Visit To A Small Planet, the thriller Wait Until Dark, and the drama On Golden Pond.

Karns’ art career in Ajijic enjoyed similar success. Karns had begun painting shortly after the end of World War II.

Todd Karns. 1971. Street scene. Reproduced by kind permission of Katie Cantu.

Todd Karns. 1971. Street scene. Reproduced by kind permission of Katie Cantu.

After moving to Ajijic, Karns soon began to exhibit and sell his art at local shows. In December 1974, for example, one of his paintings was auctioned in a charity fund-raiser organized at the San Antonio Tlayacapan home of Frank and Rowene Kirkpatrick, alongside works by Rowene Kirkpatrick, Sidney Schwartzman and Antonio Santibañez.

In March the following year Karns joined Gail Michaels and Synnove Shaffer (Pettersen) for a three-person show at the Villa Montecarlo in Chapala.

Karns was an active participant in the Clique Ajijic, a group of eight artists who formed a loosely-organized collective for three or four years in the mid-1970s. The other members of Clique Ajijic were Sidney Schwartzman, Adolfo Riestra, Gail Michaels, Hubert Harmon, Synnove (Shaffer) Pettersen, Tom Faloon and John K. Peterson (the only member of Clique Ajijic who had been a member of the earlier Grupo 68).

In 1989, Karns was accorded the honor of a solo show by Sidney Schwartzman, owner of the Schwartzman Galería in Ajijic. Karns was quite a prolific artist and his works, with their charming naiveté, do occasionally turn up in online auctions.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Sources:

  • El Ojo del Lago: March 1985; January 1989.
  • Guadalajara Reporter: 4 January 1975; 15 March 1975; 28 February 1976.
  • anta Cruz Sentinel. “Local Theatre Attractions”, Santa Cruz Sentinel (California), 9 March 1941, p 10.
  • Vincent Terrace. 2011. Encyclopedia of Television Shows, 1925 through 2010. McFarland & Company.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jan 222018
 

After retiring in the mid-1960s from a career in the U.S. military, Robert (“Bob”) Snodgrass and his wife Mira (sometimes Myra or Maria) lived at Lake Chapala for almost twenty years. They settled in the residential development of Chula Vista, an area that was known at that time as having more than its fair share of musicians and stage performers. Snodgrass proceeded to play an active part in the local theater, music and visual arts communities.

Robert Baird Snodgrass was born in Porterville, California, on 12 September 1912 and died, after a lengthy illness, in Guadalajara on 4 September 1983.

Snodgrass grew up in California and entered the University of California, Berkeley, in the class of ’34. He apparently studied architecture, landscape architecture, art and journalism, before finally graduating with a B.A in Art in 1936. In 1933, as a student, he worked on the Daily Californian, a UC Berkeley publication, and contributed a painting entitled Melting Snow to an exhibition of paintings by students in the classes given by Chiura Obata. In that same year, he also appeared in The Valiant, a play performed by the university’s Armstrong College Thesbians.

In 1935, while still living in Berkeley, he composed and copyrighted (as “Baird Snodgrass”) the music for several songs, including “Dream-in little dreams of you” and “Vanished melody”. The words for both songs were written by Jack Howe.

Illustration by Robert B. Snodgrass for The Broken Promise

Illustration by Robert Baird Snodgrass for The Broken Promise

He also drew several delightful illustrations for a puppet play book entitled The Broken Promise, written by “Nellie Nelson and The Puppetman”, published three years later.

Illustration by Baird Snodgrass for The broken Promise

Illustration by Robert Baird Snodgrass for The Broken Promise

From Berkeley, Snodgrass moved to Los Angeles where he studied drama and theater arts and had parts on several weekly radio shows.

It is unclear when he married Mira, but the US Census for 1940 has the couple living in Berkeley. Snodgrass’ employment is given as editor of “Rural Magazine”.

In March 1942, only months after the Japanese attack on Pearl Harbor, Snodgrass enlisted in the U.S. military. After graduating with the twenty-fourth class of engineer officer candidates at Fort Belvoir, Virginia, he received a commission as second lieutenant in the corp of engineers. During his first stint of service he served four years before returning to civilian life in May 1946. He then had two years playing in New York City night clubs, including the 1-2-3 Club on East 54th Street, before re-enlisting with the Army in June 1948. By the time he retired he had risen to the rank of colonel.

Snodgrass “retired” to Lake Chapala in about 1965, two or three years prior to his final, official, release from the military. In retirement, Snodgrass put his earlier education in architecture and landscape planning to good use, designing and building several homes and gardens in the Lake Chapala area.

His earliest recorded contribution to Lakeside theater was painting a nude which hung on the set in June 1965 for The Saddle-Bag Saloon, a musical written and directed by Betty Kuzell. The official history of the Lakeside Little Theater (then known as the Lake Chapala Little Theater) claims this was the group’s first ever show. Snodgrass was also a member of the short-lived Lake Chapala Society of Natural Sciences .

Snodgrass loved to draw and paint and a short article in the Guadalajara Reporter in 1965 stated that he had become interested in archaeology and was “using his talents as an artist to do illustrations of the “finds” of this area for a book to be published and for museum use.” The writer pronounced Snodgrass’ drawings of the artifacts to be “beautifully perfect”. It is unclear which book this article refers to, or if his drawings were ever published.

Robert B. Snodgrass. 1968. Untitled. Reproduced by kind permission of Katie Cantu.

Robert B. Snodgrass. 1968. Untitled. Reproduced by kind permission of Katie Cantu.

As a painter, Snodgrass had a one-person show at La Galería in Ajijic in March 1969 and one or more of his paintings was still on view the following month when the original five members of Grupo 68 (Peter Huf, his wife Eunice (Hunt) Huf, Jack RutherfordJohn Kenneth Peterson and Don Shaw) had a collective exhibit at the same gallery.

Snodgrass also exhibited in the large group show, Fiesta de Arte, at the Ajijic home of Mr and Mrs E. D. Windham (Calle 16 de Septiembre #33) in May 1971. Other artists in that exhibition included Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Dorothy Goldner; Burt Hawley; Peter Huf; Eunice (Hunt) Huf; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Showaltar (?); Sloane; Eleanor Smart; and Agustín Velarde.

Ever generous, one of Robert Baird Snodgrass’ last artistic actions was to bequeath his easel and paintbrushes to his good friend and fellow artist Georg Rauch.

Acknowledgments

I am grateful to Katie Goodridge Ingram and Phyllis Rauch for sharing with me their personal memories of Bob Snodgrass and to Katie Cantu for permission to reproduce the image of one of his paintings.

Sources:

  • Berkeley Daily Gazette: 19 April 1933.
  • Guadalajara Reporter: 10 June 1965; 28 Oct 1965; 5 Mar 1966; 29 Mar 1969; 10 Sep 1983, p 18 (obituary).
  • Nellie Nelson and The Puppetman. 1938. The Broken Promise, illustrated by Baird Snodgrass (Los Angeles: Suttonhouse, 1938) 36 pages.
  • Reno Gazette: 10 March 1943.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jan 112018
 

Edythe Wallach (1909-2001) lived and painted for most of 1944 in Chapala and Ajijic. Her Lake Chapala paintings were exhibited in both Chapala and in New York. About a year after her return to the U.S. she married a fellow artist, Hari Kidd.

Edythe (Edith) Gertrude Wallach (later Wallach Kidd) was born in New Rochelle, New York, on 10 August 1909 to Dr. William Wallach and his wife Anne Rosenthal. Edythe grew up in New Rochelle which appears to have remained her home at least until the death of her father in 1937. The family, which was Jewish, was clearly well-to-do since the parents were able to spend summer in Europe (with one or both children) every few years, notably in 1926, 1929 and 1933.

It is unclear where Edythe acquired her education or art training, but in 1939 she was in the U.K. where she was listed in the minutes of a meeting of the British Federation of University Women (which provided aid to Jewish and other foreign refugees during and after World War II] as “Dr. Edith Wallach”. (This title probably refers to an academic doctorate rather than a medical degree).

She must have spent some of the war years in the U.K. before deciding to return home, a decision perhaps precipitated by the health of her mother who died in January 1944. Shortly after that, she left for Lake Chapala, where she lived first in Ajijic for several months and then in Chapala. Wallach was one of several artists mentioned by Neill James in her article “I live in Ajijic”, first published in 1945.

By November 1944, Wallach had completed enough paintings to warrant an exhibition at the Villa Montecarlo in Chapala. The local El Informador newspaper in Guadalajara described this as “one of the most brilliant artistic and social events of the Fall”, saying that guests from Ajijic, Guadalajara and Chapala responded warmly to the bright color and lively designs of the paintings which were being transferred later for exhibition in New York.

Postcard of The Villa Montecarlo, Chapala, ca 1940

Postcard of The Villa Montecarlo, Chapala, ca 1940

The opening on 12 November 1944 attracted many noteworthy guests, including Mr and Mrs Jack Bennett; Nigel Stansbury Millett and his father; Neill James; Pablo García Hernández (representative of Teatro Mexicano del Arte); Otto Butterlin and his daughter Rita; Witter Bynner, the famous American poet; Charles Stigel; Dr and Mrs Charles Halmos; Ann Medalie; and Herbert and Georgette Johnson.

Shortly after this exhibition closed, Wallach took her paintings back to New York. She then carried on to the U.K. for a short time, returning to the U.S. (from Swansea in Wales) via Canada at the end of February 1945. The ship’s passenger list says she was a teacher and had been living at 99, Woodstock Ave, Golders Green. It is possible that Wallach had been teaching in London during the war, before taking an extended leave of absence or sabbatical in 1944 in order to look after her mother and then paint in Chapala. Her quick return trip to London may have been to resign her position and collect her belongings, and there is a distinct possibility that she returned to Chapala to paint in the spring and summer of 1945.

Whatever the motives behind her movements, by fall 1945, Edythe (now described as “Dr. Edith Wallach of Goddard College”) was giving talks about “Wartime in England” to social groups in Burlington, Vermont. A contemporary account of one of these talks says that, “Dr. Wallach was in England during the war and recently came to the United States. She gave a very vivid description of the flying bombs, time bombs and the terror and destruction they caused; also about the children, their lack of food, rationing in England, etc. Dr Wallach answered many questions at the close of her talk.”

In November 1945 Wallach’s New York art show opened at the Bonestell Galleries at 18 East 37th Street. It was favorably reviewed as “Mexican in theme but not in manner” with one anonymous reviewer writing that

Miss Edythe Wallach… has just returned from a year’s travel in Mexico where she has been painting….

Walter Pach, eminent art critic, in speaking of Miss Wallach’s work, says, “Your report on Mexico is far beyond what I had hoped for when you went to that country. You have seen its light, you have seen its beauty, and your painting speaks of all these things. What impresses me in your work is that you have retained your central idiom, your own vision and, even when looking at a place so impressive (and so Mexican) as Chapala, you have not been tempted to imitate, but have told of your impressions with complete freedom to work in a way that is personal with yourself.” ”

While it remains unclear how, when or where Edythe first met Hari Kidd, their paths must surely have crossed in Chapala in 1944 since Edythe had a solo show at Villa Montecarlo in November while Hari was in a group exhibition there the following month. It is entirely possible that their romance began in Chapala under the soft moonlight reflecting off the serenely beautiful lake!

In March 1946, Edythe Wallach and Hari Kidd married in Key West, Florida. Kidd was already a well-known artist and one account of the wedding says that, “The bride, herself an artist of note, recently held her first exhibition of Mexican oils in New York, and is planning a new group of paintings for a forthcoming show.” A similar comment about a forthcoming show appears in The Miami News in September 1946 which says that Edith Wallach, wife of Hari Kidd, “fresh from a painting sojourn in Mexico” is “preparing for a second show in New York of her Mexican interpretations in oils.” I have been unable to confirm whether or not Wallach (presumably with Hari) returned to Mexico in the summer of 1946 (as this piece suggests) or, indeed, to find any further reference to this second U.S. show.

Both Edythe and Hari Kidd were in a three-person show at the Miami Beach Art Center which opened in January 1948. The third artist was Eugenie Schein of New York. Edythe exhibited oil paintings “favoring Mexican themes” while Hari showed both oils and watercolors. According to the press notice, “Both artists have spent a number of years in Mexico and Spain and their work reflects this influence.” They also participated, with Elvira Reilly, in another three-person show at the Martello Towers Gallery in Key West in January 1954.

The couple lived in Key West from about the time they married in 1946 to 1964. Due to Hari’s declining health, they then moved to Tucson in summer 1964, where he died in hospital barely four months later.

Edythe remained in Arizona for several years and attended the inauguration of a retrospective of her husband’s art at the El Paso Museum in October 1967.

In late 1968 or early 1969, she returned to live once again in Key West, Florida, where she held a show of her work at DePoo’s Island Gallery in 1969. Several years later, one of her paintings was chosen for the juried 13th Annual Major Florida Artists Show which opened in January 1976 at the Harmon Gallery in Naples, Florida. At that time, the artist was listed as “Edythe Wallach (Key West)” but Edythe later moved to Lake Worth, where she passed away on 17 December 2001.

If anyone can supply a photo of a painting by Edythe Wallach, please get in touch!

Sources:

  • The Burlington Free Press (Burlington, Vermont), 19 October 1945, pp 16, 20.
  • El Paso Herald Post, Monday, 18 March 1946, p 6; 14 Oct 1967, Showtime, p14; 12 April 1969.
  • El Informador (Guadalajara): 18 November 1944; 3 December 1944, p 11.
  • Neill James. 1945. “I live in Ajijic”, in Modern Mexico, October 1945.
  • The Miami News : 7 September 1946; 25 January 1948, p 59; 31 January 1954, p 24.
  • The Naples Daily News (Naples, Florida), 11 January 1976, p 58.
  • The New Yorker : 10 November 1945.
  • Tucson Daily Citizen (Tucson, Arizona), 19 November 1964, p 7.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:51 am  Tagged with:
Dec 282017
 

Priscilla (“Pris”) Frazer (1907-1973) was active in the Lake Chapala area in the 1960s and early 1970s. She made her home in Chapala Haciendas and spent several months every year at Lake Chapala with summers in Laguna Beach, southern California.

Priscilla Jane Frazer was born in Battle Creek, Michigan, on 14 May 1907 and died at the age of 66 on May 17, 1973. The family relocated to California when Frazer was a child and she graduated from the University of Southern California before gaining a Masters degree at Long Beach State College. She studied art at the Jepson Art Institute and Chouinard Art Institute.

Among her art teachers were Hester Lauman (South Pasadena High School art department), Eliot O’Hara, Rex Brandt, Phil Dike, and Lucille Douglas. In 1928-29, she and Lucille Douglas spent eight months on a world tour, painting wherever they went.

Frazer also studied art at the Académie de la Grande Chaumière in Paris, in Oxford (U.K.), and with James Pinto at the Instituto Allende in San Miguel de Allende, Mexico in 1955.

Priscilla Frazer, who never married, spent most of her career in southern California, living in Laguna Beach and teaching at Orange Coast College. She traveled widely, including visits to Europe, India, the Far East, North Africa and Spain. Her painting entitled “Ebb Tide, Ireland” was included in a major exhibition of the Society of Watercolorists of California held at the Institute Mexicano-Norteamericano de Relaciones Culturales (at Hamburgo #115, Mexico City) from 30 August to 14 September 1960.

Earlier that year, in April, Frazer had participated in a group show at a private home in Long Beach, California, exhibiting “Mosaic Gate”. Among the other artists included on that occasion was Eugene Nowlen who, with his wife Marjorie, had first visited Lake Chapala in 1950 and had also later lived there for several years.

In 1963, an article in the June issue of Ford Times included a photograph of Frazer’s “Sunday best”, the prize-winning watercolor in the Laguna Beach Art Show.

Frazer was already very familiar with Mexico before she built a home in Chapala Haciendas in 1963. Newly settled in Mexico for the winter of 1963-64 she is recorded as attending a party at the Posada Ajijic in January 1964, along with another Pasadena artist, Jonathan Scott.

Thereafter she spent several months each year in Chapala, painting and occasionally exhibiting her work in the area. For example in May 1966 she had a show at the Ruta 66 gallery in Guadalajara (located at the traffic circle where Niños Heroes met Lafayette.)

The illustration (below) comes from A Cookbook with Color Reproductions by Artists from the Galería (1972) which unfortunately misspells her first name as “Prisdilla”.

Priscilla Frazer. ca 1970. Pátzcuaro. (Duco)

Priscilla Frazer. ca 1970. Pátzcuaro. (Duco)

In November 1966, she held a solo exhibition and sale of 50 paintings at the Casa de la Cultura in Guadalajara as a benefit for Chest Clinic #4 of Mexico’s National Campaign against Tuberculosis (which was the only specialist chest clinic in Jalisco at that time). The show was formally opened by the Jalisco State Governor, Francisco Medina Ascensio. Frazer donated all fifty works (worth an estimated 200,000 pesos) to the campaign, and the organizers deliberately set modest prices to ensure rapid sales.

A contemporary reviewer praised “her latest oils and acrylics” for their “beautiful, glowing translucent colors reminiscent of stained glass (an original technique)”, as well as the “great strength and depth” of her watercolors.

A week after the show opened, Ajijic gallery owner Laura Bateman visited and reported that it looked like it would be a sell out. She found that Frazer’s “history of assiduous study to become a major talent shows in her lively drawings, her fresh representational water colors and in her giant abstract oils.” Frazer shared with Bateman an anecdote about why she had started to paint large abstracts. After winning first place for a watercolor in an early art show, Frazer had been disappointed as she “sat there with her blue ribbon watching the backs of prospective customers passing her work” while the large, abstract works of another artist, a non prize-winner, attracted all the attention.

Frazer was an active member of the California Watercolor Society, Long Beach Art Association and the Los Angeles Art Association. During her career, Frazer had more than a dozen solo exhibitions of her work, ranging from Washington D.C. across the country to Los Angeles and Laguna Beach in California. Her major shows included the California Watercolor Society (1930-33); the Laguna Beach Art Association (1930s); the Laguna Beach Festival of the Arts (1939, 1961).

In January 1970, a few months before setting off with a friend on an extended trip to India (which she had visited 41 years earlier) and Kashmir, Frazer held a one-person exhibit of watercolors and collages at the American Legion in Chapala. Later that year, in August, Frazer was honored by the Board of the California National Water Color Society which selected one of her works for a star-studded show at the National Academy in New York of 70 works (by 70 different artists) from across the entire country.

Note:

Other Laguna Beach artists associated with Lake Chapala include John A. Bruce, Felipe Castañeda, Eugene & Marjorie Nowlen, Georg Rauch and Phyllis Rauch.

Sources:

  • Battle Creek Enquirer (Battle Creek, Michigan), 26 May 1963, p 24.
  • Justino Fernandez. 1961. Catálogo de las Exposiciones de Arte en 1960. Suplemento Num. 1 del Num. 30 de los Anales del Instituto de Investigaciones Esteticas, Mexico, 1961.
  • Guadalajara Reporter: 23 Jan 1964, 24 Dec 1964, 30 Sep 1965, 2 Apr 1966, 14 May 1966, 5 Nov 1966, 10 Jan 1970, 18 April 1970, 22 Aug 1970
  • Edan Hughes. 1989. Artists in California, 1786-1940. Hughes Pub. Co.
  • Independent Press-Telegram, Long Beach, California, 10 April 1960, p 57.
  • La Galería del Lago de Chapala. 1972. A Cookbook with Color Reproductions by Artists from the Galería. 1972. (Ajijic, Mexico: La Galería del Lago de Chapala).
  • Laguna Beach Art Association. 1956. Laguna Beach Art Association catalogue, March 1956.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 12:29 pm  Tagged with:
Dec 072017
 

Famous Swedish painter Nils Dardel (1888-1943) visited Chapala towards the end of his life at a time when he was mainly painting fine watercolor portraits. Does anyone have additional knowledge about his visit (or visits) or recognize a friend or family member in any of the following paintings?

All of the paintings are believed to date from about 1940-1942.

Nils Dardel. 1936. Mexican girl with braided hair.

Nils Dardel. ca 1940. Mexican girl with braided hair.

Nils Dardel. ca 1940. Mexican girl.

Nils Dardel. ca 1940. Mexican girl.

Nils Dardel. ca 1940. Mexican girl (2).

Nils Dardel. ca 1940. Mexican girl (2).

Nils Dardel. ca 1940. Mexican man.

Nils Dardel. ca 1940. Mexican man.

Nils Dardel. ca 1940. Mexican woman.

Nils Dardel. ca 1940. Mexican woman.

Nils Dardel. ca 1940. Mexican boy.

Nils Dardel. ca 1940. Mexican boy.

Nils Dardel. ca 1940. Mexican boy. (2)

Nils Dardel. ca 1940. Mexican boy. (2)

Nils Dardel. ca 1940. Elderly Mexican lady.

Nils Dardel. ca 1940. Elderly Mexican lady.

Dardel was traveling with Swedish writer Edita Morris, the love of his life, and the couple also visited Central America including Guatemala.

Nils Elias Kristofer von Dardel, who took to calling himself simply Nils Dardel, was born on 25 October 1888 in Bettna, Sweden, and died of a heart attack in New York on 25 May 1943.

Dardel studied at the Stockholm Royal Academy of Arts from 1908 to 1910 and then spent many years living in Paris, working as a set designer for the Ballets Suédois and painting surrealist fantasies. In 1921, Dardel married a fellow Swedish artist: Baroness Thora Klinkowström. However, in the late 1930s Dardel fell in love with Edita Toll Morris, a beautiful, married, Swedish-born author. The new couple soon moved to New York and over the course of the next two or three years they traveled to Central America and Mexico. Attempts to reconstruct their precise itinerary are hampered by the fact that, following Nils’ death in 1943, Edita asked their friends to destroy all correspondence (a not uncommon request at that time).

Mona Lang and her colleague Kurt Skoog at dynamofilm.com in Sweden, who are working on a documentary of Nils Dardel’s life and work, believe that Nils and Edita were in Mexico and Guatemala from 1940 onwards. The couple was living in Chapala in May 1941 and probably remained there until Christmas, with short visits elsewhere including to the Pacific coast resort of Acapulco. Nils was in poor health (he had heart problems from an early age) and one letter makes it clear that he found the local Chapala climate “perfect” for him.

In Chapala, Nils and Edita rented the Villa Monte Carlo and were especially pleased by the extensive grounds, writing that their garden was the largest and most beautiful in all of Chapala. Their cook was apparently a local women named Magdalena. While in Chapala, Dardel worked on paintings based on sketches he had made in Guatemala and elsewhere and is presumed to have also completed paintings of some individuals living in Chapala.

Not long after spending the summer of 1942 in the Hotel Belmar in Mazatlán, Dardel and Edita returned to New York where an exhibition of his Mexican and Guatemalan paintings was held at The Architectural League of New York, prior to being sent on tour to various U.S. cities. Even after Nils died in New York (on 25 May 1943 at the artist hotel The Beaux Arts on 44th Street), the tour continued, though it was now referred to as a Memorial Exhibition.

A reviewer in Philadelphia, where the exhibit opened in October at the American Swedish Historical Museum, wrote that,

“Here are some of the fruits of the artist’s recent two year stay in Mexico and Central America, and water-color specialists will discover in his large paintings of native Latin-American types an amazing skill in execution and a deep knowledge of the medium’s use, especially in covering large areas.

The artist’s fantasies in oil however indicate more potently his inventive and imaginative powers. In these he has utilized certain Peruvian and Ecuadorian decorative themes in the presentation of such episodes as David and Goliath and the Biblical swine possessed by devils; “The Fishermen,” “Head-Hunters’ Breakfast,” and “Head-Hunters’ Afternoon”….

Card-players will take special delight in his treatment of “The Heart Family and “Queen of Diamonds” while “Adoration,” with its humorous skeletons of men and animals will set beholders to wondering about the alliance of subject matter and title. All these fantasies present something enchanting and decidedly refreshing in art…”

After the exhibition tour of U.S. cities was complete, Dardel’s paintings were returned to Sweden and went on show in Stockholm. There, his art met with a lukewarm reception from most art critics but was adored by the Swedish public. In 1946-1947, the exhibition traveled all over Sweden, always attracting big crowds. Reproductions of his portraits were produced for many years and sold well. They can regularly be found on Ebay and similar online auction sites.

Nils Dardel’s wonderful original paintings can be seen in museums in several European cities, including Stockholm, Göteborg, Malmö, Oslo and Hamburg. His surrealist works command very high prices and his painting entitled “Waterfall”, which sold in 2012 for $3.7 million, was the record price ever paid at auction for a work by a Swedish artist.

To see more of Dardel’s work, including examples of his surrealist paintings, see Nils Dardel page on dardel.info.com.

Acknowledgment

  • My sincere thanks to Mona Lang for bringing Dardel’s connection to Chapala to my attention.

Sources

  • Folke Holmér. 1946. Nils Dardel I Mexico och Guatemala. (Stockholm: Nationalmuseum).
  • The Philadelphia Inquirer: 27 October 1943, p 27; 7 November 1943, p 48.
  • Moderna Museet (Sweden). “Nils Dardel and the Modern Age”. (2014 Exhibit)

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Dec 042017
 

Swedish-American visual artist Carlo Wahlbeck lived in Chapala for two or three years in the mid-1970s.

Wahlbeck was born in Stockholm, Sweden, in 1933. At the age of 14, he started classes at the Stockholm School of Fine Art. Among his influences he credits the sixteenth century Italian artist Benvenuto Cellini and Swedish sculptor Carl Milles (1875-1955).

When he was 16, Wahlbeck spent a year in the United States and became acquainted with several American Indian tribes. In 1957 he left Europe to live in North America, taking classes at the Winnipeg School of Art in Canada. Three years later, he moved to southern California which has been his home ever since, with the exception of his time in Mexico.

Since moving to the U.S., Wahlbeck has lived for extended periods of time among the Navajo and Zuni Indians, using their beliefs and lifestyle as a source of inspiration for his own surrealist works.

Carlo Wahlbeck. Mother and Child.

Carlo Wahlbeck. Mother and Child.

Prior to his extended stay at Lake Chapala, Wahlbeck had been living in Los Angeles. His residence in Chapala, with his two sons, coincided with the time when the local community was getting an unwanted reputation as a center for drug use. The biography on his studio website says that Wahlbeck “spent 2 years in Mexico, living among the Huichol people in the inaccessible mountains north of Tepic, painting the Indian religion and the white man’s religion as seen through Huichol eyes.” It is unclear whether this was before or after his stay at Lake Chapala.

Carlo Wahlbeck. "He stands for America". (ca 1975)

Carlo Wahlbeck. “He stands for America”. (ca 1975). (Richard Tingen collection).

In May 1975, two of Walhbeck’s original lithographs were offered for sale in an auction in Ajijic to raise funds for the local Primary School for Boys. Wahlbeck’s lithograph entitled “He stands for America” (above) dates from about this time.

Wahlbeck, who has lived on-and-off and exhibited in Palm Springs, California, for some 50 years, is best known in the U.S. for works relating to Native Americans. In addition to his skills as an illustrator and painter, Wahlbeck is an expert in the sculptural techniques used in working with cast paper.

His solo shows in California include Newport Beach, California (July 1965), the Gane Freeman Art Gallery in Los Angeles (January 1968), the Upstairs Gallery, Long Beach (November 1971) and Catchpenny Art Gallery in Tarzana (December 1977).

Carlo Wahlbeck. 1987. "June - Second State".

Carlo Wahlbeck. 1987. “June – Second State”. (cast paper work)

Wahlbeck’s works have found their way into many prominent collections, including those of King Gustav of Sweden, former US Presidents Ronald Reagan and Richard Nixon, Barry Goldwater, Robert Guggenheim, and the actresses Lucille Ball and Elizabeth Taylor. Institutions with Wahlbeck’s work in their permanent collections include The Bob Hope Cultural Center (Palm Desert, California); the Museum of Western Art (Ardmore, Oklahoma) and the Museum of Art in Tel Aviv, Israel.

Acknowledgment

  • My thanks to Richard Tingen for bringing Carlo Wahlbeck’s link to Lake Chapala to my attention and for permission to use the image “He stands for America”.

Sources

  • Guadalajara Reporter, 17 May 1975.
  • Edan Hughes. 1989. Artists in California, 1786-1940. Hughes Pub. Co.
  • El Informador (Guadalajara) 16 May 1975, p 5-C
  • Los Angeles Times: 18 Jul 1965, p 261; 07 Jan 1968; 14 November 1971, p 546; 11 December 1977, p 844;
  • WahlbeckStudios website

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 6:07 am  Tagged with:
Nov 272017
 

Ferdinand Schmoll (usually known in Mexico as Fernando Schmoll) was a German painter, born in Cologne in 1879, who owned a lakefront house west of the pier in Chapala for several years early in the twentieth century. It is unclear when Schmoll first arrived in Mexico, or in the Lake Chapala area, but he was certainly living in the Chapala area between 1919 and 1921. Shortly after, Schmoll and his wife left the lake to establish their home in Cadereyta in the central state of Querétaro. Schmoll is best known for his fine landscapes, painted in the European tradition.

Schmoll first arrived in Mexico several years prior to his residence in Chapala. Schmoll had apparently studied art in Germany and Italy and he and his wife were definitely living in Mexico City by December 1913, the year the Mexican Herald reported the opening of an exhibition of his paintings at Avenida Juarez No 8.

Early the following year, Schmoll and his wife arrived in San Francisco. According to the passenger manifest of the “Peru”, it was the first time either of them had been in the United States. They gave their previous residence as Mexico City.

schmoll-ferdinand-painting

A Mexican landscape painted by Ferdinand Schmoll

In December 1916, Schmoll was living and working in Saltillo in northern Mexico, near Parral. When forces loyal to Pancho Villa invaded the town, Schmoll was initially reported missing but the artist turned up a few days later at the border in El Paso, Texas. According to contemporary newspaper reports, which described him as “formerly of Los Angeles, California”, Schmoll had been forced to flee Parral and leave behind “a large number of sketches and paintings”, as “he feared to bring them out through Villa territory”. A few months later, in April 1917, Schmoll held an exhibition of oils and watercolors of Mexico and California at the art gallery of the El Paso Women’s Club.

By 1919, Schmoll and his wife were back in Mexico, living at Lake Chapala. Among his early solo exhibits in Mexico was one at the then State Museum in Guadalajara in September 1919. The advance notice for the exhibition says that all the oil paintings by Ferdinad (sic) Schmoll had been painted during the artist’s time in Mexico. The following month, Schmoll donated an oil painting entitled “El Patio” to the museum. In November 1919, Schmoll traveled to Mexico City to exhibit his “perfectly finished and undeniably beautiful paintings” there.

Ferdinand Schmoll. 1913. Popocatepetl and Iztaccíhuatl Volcanoes.

Ferdinand Schmoll. 1913. Popocatepetl and Iztaccíhuatl Volcanoes.

Schmoll exhibited in Guadalajara again at the Club Alemán (16 de Sept #140) in 1921. A review of that show, in the Guadalajara daily El Informador, singled out his painting “Serenata” as best of the 19 works on display, for the way it portrayed light playing on the group of singers. It also praised the flower painting “Dahlias” for its use of color and “intense freshness”. The reviewer concluded that Schmoll was more of a portrait artist than a landscape artist, despite the fine quality of landscapes he incorporated into his paintings. The review lauded Schmoll’s meticulous technique, comparing it favorably to that seen “in the works of the best German artists”. Also mentioned (and well ahead of their time for their subject matter) were several works that were “faithful interpretations of the customs of our humble classes”, including a fine portrait study of an indigenous male.

The show included three works clearly painted at Chapala: “Orilla del Lago de Chapala” (Lake Chapala Shore), “Lago de Chapala” (Lake Chapala) and “A orillas del Chapala” (On the Shores of Chapala).

In June 1925, a solo show of paintings by Schmoll, “considered one of the most notable pictorial interpreters of Mexican landscapes”, was held in Berlin, Germany, at the German Economic League for Central and South America. When Schmoll returned from Europe in September on board the “Holsatia”, he stated his residence as Saltillo.

Schmoll was not only an artist, but also a cactus lover, and in 1920, founded a cactus farm in the town of Cadereyta de Montes, Querétaro, with his wife biologist Carolina Wagner (1877-1951), who had a degree in biology from a German university. The couple traveled widely throughout Latin America. It was a match made in cactus heaven. Schmoll’s exquisite drawings of cacti were coupled with his wife’s scientific descriptions, and this at a time when publications much preferred detailed drawings to photographs.

Ferdinand (“Fernando”) Schmoll died on 24 May 1950 at the age of 71 in Cadereyta de Montes. His death certificate confirms that he was an “artist” and “Mexican by naturalization”.

Quinta Fernando Schmoll (the Schmoll Cactus Farm)

Quinta Fernando Schmoll (the Schmoll Cactus Farm)

The cactus farm and nursery continue today as a commercial venture, Quinta Fernando Schmoll, that specializes in growing cacti and succulents for export, as well as testing alternative methods of cultivation. The current owner of the cactus farm is Heinz Wagner, a great nephew of the founders.

The center is the Americas’ most important greenhouse location for cactus breeding and houses more than 4000 plant species, of which 1700 are cacti from the Americas. Research at the center has led to the discovery and description of several new cactus species, among them the endemic lamb’s tale cactus (Echinocereus schmollii) named in the Schmolls’ honor.

[Note: This is an updated version of a post first published on 21 May 2015.]

Sources:

  • El Informador: 16 September 1919; 5 October 1919; 24 November 1919, 30 November 1919; 11 December 1921, p5; 11 June 1925
  • El Paso Herald: 16 April 1917, p12
  • Los Angeles Times: 4 January 1917, p10
  • Mexican Herald: 9 December 1913, p2
  • Reno Gazette-Journal: 3 January 1917, p3
  • The Cactus and Succulent Journal of Great Britain, January 1952

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 6:03 am  Tagged with:
Nov 132017
 

Famous American portraitist Everett Kinstler and his family spent the summer of 1971 in Ajijic on Lake Chapala.

While staying in the village, he and his family became close friends of Kulla Hogan (now Kulla Ostberg), wife of journalist Don Hogan. Kinstler painted portraits of their two children who became good friends with the Kinstler children. The timing of Kinstler’s visit to Ajijic is confirmed by Molly Leland (formerly Molly Heneghan) who first visited Ajijic with her architect husband George Heneghan in December 1970 and who remembers the Kinstlers arriving the following summer.

Kinstler’s life is well documented, so this short profile includes links to further reading for those interested in learning all about the amazing career of this talented artist.

Book cover by Everett Raymong Kinstler

Book cover by Everett Raymong Kinstler

Everett Raymond Kinstler was born in New York City on 5 August 1926. He studied briefly at the city’s High School of Music and Art before transferring to the High School of Industrial Art, where he acquired the skills to make his living in the field of commercial art. While still a teenager, he started working for a comic book publisher, Cinema Comics, but soon became a freelance illustrator for comics and pulp magazines featuring characters such as Doc Savage, The Shadow, Hawkman, Kit Carson and Zorro. He also designed book covers and undertook commissions for magazine illustrations.

In 1945, Kinstler returned to school and studied at the Art Students League of New York under American illustrator and impressionist painter Frank Vincent DuMond (1865–1961) whose mantra was “I won’t try to teach you to paint, but to see and observe.” Also in 1945, Kinstler was drafted into the U.S. Army to work on creating a comic strip for an Army newspaper.

Throughout the 1940s and 1950s Kinstler worked mainly as a pulp and comic book artist before transitioning to become one of America’s top portraitists, a calling he has pursued diligently ever since. He held his first major exhibition of portraits and landscapes at Grand Central Art Galleries in New York City in 1959.

Everett Raymong Kinstler. 2014. Portrait of Cliint Eastwood.

Everett Raymong Kinstler. 2014. Portrait of Cliint Eastwood.

Kinstler has painted portraits of over 1200 leading figures in business, entertainment and government, including eight U.S. Presidents: Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H.W. Bush, Bill Clinton, George W. Bush and Donald Trump. Other portrait subjects include Paul Newman, Clint Eastwood, Gregory Peck, John Wayne, Gene Hackman, Katharine Hepburn, Carol Burnett, Peter O’Toole, James Cagney, Arthur Miller, Ayn Rand, Tennessee Williams, Tom Wolfe; and Theodor Seuss Geisel (Dr. Seuss).

This short video about Kinstler was produced by the Norman Rockwell Museum for its major exhibition of his work in 2012:

Kinstler was elected to the National Academy of Design in 1970 and, in 1999, the Copley Medal by the Smithsonian National Portrait Gallery in Washington, D.C., which has more than fifty Kinstler portraits in its collection. He also won a Comic-Con International’s Inkpot Award in 2006.

There are several published works about Kinstler including Jim Vadeboncoeur, Jr.’s Everett Raymond Kinstler – The Artist’s Journey Through Popular Culture (2005).

Kinstler taught at the Art Students League of New York from 1969 to 1974 and is the author of several books on art, including Painting Faces, Figures and Landscapes (1981) and Painting Portraits Hardcover (1987).

In addition to the National Portrait Gallery in Washington, D.C., Kinstler’s work can be admired in the Metropolitan Museum of Art, Butler Institute of American Art, Brooklyn Museum, the Butler Institute of American Art in Youngstown, Ohio; and the University of Delaware, Newark.

Want to read more?

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Oct 022017
 

The talented painter and musician Gustavo Sendis divided his time for much of his life between Guadalajara, where he was born in 1941, and his family’s second home in Ajijic.

Born on 8 July 1941, Sendis became interested in art at an early age and studied drawing with Juan Navarro and Ernesto Butterlin in 1958 and 1959. His father was a scientist and university lecturer who founded several important projects in the Guadalajara’s Hospital Civil and Sanatorio Guadalajara. His mother wanted Gustavo to pursue a conventional career but the young man, with the support of his father, chose otherwise, married young, and went to live in Europe.

His love of guitar music and painting took him first to the U.S., where he studied with Jack Buckingham at the University of California, Berkeley, and then to Spain, where he studied with Alvaro Company (taught by Segovia) in Malaga, and with Emilio Pujol (1886-1980), the preeminent Spanish classical guitarist and composer.

Emilio Pujol (left) and Gustavo Sendis, 1965

Emilio Pujol (left) and Gustavo Sendis, 1965

On his return to Guadalajara, Sendis brought back a heartfelt open letter from Pujol, dated 1965, to “Mexican guitarists”, and began to exhibit his paintings and give public guitar recitals. In 1967 he gave a guitar recital and exhibited about 20 abstract works (painted during his time in Europe) at the Sociedad de Amigos de la Guitarra de Guadalajara on Calle Francia in Colonia Moderna. Sendis’s first formal exhibition was at the Casa de la Cultura Jalisciense in Guadalajara in (1968).

Gustavo Sendis: Untitled. Credit: Galería Vértice.

Gustavo Sendis: Untitled. Credit: Galería Vértice.

During a second trip to Europe, he continued to exhibit his work and give guitar concerts. He had exhibitions in several European countries, including Spain, where he participated in the Ibiza Bienal (1971) and held a show in Málaga (1977) of paintings related to music, with titles like “Notes on the Flute”. In this same period he had several exhibitions in Italy, France, Switzerland and Portugal. Practically self-taught, he lived for many years in Ajijic prior to moving first to Taxco, Guerrero (where he gave a concert in the city’s Santa Prisca church) and then to Tepoztlán, Morelos, where he suffered a fatal heart attack on 25 May 1989, while he was still in his 40s.

Gustavo Sendis: Volcán. Credit: Galería Vértice.

Gustavo Sendis: Volcán. Credit: Galería Vértice.

Sendis recorded one record, Tras la huella de Sendis, and

Throughout his life, Sendis entertained people with his sensitive guitar playing. For example in June 1972 he was performing nightly in Ajijic at the El Tejaban restaurant-gallery (then run by Jan Dunlap and Manuel Urzua). The following month, he had a month-long solo show at the gallery of paintings that had been shown previously in “Paris, Madrid, Lisbon and several other cities in Europe”.

Sendis recorded one record, Tras la huella de Sendis, and there is also a cassette tape, entitled Homenaje a Emilio Pujol, of a recital by Sendis in August 1987 in the Santa María church in Tepoztlan, Morelos, made by Victor Rapoport from an original recording belonging to Alice Mickelli. The cassette includes two pieces by Francisco Tárrega (1852-1909), one by Dionisio Aguado (1784-1849) and two composed by the guitarist himself: “Danza Nahuatl” and “Paisajes”.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

In March 1974, he showed several paintings alongside works by his mother, Alicia Sendis, and Sheryl Stokes at  La Galeria del Lago in Ajijic. The inspiration for many of his paintings came from Jalisco scenes that he knew as a child. In fellow artist Tom Faloon’s words, Sendis “did some wonderful paintings, and pretty much lived in his own world.” In addition to conventional paintings on flat surfaces, Sendis is also known to have painted scenes on stoneware plates.

Though the details remain a mystery, a selection of his works was exhibited at Malaspina College (now Vancouver Island University) in Nanaimo, B.C., Canada in July 1980, in a joint show with Zbigniew Olak and Aquatic Exotic.

In June 1984 Sendis exhibited at the Centro de Investigación y Difusión del Arte Exedra in Zapopan, Guadalajara (Paseo del Prado #387, Lomas del Valle).

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

Gustavo Sendis. Untitled, undated. Reproduced by kind permission of Jan Dunlap.

In 2010 a major “Winter Collective” exhibition in Guadalajara at Galería Vértice included a Sendis painting, alongside originals by such renowned artists as Rufino Tamayo, Gustavo Aceves, José Clemente Orozco, Rafael Coronel, Gunther Gerzso, Leonora Carrington and Juan Soriano. Sendis’s work was also included in a similar exhibition the following year, alongside works by Georg Rauch, Jose Luis Cuevas, Juan Soriano and Francisco Toledo.

Sendis is included, deservedly, in Guillermo Ramírez Godoy’s book Cuatro Siglos de Pintura Jalisciense (“Four Centuries of Jaliscan Painting”).

When the Guadalajara newspaper El Informador reached its centenary in 2017, the paper’s director, Carlos Álvarez del Castillo, selected 100 pieces of art from the “Fundación J. Álvarez del Castillo” collection of horse-related paintings and sculptures to be displayed at the Cabañas Cultural Institute in Guadalajara. The exhibit, entitled “Equinos 100”, includes the very first painting acquired for the collection – a painting by Gustavo Sendis.

This is an updated version of a profile originally published on 26 February 2015.

Acknowledgments

My sincere thanks to Katie Goodridge Ingram, Jan Dunlap and the late Tom Faloon for sharing with me their memories of Gustavo Sendis, and for the valuable additions and clarifications by Gustavo’s niece Isabel Cristina de Sendis (see comments section). Special thanks are also due to Hilda Mendoza of Ajijic for her generous and treasured gift of the cassette tape, Homenaje a Emilio Pujol.

Sources:

  • Anon. 1979. “Madrona exposition centre – 1980 schedule of shows”. Staff Bulletin (Malaspina College, Nanaimo, B.C.), 21 December 1979 (Vol 1 #13).
  • Guadalajara Reporter: 3 June 1972; 10 June 1972; 1 July 1972; 16 March 1974
  • Ramon Macias Mora. 2001. Las seis cuerdas de la guitarra (Editorial Conexión Gráfica).
  • Guillermo Ramírez Godoy. 2003. “La dualidad artística del pintor y guitarrista Gustavo Sendis”. El Informador (Guadalajara), 26 Oct 2003.
  • Guillermo Ramírez Godoy and Arturo Camacho Becerra. 1996. Cuatro Siglos de Pintura Jalisciense (Cámara Nacional de Comercio de Guadalajara).

Note: Galería Vértice catalogs were at http://www.verticegaleria.com/esp/antes_exp.asp?cve_exp=82

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Aug 212017
 

Orley Allen Pendergraft was born in Arizona on 12 May 1918. He worked as a school teacher for many years and was ordained as a minister prior to deciding to dedicate himself to art.

Even before he completed college, Pendergraft had made several visits to Mexico, usually to Rocky Point (Puerto Peñasco) on the Sea of Cortés. He painted in Mexico for the first time in 1940 and spent part of 1951 in Ajijic on Lake Chapala. After 1959 he became a regular visitor to the town of Álamos in Sonora, establishing his permanent home there in the mid-1970s and living there for more than thirty years until his death on 22 November 2005.

His first one-person show was apparently in “the Guadalajara area”, but it is unclear whether this refers to a show in Tlaquepaque, for example, or to a location on Lake Chapala.

Pendergraft, “a native Arizonan of Cherokee and Anglo descent”, was born on his father’s dairy farm near Mesa and displayed artistic talent from a young age, winning an Arizona Republic art contest at the age of twelve. He also picked up street Spanish from the farm’s Mexican workers. He graduated from Phoenix Union High School and won an art scholarship to Carnegie Institute, but chose to remain in Arizona and, in 1938, entered the Arizona State Teachers College (now Northern Arizona University) at Flagstaff.

His mother insisted that he postpone his intended career as an art teacher and instead study for the priesthood in the Episcopal Church, so Pendergraft next attended a seminary in Arkansas from which he graduated with a Doctor of Divinity degree. He was ordained as an Episcopal minister on 21 December 1943 by Bishop Block of California in Grace Cathedral, San Francisco.

By 1949, Pendergraft had been assigned to, and was teaching in, the diocese of New Jersey. In March of that year, he married a French nurse, Eleanor Madeleine Langpoop. This was also the year when he joined the Graphic Sketch Club in Philadelphia and decided to renew his art education by enrolling in the Fleisher Memorial Art School in Philadelphia. At some point in his career, Pendergraft also studied at the Pennsylvania Academy of the Fine Arts (Philadelphia) and at the Art Students League in New York, where he had worked as a free-lance commercial artist for Young and Rubicam Advertising. Pendergraft had also spent a year in Europe, mainly in Paris and Spain.

By 1951, Pendergraft and his wife were living in Mount Hermon, California. The Santa Cruz Sentinel for 28 September 1951 reports that one of Pendergraft’s landscape paintings – Ajijic on Lake Chapala, Mexico – has taken the “coveted silver bowl” at the county fair for gaining first place in the watercolors landscape class, and that one of his oil paintings – a still life – had also won a first place award.

Allen Pendergraft. Ajijic. 1951

Allen Pendergraft. “La Esquina del Carrisal – Ajijic”. 1951. Credit: Figureworks.

This Ajijic painting (above) dates from that time and is currently listed for sale at Figureworks, a gallery in Brooklyn, New York.

From 1953-63, Pendergraft exhibited exclusively with the Artists Guild of America, Inc., both in Carmel and in their traveling exhibitions in Los Angeles, San Francisco, Chicago and New York. Pendergraft was also invited to participate in an exhibit entitled “Sixty Living Americans”, held in New York and Miami. Pendergraft’s agent was art patron Joanne Goldwater. [By coincidence, Joanna Goldman used to reside at least part-time in Ajijic, and her father – former U.S. senator Barry Goldwater – exhibited photos of American southwest landscapes at the Centro Ajijic de Bellas Artes (CABA) in January 1998.]

Sadly, in 1959, Eleanor contracted an antibiotic-resistant form of tuberculosis and died shortly afterwards. The church granted Pendergraft early retirement and a pension, giving him the freedom to focus on his art. For many years, he divided his time between studios in Sedona, Arizona, and Álamos, Sonora.

According to the post “Allen Pendergraft” in the Álamos Interviews series published on the Álamos History Association website,

“Immediately after his wife’s death, though, and in a state of depression, he went to Mexico intent on drinking himself to death. Fortunately for him, the drinking only made his sick! He was out of money at a hotel in Southern Mexico, so the owner gave him a job tending the cash register at the hotel bar. While at work he met the playwright Tennessee Williams, who was looking for a location for a play he intended to write. Allen took Williams to Puerto Vallarta, then a small, sleepy fishing village, and Williams proceeded to write “The Night of the Iguana,” putting Allen in the play as the alcoholic priest. Allen was not pleased with the characterization!”

This wonderful story may have some truth to it. Williams completed the play, based on his 1948 short story of the same name, in 1961, and the famous movie version, starring Richard Burton, was released in 1964, so the time frame is about right. However, the Wikipedia entry about the play claims that, “The Reverend T. Lawrence Shannon was partly based on Williams’ cousin and close friend, the Reverend Sidney Lanier, the iconoclastic Rector of St Clement’s Episcopal Church, New York.” It is of course perfectly possible that the character of the drunken defrocked priest is based on both men. [Note that Williams himself had spent the summer of 1945 in Chapala working on a play provisionally called The Poker Night,.]

Pendergraft’s religious training and art education came together in the mid-1950s. From 1956 to 1967, he worked, in association with his cousin Peter Carroll, on the liturgical arts commission in California, designing stained glass windows, murals and church furnishings in glass, mosaics and wrought iron for churches in many communities, including San Francisco, Oakland, Orinda, Sacramento, Portola Valley, Santa Clara, Pebble Beach, Carmel, Pasadena, Laguna Beach and San Diego.

In addition, Pendergraft was commissioned to paint the portraits of various senior ecclesiastical figures, including Bishop Banyard (whose portrait hangs in the cathedral in Trenton); Bishop Torres (whose portrait is in the cathedral of Ciudad Obregón, Mexico) and Bishop Block (San Francisco).

According to a newspaper piece in 1972, by which time he was becoming very well known as a painter of western landscapes, Pendergraft’s work was being exhibited “in La Posada and the Wesley Gallery in Sedona, Scottsdale’s Blue Flute and Saddleback Inn in Phoenix”.

Pendergraft was a member of the Artists Guild of America and his work won numerous awards in regional shows and fairs in California, as well as a first place in the New Jersey Summer Art Festival (Cape May). His oils and watercolors can be found in museums in New Jersey, Arizona and Massachusetts, and in private collections throughout the U.S.

Pendergraft wrote a family history entitled Pendergrass of Virginia and the Carolinas: 1669-1919, published in Sedona in 1977, and contributed the pen and ink drawings used to illustrate Ida Luisa Franklin’s Ghosts of Alamos, first published in 1973.

Pendergraft sold his Sedona house and moved full-time to Álamos in the mid-1970s. Most of Pendergraft’s paintings in Álamos were small enough to fit in a suitcase, and inexpensive enough ($25) to appeal to the tourists he met on the plaza. He did also paint some large canvasses, one of which is in the town’s Museo Costumbrista de Sonora.

When his failing eyesight brought an end to his painting career in the mid-1990s, Pendergraft was cared for by a local couple. After the husband’s death, and concerned about the financial future of his widow, Pendergraft married her not long before his own death in order that she could benefit from his social security, pensions and estate.

Sources:

  • Álamos History Association. Álamos Interviews: Allen Pendergraft. 21 June 2011.
  • Arizona Republic (Phoenix, Arizona). 1939. “Valley Students Placed On Roll” in Arizona Republic, 10 January 1939, p 15; 14 June 1972, p 89.
  • Nancy Dustin Moure. Santa Cruz Art League Statewide Art Exhibition Index, First through Twenty-seventh, 1928-1957. (Publications in California Art, No. 12).
  • Santa Cruz Sentinel, (California), 28 September 1951, p 5; 7 October 1951.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

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