Aug 312023
 

Renowned American painter, educator, designer and architect Millard Owen Sheets was born in Pomona, California, on 24 June 1907, and died in Anchor Bay, California, on 31 March 1989.

Details of his biography are readily available online, at Wikipedia and at the website of the California Watercolor gallery.

But, in summary, Sheets studied at the Chouinard Art Institute, where, even before graduating, he was exhibiting watercolors in the annual shows of the California Water Color Society and teaching watercolor techniques at Chouinard.

Millard Sheets. 1983. Lake Chapala, Mexico. Reproduced by kind permission of California Watercolor gallery.

Note: Giclées of this painting are available via the website of the California Watercolor Gallery

He exhibited widely across the U.S. and Europe, and gained national recognition as a fine watercolorist. His life, work and painting style made the pages of Art Digest, Eyes on America and a book published by Dalzell Hatfield in Los Angeles in 1935.

During the second world war, Sheets was an artist-correspondent for Life magazine and served with the United States Army Air Forces in India and Burma.

As an art educator, Sheets worked at Chouinard Art Institute, Scripps College, and was Director of Otis Art Institute (1953-1960), fomenting the development of hundreds of young artists.

Millard Sheets. Chapala Church. (EBay photo)

Millard Sheets. Chapala Church. (EBay photo)

Later in life he designed and executed dozens of major mosaic and mural projects. His commissions ranged from Los Angeles City Hall to Detroit Public Library, the Mayo Clinic, the mosaic dome and chapel at the National Shrine in Washington DC, and the Hilton Hotel in Honolulu, Hawaii.

Works by Sheets are in the permanent collections of many major museums, including the Metropolitan Museum of Art and the Whitney Museum (both in New York; the Chicago Art Institute; the National Gallery (Washington D.C.); the DeYoung Museum (San Francisco); and the Los Angeles County Museum.

Sheets made multiple visits to Chapala between 1947 (believed to be the first time he visited the lake) and the early 1980s.

Millard Sheets.1979. Noon, Chapala. Reproduced by kind permission of California Watercolor gallery.

Note: Giclées of this painting can be purchased on the website of the California Watercolor Gallery

Sheets’ 1947 trip to Chapala was in the company of long-time friend Merritt (‘Muggs’) Van Sant (1898-1964) and fellow artist, master woodworker and designer Sam Maloof (1916-2009), who was working for Sheets at the time and had learnt Spanish as a child from a Mexican-born housekeeper. Interviewed in 2002 by Mary MacNaughton for the Archives of American Art, Maloof recalled, albeit all too briefly, their trip to Chapala:

“… we flew to Guadalajara and I could have stayed for three years for what it cost us for three weeks. Of course it had to be the best hotel rooms and I had a room by myself. Millard and Muggs Van Zandt [Sant] had a room together and we had to rent a car. They had a brand new Buick with a driver that drove us all over and we’d all put money in the kitty every morning and Muggs would be the banker and we traveled from Lake Chapala to Morelia.”

Katie Goodridge Ingram (who first brought Millard Sheets’ link to Lake Chapala to my attention) remembered Sheets bringing an artist group to paint in Ajijic on at least one occasion.

Note: This is a work in progress. If you can offer any additional information about Millard Sheets’ visits to Lake Chapala, please get in touch!

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Source

  • Mary MacNaughton. 2002. Interview of Sam Maloof conducted January 2002 by Mary MacNaughton, for the Archives of American Art, in Maloof’s home/studio in Alta Loma, California.

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.

Jul 062023
 

American artist Emily Meeker (1908-1983) was a long-time resident of Chula Vista who had previously led an extraordinarily exciting life in India and elsewhere.

Born Emily Preston in Abilene, Texas, on 26 June 1908, her architect father moved the family to Brazil three years later. Emily later attended the New York School of Interior Design in 1926, where she won a scholarship for a 6-week trip to England and France. With her sister and mother for company, the six weeks eventually became three years, and included art classes as they toured France in a Model T Ford. When the Depression hit, Emily’s father cabled: “Broke. Home best way you can.” They could only afford a cabin in steerage class, but talked their way into dining first class and dancing second class.

Emily married New York native Don Meeker in 1932. Don lived and worked in India, as the representative of Colgate-Palmolive-Peet in India, Burma and Sri Lanka. Five years into their marriage, Don switched jobs to join Warner-Lambert. After a year in New York, while Don familiarized himself with the company, they were returning to India in 1939, when, just as they embarked at Genoa for the ship home, Mussolini took over the railways. The ship left port for Bombay (now Mumbai) and was repainted and transformed mid-voyage into a troop ship. The Meekers traveled extensively each year to cover all the territory that Don was overseeing. Their adventures included unexpectedly having to share their reserved compartment on a long distance train with three locals and their belongings: “a canary in a cage, a pot of roses, jugs of drinking water, foul-smelling food, bed rolls, and prayer rugs.” On another occasion, trekking in Kashmir with twenty two helpers and eighteen ponies to carry their supplies, Emily lost her footing and slid to the brink of a 400-foot-deep ravine; the helpers formed a human chain and just managed to stop her slide in time.

In 1942, the couple returned to New York to see out the end of the war. Three years later, war over, they returned to Bombay; it took them  five months, and they had to travel via Lisbon and South Africa. Back in India, Emily took up golf, and became the women’s champion of “West and East India and Ceylon.” She was also elected president of the Bombay American Woman’s club. The Meekers were guests of the Aga Khan III in his palace when he celebrated his 60th year of Ismaili rule.

In 1948, Emily visited her mother in Abilene, Texas, for the first time in ten years. She held an exhibit of artworks there. Three years later, she designed costumes for a play held in the city, and in 1960 she exhibited 40 oils and pastels at the City Library, and gave a gallery talk about the status of art in India. in 1962 she exhibited a selection of her paintings in India, though the claim that this was the first art show in India by an American woman seems somewhat far-fetched.

This Bombay (Mumbai) watercolor, currently for sale at Barbara’s Bazaar in Ajijic, dates from 1954, when the Meekers were still living in India.

Emily Meeker. 1954. Woman in Bombay. Courtesy Tom Thompson.

Emily Meeker. Bombay, 1954. Courtesy Tom Thompson.

Emily began a new phase of her life after Don’s retirement in 1963. They read about Chula Vista, visited and, on their first trip, bought a view lot on the appropriately named Privada de la Vista, where they built their new home overlooking the lake. They moved in the following year, after several weeks visiting family in the US.

In May 1964, Emily, who normally golfed at either the sporty 9-hole Chula Vista course or the Chapala Country Club, had a hole-in-one at the 4th hole of the Guadalajara Country Club. This was reportedly the first ever hole-in-one by a female golfer at that course.

After her husband died in 1966, Emily continued to call Chula Vista ‘home’ for more than twenty years, until her own death on 18 November 1993 at the age of 85.

In the mid-1980s, Emily exhibited in several group shows in the Chapala area, the most noteworthy of which was “Pintores de la Ribera” in May 1985 at the Club Campestre La Hacienda (km 30 of the Guadalajara-Chapala highway). Fellow artists at that show included Daphne Aluta, Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, B. R. Kline, Jo Kreig, Carla W. Manger, Sydney Moehlman, Xavier Pérez; Tiu Pessa, De Nyse Turner Pinkerton and Eleanor Smart.

In 1987, Emily’s artworks were exhibited in a group show at the Piaf Restaurant in Guadalajara.

Few artists associated with Lake Chapala led such a varied and adventurous life as Emily Preston Meeker.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Abilene Reporter-News: 2 June 1946, 58; 11 July 1948, 50; 13 November 1951, 8; 25 August 1960;
  • Maura Drechsler. “Travels of a Lakeside Painter,” El Ojo del Lago, April 1987, 1-3.
  • El Informador: 4 May 1985.
  • Guadalajara Reporter: 19 March 1964, 5; 28 May 1964, 1.

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.

Jun 222023
 

Helen Marie Krustev, born in the USA on 16 September 1933, and wife of Bulgarian-born artist Dimitar Krustev, is an accomplished portraitist in her own right. Helen Marie had private art training in the Middle East before studying in Des Moines, Iowa, where Dimitar was one of her teachers. She continued to develop her own art while working with Dimitar on numerous cultural tours in Europe, Mexico and elsewhere.

Helen Marie Krustev. Untitled.

Helen Marie Krustev. Untitled.

Helen and her husband moved permanently to Ajijic in the year 2000. Her love of Mexico, and enthusiasm for portraying the country’s dozens of indigenous groups, shines through in her work. In recent years she has specialized in painting portraits, usually in acrylics, of people such as the Tarahumar, Huichol, Cora and Maya, depicted in their colorful traditional clothing, and often facing away from the artist.

Helen Marie Krustev. Canoa y chinchorro.

Helen Marie Krustev. Canoa y chinchorro.

Helen’s work has been exhibited, often alongside that of her husband, in several galleries in Mexico. In 1989 the couple held a joint showing of their work at the Art Studio Galeria in San Antonio Tlayacapan. In February 2000, they held another noteworthy joint exhibit, titled Caras de México, in the lobby of the Las Hadas hotel in Manzanillo.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Source

  • Diario de Colima, 25 Feb 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.

Jun 082023
 

Juan (‘Juanito’) Olivarez Sánchez was born in Ajijic on 12 July 1944 and died there at the age of 77 on 28 May 2022.

Like numerous other local artists in Ajijic, Olivarez’ interest in art began as a student of the Children’s Art Program (CAP) started by Neill James. Olivarez was among the first generation of students to benefit from CAP which began in the mid-1950s.In the 1960s, Olivarez helped teach the next generation of youngsters. Later students of Juan Olivarez included, in the early 1990s, Bruno Mariscal, described by Lyn Adams as: “Truly a jack-of-all-trades, this talented man is also a well-known rotulista or sign painter. His padrino, Juan Olivarez, started training him in this craft when he was around 18 years old.”

Olivarez’ considerable artistic talent was recognized by the highly experienced art educator Jack Rutherford, a professional Californian artist then living in Ajijic with his wife and their four children. Rutherford was instrumental in arranging for Olivarez to spend several weeks in Studio City (then Ajijic’s sister city) in 1970. Rutherford persuaded Studio City Chamber of Commerce to sponsor Olivarez and to find him a family to board with while he took art classes. Rutherford and his family drove Olivarez up to Studio City, where he was a house guest of the Heckers; Mrs Robert Hecker was a fellow art student. A lively welcome reception in Studio City was held in honor of Olivarez’ arrival before the Rutherford family carried on to spend the summer in Laguna Beach.

Juan Olivarez. Untitled landscape. Coll-JLV

Juan Olivarez. c 1960. Untitled landscape in the Neill James Collection. Reproduced by kind permission of his family.

Jesús López Vega informed me that Olivarez was a member of the “Jardín del Arte,” a group of young local artists at the start of the 1970s, which later became known as “Asociación de Artistas de Ajijic.” This group was a forerunner of the “Ajijic Society of the Arts” (which continues to this day), the largest organization of its kind for artists (Mexican and foreign) in the area.

By 1975, Olivarez was directing a gallery in Ajijic, the Galería de los Artistas Cooperativos, a sign of the bustling art scene in the village at the time. Competing with the long-running Galería del Lago, the Galería de los Artistas Cooperativos was located at 16 de Septiembre #9. It opened on 14 December 1975 with a solo show of 25 works by Frank Barton, an American artist then living in Ajijic, fresh off a successful show in Mexico City.

Olivarez had become interested in photography from a relatively early age, initially acquiring a simple Kodak camera to help him develop his drawing technique, and then discovering the lure of photography as a hobby. He was probably the first native-born photographer to become Ajijic’s unofficial village photographer, taking over this role from, among others, Beverly Johnson.

Juan Olivarez. El Charracate. Reproduced by kind permission of Tom Thompson.

Juan Olivarez. El Charracate. Reproduced by kind permission of Tom Thompson.

Olivarez photographed hundreds of family gatherings, parties and special occasions, and amassed an extensive collection of photographs of Ajijic, covering a very wide range of subjects and events, many of them no longer celebrated in quite the way they once were. Late in life, recounting his experiences to journalist Sofía Medeles, he explained how his photos had originally cost only 50 centavos each. His photographic business was unable to survive the advent of the smartphone, which replaced conventional cameras.

Alongside his photography, Olivarez continued to paint small pictures and do some commercial sign painting. Many of his paintings remain in possession of his family and I hope to add additional images of his work to this profile shortly.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Lyn Adams. 2007. “The gallery and art of Bruno Mariscal.” MexConnect.com
  • Sofía Medeles. 2022. “Remembering Juan “Juanito” Olivares, prolific photographer of Ajijic.” Semanario Laguna, 15 de junio de 2022.
  • The Van Nuys News: 26 Jun 1970, 17.
  • Guadalajara Reporter: 13 Dec 1975.

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.

May 252023
 

Dimitar Iliev Krustev (1920-2013) was born in Sofia, Bulgaria, on 12 January 1920 and died in Ajijic on 11 February 2013. After studying at The Natioual Academy of Art for Portrait Painting in Sofia, Krustev served in the army under German rule for three years during the second world war. He moved to the US in 1947 to take a bachelor’s degree in commercial art at Kent State University, and then completed a masters degree in art history at the University of Iowa.

Dimitar Krustev. Portrait of a young man. Reproduced by kind permission of Ricardo Santana.

Dimitar Krustev. 1969. Portrait of a young man. Reproduced by kind permission of Ricardo Santana.

Krustev took US citizenship and he and his wife, Helen Marie, a former student, lived most of their married life in Des Moines, Iowa. Krustev worked as a commercial artist for the Des Moines-based magazine Better Homes and Gardens for nine years before opening the Des Moines Krustev Studio of Art. Krustev, who specialized in portraiture, loved teaching art, and many of his hundreds of students went on to enjoy considerable commercial and personal success. Krustev also enjoyed leading art study groups to Europe, Ajijic and elsewhere.

In the 1960s, as a member of The Explorer’s Club, Krustev began to travel to distant locations to document, photograph and paint the indigenous peoples of the Americas. In 1968 he became the first person known to have successfully navigated the Usumacinta River from its headwaters in Guatemala to the Gulf of México. Krustev’s fascination with people living in near isolation in what are commonly perceived as extreme environments led to his particular interest in the plight of the Lacandon Maya who live in the rain forest of Chiapas in southern Mexico.

Krustev’s experiences resulted in several books, including River of the Sacred Monkey (1970), Voices in the Night (1992), The Journals of Dimitar Krustev, an Artist–Explorer (Volume One) (1996), Black Hand Over the Jungle (1997), and Lacondón Journal 1969: From the Journals of Dimitar Krustev Artist-Explorer, published by Editorial Mazatlán in December 2012, only months before the artist’s death. His books and journals, supported by exquisite portraits, provide extraordinary insights into the changing daily lifes of the people who befriended him at a time when their traditional way of life was under siege from modernizing influences. Krustev is also the subject of a film titled The Bulgarian Gaugin.

After traveling back and forth between Des Moines and Ajijic for almost thirty years, Krustev and his wife established their home and studios in Ajijic in the year 2000. Ajijic became their base for more traveling, painting, teaching, and many joint shows. Among the artists inspired by Krustev are Pauli Zmolek (who painted her own scenes of the Chapala area) and Lois Black.

Dimitar Krustev. Boats of Ajijic. (Greetings card)

Dimitar Krustev. Boats of Ajijic. (Greetings card)

This conté drawing titled Boats of Ajijic shows typical fishing boats and fishing nets on the shore of lake, with Cerro Garcia in the background.

Krustev’s first major show in Mexico was in 1972 when he presented portraits and landscapes at the Mexican-North American Cultural Institute in the Zona Rosa, Mexico City. He also exhibited in Guadalajara and throughout Europe and the USA.

His earliest recorded exhibit in Ajijic (which accompanied a showing of his film of the Lacandon Maya) was at the Posada Ajijic in August 1977. He first ran workshops in Ajijic at about this time. Four years later, in 1981, he advertised an 11-day workshop in Ajijic for $552.60 a person; the fee included air fare from Omaha, room and art instruction.

In 1989, Krustev and his wife, Helen Marie Krustev, held a joint showing of their work at the Art Studio Galeria in San Antonio Tlayacapan. They held another noteworthy joint exhibit, titled Caras de México, in the lobby of the Las Hadas hotel in Manzanillo in February 2000.

Several of their shows in Mexico were organized by Katie Goodridge Ingram, who ran two successful art galleries in Ajijic—Galería del Lago and Mi México—for many years. Ingram explained to me that “Many of his works were a combination of conté and charcoal and pastels, though he also painted in oils” and that she was enthralled by his work among the Lacandon:

partly because of their inherent beauty and their attempts to preserve their old ways and partly because of the tragedy involved in the confluence of two cultures. I admired the adventurer who went into the jungle and, fearing the imminent extinction of these people, drew the wonderful faces, garb and lifestyle of the Lacandon Indians.”

[Katie Goodridge Ingram is the author of According to Soledad: memories of a Mexican childhood, a fascinating fictionalized memoir of growing up in Ajijic in the 1940s and 1950s.]

Krustev’s work has been exhibited all over the world, and his paintings are in many prominent, private collections in Africa, USA, Europe and Mexico, where several fine examples are in the permanent collection of Ajijic Museo de Arte.

Papers and archives

The Human Studies Film Archives of the Smithsonian include two color silent film reels from Krustev’s trips (in the 1970s and 1996), as well as 180 35mm transparencies and two sound cassettes. His manuscripts and journals are archived at the American Heritage Center at the University of Wyoming.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Diario de Colima: 25 Feb 2000.
  • Ojo del Lago, March 1989.
  • Des Moines Register: (obituary) 3 Mar 2013.
  • Katie Goodridge Ingram, personal communication.
  • Guadalajara Reporter: 20 Aug 1977, 17; 11 April 1998, 13; 5 Nov 2011; 3 Jan 2014;
  • Kent Stater: 28 Oct 1947.
  • Omaha World Herald: 7 June 1981.
  • David Bodwell and Richard Grabman (editors). 2013. Lancandon Journal—1969: From the Journals of Dimitar Krustev: Artist-Explorer. Editorial Mazatlán.

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 202023
 

Ajijic’s sister city connection to Studio City in California had already been going five years by the time journalist Bill Reed wrote about it in 1967. The sister city program was part of the People to People initiative begun a decade earlier by former US president Dwight D. Eisenhower.

In 1964 the executive board of People to People held a lunch meeting at the Villa Montecarlo in Chapala, a meeting attended by Eisenhower’s son (John D. Eisenhower), Mexican President Adolfo López Mateos, former president Miguel Alemán, the Jalisco state governor Juan Gil Preciado, and other guests who listened to a keynote address by Walt Disney (in which he claimed “Jalisco” was his favorite song).

According to the Los Angeles Evening Citizen News (in January 1963), the idea to twin Ajijic and Studio City came from Eric Lindhe, a retired US Army colonel who had lived seven years in Ajijic and suggested the idea to Jim Hawthorne, Studio City’s honorary mayor. Lindhe undertook to liaise with villagers and help organize a formal sister city relationship. The press report also mentioned that a more recent Ajijic resident, retired civil engineer Don Savage, “has been working on a project to get water into the town’s homes for the first time.”

Press Telegram, 1962

Press Telegram, 1962

The first tangible impact of the sister city connection was in September 1962 when a Studio City resident, the uncle of Ann Mosher, visited Ajijic and presented donated poster paints to the children taking art classes in Neill James’ library. That program grew into the Children’s Art Program, now held under the auspices of the Lake Chapala Society.

Mosher explained to fellow donors that the children made cards which tourists bought for a peso each, with part of the proceeds going direct to the aspiring young artists.

The Chamber of Commerce in Studio City had initially wanted to send medicines and children’s clothing to Ajijic, before learning that customs regulations might be an issue, so they sent large bottles of poster paint instead.

Despite knowing the potential problems, in October the Kiwanis Club in Studio City organized a major clothing drive for Ajijic children and collected close to a ton of clothes and shoes! Simultaneously, the Studio City Chamber of Commerce (SCCC) announced a 10-day tour to Mexico, to include Ajijic, Guadalajara, Mexico City, Taxco and Acapulco.

In November 1962 the Studio City Merchants Association joined with SSCC to host a Mexican Fiesta to raise funds, and at the end of month, thirteen Studio City residents left Los Angeles for Mexico. According to press reports, Mexicana airline assisted with the transportation of the donated clothing.

All thirteen visitors were overwhelmed  by the “extraordinary cordiality of their hosts south of the border.” The group traveled to Ajijic from the airport in a “special bar-equipped bus.” Some sixty charros in multicolored serapes met the bus on the outskirts of Ajijic to escort the Studio City group to the plaza, where an estimated 4000 villagers gathered to cheer and welcome the group with music, folkloric dancing, church bells and confetti. “Torchlights blazed on all sides (there are no street lights in Ajijic).” This was the start of a three-day whirl of receptions, visits, parties and dancing. The visitors encountered no anti-US sentiments in the village, which “may be partly because the Americans residing in Ajijic have taken a special, helpful interest in the town and its problems.”

The following March the Los Angeles Times reported that plans were underway for a return visit by a group of Ajijic villagers to Studio City in April (via bus to Tijuana), and that Studio City residents had started to fund raise for a “long-needed” school in Ajijic, which “could be built for as little as $1,500.” This visit was subsequently postponed more than once, in part because a school teacher from Ajijic was acting as the group’s interpreter, so it needed to take place during a school holiday.

In April it emerged that the six large boxes of clothing that had been held at Guadalajara airport since the previous December had finally been granted duty-free status and had been released, following the personal intervention of the President, to Col. Eric Lindhe for onward transport to Ajijic.

Los Angeles Times, 23 July 1963.

Los Angeles Times, 23 July 1963.

Fund raising continued apace in Studio City, including a Bowling Tourney for the “rehabilitation of a boys’ school” in Ajijic, and the auction of a Tink Strother oil painting of an Ajijic woman preparing tortillas. Strother had lived in Ajijic the previous year.

In July an “advance party,” comprised of Ajijic residents Don Savage and his wife, and their 22-year-old maid, Mariana Yañez (the niece of Ajijic mayor José Serna Flores), arrived in Studio City. Savage persuaded Studio City officials that any funds raised by SCCC to affray the expenses of a visit by Ajijic children could be far better utilized to help pay for the expansion of Saúl Rodilas Pina boys’ school in the village. The school, for grades 1 to 6, was attended by 400 boys at the time, and needed to expand but had run out of money. Villagers wanted to buy bricks and steel beams to add two classrooms and a kitchen. Savage pointed out to his SCCC hosts that the expense of obtaining passports and visas for Ajijic students would be considerable. The SCCC sent a check for $650.00 to Ajijic for the school and continued to fund raise. Eric Lindhe gave a talk in Studio City in December and raised a further $105.00 to outfit junior soccer teams in Ajijic.

In March 1964 the SCCC voted to provide $300.00 to bring two boys, two girls and two teachers from Ajijic to visit Studio City. At the end of the academic year, the Ajijic students finally arrived.

The four students named in newspaper reports were Rafael Chávez (13 years old), “Frederico” (Federico) López (11), María del Rosario Díaz (14) and María Guadalupe Reyes (13). They were chaperoned by teacher Martha Zuñiga (20) and school principal Velia Hugo. Born in Toledo, Ohio, Hugo had moved to Ajijic with her family as a 10-year-old and spoke perfect English. Also accompanying the group was delegado José Ramos Pérez and the village padre, Ramón Barba. Their Studio City hosts financed an itinerary that included visits to Disneyland, a beauty salon, shopping for clothes, a baseball game at Dodger’s Stadium, Revue Studio, boating and the naval air station at Long Beach. In their honor, Los Angeles mayor, Sam Yorty, officially proclaimed the week of July 9-16 “Ajijic Week in Studio City.”

Two years later a second group from Studio City, about 20-strong, stayed in Ajijic for several days at the end of November 1966. They toured the village boys’ and girls’ schools, and the new vocational school to which SCCC had contributed funds. By then, SCCC had plans to raise at least $1,000 to launch a food program of breakfasts for 200 needy Mexican youngsters in Ajijic. Blaine Hodgson, a retired US army officer living in Ajijic, had offered to oversee the program.

Velia Hugo kept in close contact with Studio City and the local newspaper reported in January 1968 that she was raising funds for a basketball court and that members of the SCCC also hoped to build a clinic in Ajijic, and start a kindergarten. A letter exchange was organized between students in Studio City and Ajijic, and in May the SCCC was planning to expand the small library in Ajijic and was considering establishing a retail outlet in Studio City to sell wares from Ajijic.

The SCCC also helped sponsor a 13-year-old Ajijic artist, Ramón Navarro, to leave Ajijic and live with an aunt in Los Angeles to take formal art classes. According to press reports, Navarro was, in August 1968, “exhibiting his oil paintings and watercolors at an art show in Guadalajara” and his talent had been discovered by Irma McCall, a former resident of Ajijic residing in Long Beach. (McCall’s article, “Ajijic–Paradise Under the Mexican Sun,” was published in the 11 March 1962 issue of the Independent Press-Telegram.) Studio City support for Navarro continued for several years. In 1973 the Women’s Division of SCCC gave him a scholarship to complete his education in the US.

The SCCC announced plans to invite Navarro and several residents of Ajijic to a block party in September. The Ajijic group was comprised of four adults—J. Trinidad Ramos Jr, president of the Ajijic Chamber of Commerce; businessman Rufino Palacios; Velia Hugo and Esperanza Briones, both teachers at the Girls’ School; and four 6th grader students: Rosemaría Jiménez (13), Antelma Plasencia (12), Rubén Romero (12) and Arnulfo Beas (13).

Velia Hugo addressed teachers at a luncheon at Riverside Drive Elementary school, telling them that, in Ajijic: “The number of children in our classes varies with about 100 children in first grade, 62 in fourth grade and 32 in sixth grade…. These children have only one teacher in each class.” She also explained that, with DIF support, hot breakfasts were being provided to about 500 village children.

J. Trinidad Ramos told the local press that after 6th grade in Ajijic, boys received “manual training” and girls studied sewing and dressmaking. He estimated that there were “more than 300 American families” living in the village, and stated that the resident Americans, spearheaded by Mr and Mrs Booth Waterbury of the Posada Ajijic, were interested in starting a medical center.

Studio City helped another young Ajijic artist in 1970 when the SCCC sponsored 24-year-old “Juan Olverez” (= Juan Olivarez) to study art for a month in Studio City. American artist Jack Rutherford, who had been living in Ajijic for several years and recognized the young man’s talent, had contacted the SCCC, which arranged for Olivarez to become the house-guest of Mr and Mrs Robert Hecker for the summer, while Mr and Mrs Rutherford and their four children enjoyed a working holiday in Laguna Beach.

  • Note: Juan Olivarez was born in 1944 and would have been 26 in July 1970. Sadly he died in 2022 before I was able to ask him about his memories of Studio City and about his later artistic career, which centered on photography, as detailed in this profile.

As Ajijic grew, so contacts with—and financial support from—Studio City became more sporadic, though they continued until at least the mid-1980s. In 1971, for example educator Margaret Hyatt spent several days in Ajijic and returned later that year to give a month-long literacy tutor-training and demonstration course to young adults in Ajijic. A group of Studio City residents visited Ajijic in November 1973, to begin arrangements for a return trip for a 30-member delegation from Ajijic, including a youth soccer team, the following year. In 1976, SCCC organized the donation of medical equipment for Ajijic’s first public health clinic, which opened in May 1977. The SCCC also raised funds in 1977 for “school and church supplies” in Ajijic, and were still supporting a Scholarship Fund for Ajijic as late as 1984.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of Ajijic’s art community and its health and education facilities.

Note

Other Lakeside communities with sister cities include:

  • Chapala-Lake Arrowhead, California (included on official 1972 list of all sister cities)
  • Jocotepec-Watsonville, California (begun 15 September 2018)
  • Chapala-Jin Xi, China (the highway through La Floresta was renamed Boulevard Jin Xi in 1994)
  • Chapala-Barrhead, Alberta, Canada (from about 2007).

Sources

  • Guadalajara Reporter: 16 July 1964, 8.
  • Los Angeles Evening Citizen News: 19 Jan 1963, 4; 5 Dec 1963, 7; 3 Jul 1964, 6; 3 Jul 1964, 6; 13 Jul 1964, 6.
  • Los Angeles Times: 7 Mar 1963, 138; 7 Apr 1963, 234; 15 Apr 1963, 2; 23 Jun 1963, 201; 4 Jul 1963, 107; 9 Jul 1963, 73; 27 Aug 1963, 2; 9 Jun 1964, 94; 31 Jul 1980, 209 12 Jul 1984, 211.
  • Press-Telegram, 30 Sep 1962, 109.
  • South Pasadena Journal: 03 Nov 1971, 10.
  • Valley News: 07 Feb 1967, 99; 05 Jan 1967, 49; 29 Dec 1967, 15; 04 Aug 1968, 50; 20 Sep 1968, 35; 22 Sep 1968, 12; 04 Feb 1971, 90; 16 Nov 1973, 43; 08 Oct 1974, 25; 02 Sep 1976, 42; 31 Mar 1977, 35; 01 Nov 1977, 32.
  • Valley Times, 2 Oct 1962, 15; 25 Oct 1962,17; 19 Nov 1962, 15; 27 Nov 1962, 2; 10 Jul 1964, 2; 25 Sep 1968, 8.
  • Van Nuys News: 21 Jan 1968, 6; 09 May 1968, 49; 26 Jun 1970, 17; 30 Jun 1970, 13; 17 May 1973, 105; 07 Aug 1973, 12.
  • Van Nuys News and Valley Green Sheet: 04 Jan 1966, 10; 04 Oct 1966, 47; 7 Oct 1962, 3.

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 062023
 

The sculptor (María) Leticia Moreno Buenrostro (1930-2016) began her artistic career as a child. Moreno was born in Tizapán el Alto on the southern shore of Lake Chapala on 30 November 1930. Her grandfather and one of her uncles had apiaries, and Moreno used to take some of the wax to model small figurines of animals: horses, dogs and cats. She later began to make human forms by carving sticks she found in her own garden.

Moreno entered the Escuela Nacional de Artes Plásticas (San Carlos) in Mexico City in 1953, and graduated from that institution in 1957. She was awarded a Masters in Fine Arts in 1960 and taught wood sculpting at the Escuela Nacional for fifty years before retiring in 2009. Several of her students have gone on to become professional sculptors.

Tizapan el Alto

Moreno produced 61 major wood sculptures during her career. Because she chose to live for her art, not from her art, she exhibited only infrequently. Her major shows, all in Mexico City, were at the Bienal de Escultura del Museo de Arte Moderno (1979), the Museo Universitario del Chopo and the Academia de San Carlos. Moreno was awarded a second place medal in a competition among the teachers in the Escuela Nacional de Artes Plásticas.

In 1990, Moreno was commissioned to design a coat-of-arms for her native town, Tizapán del Alto. Below the name (derived from “place of Tizatl, where the river passes”) is a circle adorned with blue green feathers, from which protrude six obsidian-tipped arrows. The central area of the shield includes a representation of the Río de la Pasión entering Lake Chapala, along with two stylized buildings made of reeds and thatch, with a line of footsteps indicating the long journey made by the town’s ancestors to reach this idyllic location.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Chapter 4 of Lake Chapala: A Postcard History is devoted to the early history and importance of Tizapán el Alto and the southern shore of Lake Chapala.

Sources

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 162023
 

This post considers the extraordinarily productive career of historian Álvaro Ochoa Serrano, who has dedicated much of his life to writing about his two main loves: Lake Chapala and mariachi (in its broad historical sense of music, folkloric dancing and partying).

These two interests are not necessarily as unrelated as you might think since some linguists believe that the word mariachi derives from the indigenous Coca language, spoken at the lake centuries ago.

From birth, Ochoa was destined to become a historian of Lake Chapala. Having been born in 1948 in La Barca, Jalisco, his birth was registered in Jiquilpan, Michoacán, so he started life with one foot in each of the two states that border the lake.

Alvaro-Ochoa-portada-1

Ochoa gained his bachelor’s degree at the Escuela Normal Superior De Mexico (1978), and then completed his masters in history at the Iberoamerican University (1988) and a PhD in history (1998) at the Universidad of California, Los Ángeles. He is a member of Mexico’s National Researchers’ System, and of the National Commission for the Preservation of Mariachi.

For many than 35 years, Ochoa has been a professor and researcher in the Zamora-based Colegio de Michoacán, where his major projects included one titled “Personajes y tradiciones populares del Occidente de México”. (Characters and Popular Traditions of Western Mexico). The Colegio de Michoacán, which was directed for many years by distinguished environmental anthropologist Brigitte Boehm Schondübe (1938-2005), has a long tradition of outstanding academic research related to Lake Chapala.

Alvaro-Ochoa-portada-2

During his distinguished academic career, Ochoa has contributed articles to dozens of journals and has co-authored Breve Historia de Michoacán (2011) and Cancionero Michoacano 1830-1940, Canciones, Cantos, Pirekuas, Coplas y Corridos (second edition in press).

Alvaro-Ochoa-portada-3

Books of his sole authorship include Los Insurgentes de Mezcala (1985); Viajes de michoacanos al norte (1998); Los agraristas de Atacheo (1989); … Y nos volvemos a encontrar: migración, identidad y tradición cultural (2001); Resplandor de la Tierra Caliente michoacana: paisaje y sociedad en la era colonial (2004); Los Insurrectos de Mezcala y Marcos. Relación crónica de una resistencia en Chapala (2007); La música va a otra parte. Mariache México-USA (2015); Mitote, Fandango y Mariacheros (2018); Afrodescendientes, Sobre Piel Canela (2020); La Ciénega de Chapala. Cuatro textos a flote (2023).

Ochoa’s work related to mariachi gained him a prestigious Vicente Mendoza Award. His beautifully written paper directly connecting Lake Chapala and mariachi, titled “Chapala, otra cuna del mariachi” (Chapala, another cradle of mariachi), will be published by El Colegio de Jalisco later this year.

Ochoa’s books are available via Spanish-language bookstores and online via http://www.libreriacolmich.com/ amazon.com.mx and bookstore sites such as https://www.gandhi.com.mx (tip: search using “Alvaro Ochoa Serrano”)

Note

Though we never met in person, I am greatly indebted to Brigitte Boehm Schondübe, whose very kind words in print helped inspire my own efforts to disseminate a greater understanding of the ecology and history of the Lake Chapala area.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Chapter 6 of Lake Chapala: A Postcard History is an English-language account of some of the changes that occurred in the area near Ocotlán during the twentieth century.

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.

Jan 122023
 

Of all the notable artists associated with Lake Chapala, the one who made the most waves in international art circles in the latter part of the twentieth century was Feliciano Béjar.

Feliciano (‘Chano’) Béjar was born on 14 July 1920 in Jiquilpan, Michoacán. Jiquilpan had been in close proximity to Lake Chapala for centuries until the eastern third of the lake was drained for agriculture a decade before Béjar was born.

A self-taught artist, who overcame polio as a child, Béjar was revered for his inspired sculptures, painting and weaving. His most famous series of works, dubbed ‘magiscopes,’ imaginatively combined glass with metals, plastics and other recycled materials; they stimulate viewers awareness of the unlimited power of the human eye to see and interpret abstract sculptures.

Feliciano Bejar. Boat seller.

Feliciano Bejar. Boat seller.

Béjar attended the Colegio Salesiano of Guadalajara (1932-1934) and his childhood interest in art was stimulated by meeting José Clemente Orozco when that great artist was painting his remarkable murals in Jiquilpan in 1940.

There is little point in me rehashing all the details of Béjar’s life, which are readily available online, including in this Wikipedia article.

If it had not been for serendipity, Béjar might never have become an acclaimed artist. He had traveled widely in Mexico before leaving for New York in 1945 to work, paint and buy himself a Chevrolet. Béjar painted during the day and worked nights in a department store.

Feliciano Bejar. Posada del niño

Feliciano Bejar. Posada del niño

In 1947 he left some paintings at a frame shop which, by chance, was patronized by gallery owner Ward Eggleston. Helped by Nathaniel Coleman and his wife, a wealthy art-loving couple who had struck up a friendship with Béjar in the department store, Eggleston made arrangements to hold a solo show of Béjar’s work at his gallery the following year.

Meanwhile, Béjar had bought a car (despite not knowing how to drive) and persuaded a friend to drive him and the car back to Jiquilpan. Shortly after their safe arrival, his friend borrowed the vehicle to visit his own family; unfortunately he then totaled the automobile in an accident.

Béjar returned to New York for his solo show, the first of several he would hold at the Ward Eggleston Galleries. Nathaniel Coleman remained his chief promoter and sponsor; he purchased some two hundred of Béjar’s works over the years; the terms of his will meant that more than half of them eventually returned to the artist.

Feliciano Bejar.Sunset at Lake Chapala

Feliciano Bejar.Sunset at Lake Chapala

According to a contemporary review of the first New York show, at the Ward Eggleston Galleries in 1948:

“It was difficult to leave the Ward Eggleston Galleries after viewing the paintings of Chano Bejar without being haunted long afterwards by the pinks and yellows and greens in his “Fiery Horse,” a dream creature out of Mexican Indian mythology who flamed and quivered with motion that threatened to shatter the very canvas which held him.”

Béjar’s art remained unrecognized in Mexico, until after he was sponsored by UNESCO to travel to Europe in 1949 for a group show of Latin-American artists which included several of his works. On his return, the Instituto Mexicano Norteamericano de Relaciones Culturales took a keen interest and arranged several shows over the next few years. A retrospective exhibit of his works in Los Angeles in 1956 was funded by the Rockefeller Foundation. These shows helped establish Béjar’s reputation and resulted in dozens more solo shows. UNESCO produced a film in 1964, “The world of Feliciano Béjar,” and Béjar’s work featured in the Mexican pavilion at the New York World Fair in 1965. During his long artistic career, Béjar held more than 150 solo shows in Mexico, the US and Europe.

Two early Chapala-related paintings deserve a special mention. Béjar’s solo show at the Galeria José María Velasco in Mexico City in 1962 included “Tuxcueca.” Completed in 1947, this painting of a humble village on the south shore of Lake Chapala is probably the only time the village has ever been painted by a major artist. A second 1947 oil on canvas was included in Béjar’s 1965 show at Galeria Mer-kup, also in Mexico City: it was titled ‘Chapala.’

Feliciano Bejar. Three magiscopes.

Feliciano Bejar. Three magiscopes.

Magiscopes were first shown in 1966 at the Instituto Nacional de Bellas Artes in Mexico City, and at Mappin Art Gallery in London, UK. Inspired by childhood toys and games, Béjar’s magiscopios are somewhat reminiscent of Renaissance clocks, astrolobes and other scientific instruments, coupled with the visual allure of kaleidoscopes.

During this highly productive period of his life, Béjar also prepared designs for several European ceramics makers, including Spode, and designed stage sets. The artist held strong opinions about all manner of social and environmental concerns, and shared them via a weekly column in the 1980s in Mexico City daily El Universal.

Francisco Béjar, one of the more remarkable self-taught artists to emerge in Mexico during the second half of the twentieth century, died in Mexico City on 1 February 2007. His work continues to be highly sought after by collectors.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Modern Mexico: March-April 1949 (Vol 22 #2); July-August 1950 (Vol 23 #4)
  • Justino Fernández. (multiple years) Catálogos de las Exposiciones de Arte, Anales del Instituto de Investigaciones Estéticas, Mexico.

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.

Dec 292022
 

Despite several popular art sites listing Bert Pumphrey’s exhibitions as including three in Ajijic, I have yet to find any details for them. Pumphrey’s distinctive work is so highly collectible, that he would certainly deserve a place among the Lakeside greats (and in the Ajijic Museum of Art) if his association with Lake Chapala can be proven.

The three exhibitions listed for Bert Pumphrey in Ajijic are:

  • La Nueva Posada, Art Shows in the Garden, 1955
  • Casa de la Cultura, Ajijic, Plaza Principal 1978
  • Galeria AXIXICC, Ajijic, 1985

The 1955 entry clearly cannot be correct. Either this was an exhibit in the (Old) Posada Ajijic, or the year is inaccurate and it should be 1995. Either way, I have found no confirming evidence anywhere for this or the other two shows. If you can help, please get in touch!

Despite drawing a blank as regards the Ajijic exhibitions, my search for answers has enabled me to compile a more accurate account of Pumphrey’s life and work than those currently available on the web.

Bert Pumphrey. Undated. Un militar.

Bert Pumphrey. Undated. Un militar.

Bertrem (Bert) Pumphrey was born in Welby, Salt Lake City, Utah, on 30 January 1916. After graduating from Provo High School in 1936, Pumphrey took classes for a year at the Chicago Art Institute. From 1937 to 1941, he studied on a scholarship at the Chouinard Art Institute in Los Angeles, where he was strongly influenced by Henry Lee McFee and Tom Craig

At the second annual exhibit of Artists of Los Angeles and Vicinity (organized by Los Angeles County Museum) in 1941, Pumphrey’s painting “Rainy Season” and a work by famous Japanese-American modernist Sueo Serisawa received honorable mentions for painting.

In 1940, while still a student, Pumphrey had registered for military service, and after completing his studies the following year he enlisted in the army. He served as a surgical technician in the Army Medical Corps in Asia and the Far East

His first major group show after the war was at the Los Angeles Art Association in 1946, in a collective exhibition titled “They Have Returned,” with one critic writing that “Bertram Pumphrey’s oils of India convey that land’s rich decoration and vegetation and the accompanying poverty.”

Later that year in September Pumphrey held his first solo show (of 47 oil paintings) at the prestigious Palace of the Legion of Honor in San Francisco.

In 1947, Pumphrey had the first of at least two solo shows at the American Contemporary Gallery in Los Angeles. His 22 canvases were described by Los Angeles Times art critic Arthur Millier as “rich in color and human interest.” Millier also recorded that Pumphrey had “recently worked” with Tom Craig on a large mural or murals at the San Antonio Hospital, Claremont, and had completed a large 40′ by 12′ mural commission in a private Hollywood home.

In 1947-1948 Pumphrey taught art part-time at the Art Barn School of Arts in Salt Lake City, giving himself ample time to develop his own art while still having a reliable income.

Bert Pumphrey. Undated. Hasidic Rabbis Dancing. (oil on board)

Bert Pumphrey. Undated. Hasidic Rabbis Dancing.

Pumphrey moved to Mexico in 1948, and exhibited relatively infrequently in the US after that date, though he retained links with California, giving classes and participating in group shows in Lafayette and Oakland in 1954. By this time he had married Isabel. The couple apparently kept homes in both Tlalpan, a suburb of Mexico City and in California, dividing their time between the two places. Isabel became a naturalized US citizen in 1984 on her 54th birthday.

In 1955, Pumphrey painted murals depicting typical scenes from Bavarian villages on the walls of Sam’s Hof Brau in the historic Kost building in Sacramento. Four years later, he completed a large mural for the Seagulll Motel in Salt Lake City, assisted by his twin brother, Joe, who was also an artist.

His first major solo show in Mexico was at the Galería Pemex in Mexico City in January 1960. It included 106 works, in a variety of media, from oils on masonite and linoleum to watercolors and ink drawings, and of varied subjects, demonstrating the artist’s impressive versatility.

Pumphrey’s smaller solo show the following year at the Mexican-Northamerican Cultural Institute in Mexico City featured 19 oils and 17 watercolors; it included a self portrait alongside animal, coastal and jungle studies.

Pumphrey’s techniques and preferences changed markedly over the years. In 1971, the Oakland Museum showed a short film “Bert Pumphrey, Pleasanton Artist,” which depicted how Pumphrey liked to paint: using palette knives, including some of his own design, to cut through successive layers of paint to achieve the color, texture and form he wanted. (This technique was similar to that used for traditional lacquer work in Mexico). For these paintings, Pumphrey worked on masonite, rather than canvas, and on a table, rather than an easel.

Bert Pumphrey. 1969.

Bert Pumphrey. 1969.

Pumphrey completed murals for several public buildings, clubs, churches and private homes in Mexico (presumably mainly in 1950s), as well as murals in the Kost building, Sacramento (1955) and the Seagull Motel, Salt Lake City (1959).

Bert Pumphreys’s confirmed group shows include Los Angeles Art Association (1946, 1947); Chaffey, Ontario, California (1947); Biblioteca Cervantes, Mexico City (1952); Artists’ Market, Oakland, California (1954) and Valley Art Center, Contra Costa, California (1955).

In addition to the three possible shows in Ajijic and one (also unconfirmed) in the Virgin Islands, Pumphrey’s solo shows included Palace of the Legion of Honor, San Francisco (1946); American Contemporary Gallery, Los Angeles (1947, 1948); Palette Club, Salt Lake City (1947); Galería Pemex, Mexico City (1960); lnstituto Mexicano-Norteamericano de Relaciones Culturales, Mexico City (1961); Little Gallery, Philadelphia (1967); Cory Gallery, San Francisco (1969); and La Cienega Gallery, Los Angeles (1971).

The artist spent his final years in South Pasadena, where he died on 20 June 2002.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Bingham Bulletin 12 Sep 1941, 5; 3 Sep 1954, 3
  • Contra Costa Gazette 11 Feb 1954, 5; 22 Jul 1955, 4
  • Contra Costa Times 25 Feb 1954, 5
  • Daily Herald 08 May 1936, 3
  • Justino Fernández. (a) 1953 (b) 1961 (c) 1962. Catálogos de las Exposiciones de Arte en los años 1952, 1960 and 1961. Anales del Instituto de Investigaciones Estéticas, Mexico.
  • Los Angeles Times 16 March 1941, 21; 16 March 1941, 21; 23 Mar 1941; 24 March 1946, 26; 6 Jul 1947, 26; 21 Sep 1947, 28; 04 Jul 1948, 45; 25 Jul 1971, 425
  • Oakland Tribune 14 Feb 1954, 91; 31 Jan 1971, 125
  • Pasadena Star-News. 2002. Bertrem Pumphrey (obituary). 29 June 2002.
  • Philadelphia Inquirer 04 Jun 1967, 141
  • Sacramento Bee 22 Jan 1955, 52
  • Salt Lake Tribune 02 Nov 1947, 64; 10 Aug 1947, 48; 14 Dec 1947, 72; 12 Jul 1959, 29; 18 Oct 1964, 78
  • San Francisco Examiner 29 Sep 1946, 135; 28 Dec 1969, 142

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.

 

 

Dec 152022
 

Japanese artist Masaharu Shimada, who specializes in sumi-e pen and ink drawings and has held dozens of acclaimed exhibitions in Mexico and his native Japan, lived for several months each year in San Antonio Tlayacapan from 1986 onwards. His exquisite works include numerous evocative monochrome impressionist landscapes of Ajijic and San Antonio Tlayacapan.

Sumi-e, which means black ink painting, developed over several centuries in Japan, after Zen Buddhist monks from China first introduced their deceptively simple techniques and style back in the fourteenth century. Chinese ink is applied to paper using brushes traditionally made of hair, bamboo or feathers.

Born in Nakagyo, Kyoto, in 1931, Shimada graduated from the calligraphy department of Tokyo Gakugei University in 1953 before teaching himself the techniques of sumi-e. He held his first solo show of sumi-e at the Chuokoron-sha Gallery, Tokyo, in 1961.

Masaharu Shimada. 2000. Cerro y lago de Chulavista.

Masaharu Shimada. 2000. Cerro y lago de Chulavista.

In 1967, he visited Mexico for the first time and stayed six months. Two years later, he produced his first book, México en Sumi-e, published by Mokuji-sha, Tokyo.

He returned to Mexico in 1970 and held a solo show at the University of Guanajuato. In 1972, during his third visit to Mexico, he had a one-person show in Valle de Bravo, in the State of México.

Over the next decade, he revisited Mexico almost every year, before deciding in 1986 to establish a seasonal home in San Antonio Tlayacapan on Lake Chapala.

Masaharu Shimada. 1999. Casa antigua de San Antonio Tlayacapan.

Masaharu Shimada. 1999. Casa antigua de San Antonio Tlayacapan.

During the course of his long love affair with Mexico, Shimada has produced several more books, including México Pintado en Tinta China and Colección de Pinturas en San Antonio (both published by Editorial Work House, Tokyo) and México Pintado en Tinta China, published in 2003 by Editorial Artes Gráficas Panorama S.A. de C.V. in Mexico City.

Shimada’s major solo exhibitions in Mexico include: University of Guanajuato (1970); Valle de Bravo (1972); Museo Alhondiga de Granaditas, Guanajuato (1978); Galería Arvil, Mexico City (1977, 1979); Casa de Cultura, Guadalajara (1988); Instituto Cabañas, Guadalajara (1989); Museo Pueblo de Guanajuato (1980, 1983, 1988, 1995); Colegio de Michoacán, Zamora (1996); Televisa, Guadalajara (1998); Nikkei Cultural Center, Mexico City (1999); Museo Casa de Arte Olga Costa-José Chávez Morado, Guanajuato (2001); Yakult Cultural Center, Guadalajara (1994, 2002); and Galería Ramón Alva de la Canal, Xalapa, Veracruz (2016).

The 48 sumi-e works Shimada displayed at the last named show included Lago y casa de San Antonio Tlayacapan, Chapala, Jalisco (1995); Fantasía de árbol de nopal (1996); Nopales (1997); and Panorámica de Guanajuato (2000).

The catalog of images from this exhibition can be viewed on issuu.com.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

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.

Dec 082022
 

By the 1970s the Ajijic retirement community was sufficiently established that it attracted academic attention. The earliest study, never formally published, was by Dr Edwin G Flittie, a professor of sociology at the University of Wyoming. Flittie visited in 1973 and subsequently presented copies of “Retirement in the Sun,” his analysis of the retirement community, to the Lake Chapala Society Library. Like several later studies of foreign migrants, Flittie considered the Chapala-Ajijic region as a single unit, and not as two communities with their distinct histories as regards tourism and retirement. Flittie interviewed more than 100 retirees and found that many had failed to appreciate the substantial cultural differences between the US and Mexico, or recognized that the emphasis for many local residents was “not on material gain but rather on the attainment of a satisfying existence traditionally based upon agrarian economic self-sufficiency.”

Flittie estimated that about 60% of retirees were aged 60 to 74, and 14% were 75 or older. Very few were fluent in Spanish and 88% reported that their social life centered on fellow expatriates and other English-speaking individuals. Flittie found that most retirees lived much as they would have lived in the US. The main problems they faced were related to excessive drinking, marital and family discord (men adapted better than women), boredom, bribery, interactions with the local community, domestic help and old age. Flittie returned briefly in December 1977 to research the impacts of the massive 1976 devaluation of the peso from 12.5 pesos to a dollar to about 22.5 pesos to a dollar.

Juan José Medeles Romero, in his 1975 thesis proposing an urban development plan for Ajijic, detailed how the village had approximately tripled in size between 1900 and 1950, and then doubled in size the following decade. And this was even before the addition of numerous subdivisions such as Rancho del Oro and La Floresta. Curiously, Medeles ignored the impacts of foreigners and only mentioned them in passing.

academic-studies-titles

A few years later, Mexican sociologist Francisco Talavera Salgado focused solely on Ajijic when, in Lago Chapala, turismo residencial y campesinado, he examined the varied impacts of foreign residents on the local community. His important findings are described in detail in several chapters of Foreign Footprints.

At the end of the 1970s anthropologist Eleanore Moran Stokes also homed in on Ajijic. She divided the evolution of the village after ‘Discovery’ into three phases: Founder (1940s to mid 1950s), Expansionary (mid 1950s to mid 1970s) and Established Colony (mid 1970s through the 1980s).

Several of her informants considered the representation of Ajijic in the Dane Chandos novels (Founder phase) to be non-fiction; to Stokes, this was “the local equivalent to a creation myth.” The nature of migrants changed in each stage. During the Founder phase, Ajijic served, in her view, largely as an artists’ colony. These “young single well-traveled” artists were resourceful and independent individuals who had little impact on the village beyond the employment of domestic help; most of them learned the language, liked the cuisine, and blended into the local community.

Later (Expansionary phase) arrivals tended to be members of the affluent and retired middle class, many of whom had traveled widely, either in the military or working for international corporations. These newer arrivals did materially change the village. By infusing cash into the local economy and starting businesses they created “a new wage labor class in the village.” By upgrading village homes they distinguished their residences from those of local families. By retaining their language, food and lifestyle preferences, these incomers established a social distance from their host community, even forming “privileged associations for recreation, friendship and religion.” In essence, many of these migrants wanted to make many aspects of life in Ajijic more like the US.

Such tendencies continued into the Established Colony phase. Vacant houses became increasingly scarce and agricultural land was parceled for vacation and retirement homes. The foreign community greatly boosted philanthropic activities, especially those helping children, though this stage also saw a marked social stratification develop within the foreign community.

Stokes estimated that foreigners occupied about 300 of the 950 houses in the village in 1979, but comprised less than 8% of the population. Like Talavera, she viewed retirees as agents of change, not merely spectators of ongoing social processes, though they felt a sense of powerlessness in regards to what they saw as deficiencies in the provision of such services as water, electricity, telephone, garbage collection and police.

Sociologist Charlotte Wolf, who moved to Ajijic with husband Rene in the early 1990s, was interested in how individual retirees adapted and constructed a new life for themselves in Ajijic.

Among the conclusions in 1997 of Lorena Melton Young Otero, who looked specifically at US retirees, was that they created new jobs, donated to charities and hastened “modernization,” but that their presence was driving up the cost of living for local people. In a later paper, she examined in detail the mourning ritual and other customs in Ajijic following the death of a child (angelito).

The evolutionary framework developed by Stokes was used by geographer David Truly to examine how the type of migrant has changed over the years and to develop a matrix of retirement migration behavior. Like Stokes, Truly concluded in 2002 that newer visitors (including retirees), and unlike earlier migrants, had less desire to adapt to the local culture and were more keen on ‘importing a lifestyle’ to the area.

Stephen Banks, author of Kokio: A Novel Based on the Life of Neill James, conducted dozens of interviews to study the identity narratives of retirees while living in Ajijic in 2002-2003. All respondents depicted Mexicans, both generally and individually, as “happy, warm and friendly, polite and courteous, helpful and resourceful.” However, at the same time, many shared instances in which they thought Mexicans had been untrustworthy, inaccessible, lazy and incompetent. Banks concluded that the responses revealed:

a struggle to conserve cultural identities in the face of a resistant host culture that has been colonized…. The Lakeside economy is dominated by expatriate consumer demand; indigenous commerce in fishing has disappeared as new employment opportunities opened up in the services sector; local prices for real estate (routinely listed in US dollars), restaurant dining, hotel lodging and most consumer goods are higher than in comparable non-retirement areas; traditional Mexican community life centered around the family has been supplemented, and in some cases supplanted, by expatriate community life centered around public assistance and volunteer programs… and the uniform use of Spanish in public life is displaced by the use of English.”

Lucía González Terreros is the lead author of two recent papers that explore the complexity of defining residential tourism and how alternative definitions relate to property rights, transaction costs and common goods. The research arose from her personal concerns about the rapid increase in the number of foreigners in Ajijic since 1990.

Equally interesting is the work of Francisco Díaz Copado, who looked at how Ajijic is being shaped by both local and foreign “rituals,” such as the annual Fiesta of San Andrés and the Chili Cookoff respectively. In his 2013 report, Díaz Copado also examined “the different ways in which people describe and name the different zones of Ajijic… [which] reflect some historical conflicts.” Two annotated maps sharply contrast traditional locations and names with those used by retirees.

Marisa Raditsch investigated the impacts of international migrants settling in the municipality of Chapala “based on the perceptions of Mexican people in the receiving context.” This 2015 study found that these perceptions tended “to be favorable in terms of generating employment and contributing to the community; and unfavorable in terms of rising costs of living and some changes in local culture.”

Social anthropologist Vaira Avota, writing in 2016, also looked at the relations between foreigners and locals in Ajijic. She drew a sharp distinction between “traditional immigrants,” who wanted to truly understand Mexico’s culture, traditions,… [learn] Spanish and willingly participate in local activities,” and “new immigrants,” who wanted to live in a version of the US transplanted to Lake Chapala.

The impacts of this shift in migrant type were further explored by Mexican researcher Mariana Ceja Bojorge, who focused squarely on the relationships and interactions between local Ajijitecos and foreigners. She concluded in 2021 that the shift “endangers the acceptance of the presence of the other” and that “Although the presence of foreigners has generated economic well-being in the area, it has also been responsible for the reconfiguration of space, where locals have been forced to leave their territory.”

This is a lightly edited excerpt from the concluding chapter of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village, which offers a comprehensive history of Ajijic including full bibliographic details of all the studies mentioned.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

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.

Oct 132022
 

Thurston Wells Munson was in his eighties when he decided to have a winter studio in Chapala in 1988. Munson had already enjoyed an extraordinarily varied artistic career since first studying art in his teens.

“Tee” Munson was born in Greenfield, Massachusetts, on 24 April 1906 and died there at the age of 92 on 7 October 1998.

In 1923 he used funds earned as a deckhand on a ship to Guatemala to take art courses at the Museum School of Art in Philadelphia. Then, a prize for an early work paid for a trip to Paris where he met Pablo Picasso and Ernest Hemingway. Poker winnings and the sale of a portrait enabled Munson to travel to North Africa. In 1928 he traveled to Bombay (Mumbai), India, crossed through the Khyber Pass and was commissioned to paint life-sized portraits of the British commissioner in Srinagar and his three predecessors. (Munson published a booklet of some of his portraits in 1991.)

Back in Paris in 1929 he opened his first studio and held a solo show in the city before moving back to the US later that year. The following year Munson and his brother, Calude, held a joint show at the Artist’s Guild of Springfield, described by one reviewer as “a varied and pleasant show of paintings in oil and water-color.”

Thurston Munson. ‘Mural’ (formerly in Adajian's restaurant) Credit: Jane Dee / Hartford Magazine

Thurston Munson. ‘Mural’ (formerly in Adajian’s restaurant) Credit: Jane Dee / Hartford Magazine

After his plans to turn a stone mill in Greenfield into an art school failed during the Depression, Munson stayed afloat financially by boxing professionally, hustling at pool, and painting large canvass ‘murals’ for the walls of hotels and restaurants. These included an exotic painting (more of which later) for Adajian’s restaurant on Asylum Street in Hartford, Connecticut.Munson held a solo show of artworks in New York in 1934, before turning his attention to architecture and designing nightclubs from New York to Maine.

Thurston Munson. ‘Mural’ (formerly in Adajian's restaurant) Credit: Jane Dee / Hartford Magazine

Thurston Munson. ‘Mural’ (formerly in Adajian’s restaurant) Credit: Jane Dee / Hartford Magazine

In the early 1950s, Munson had two studios in Massachusetts (in Springfield and Rockport) and was a member of the Rockport Art Association. By 1952 he had become a partner in the Springfield architectural and engineering firm of Munson & Mallis. He remodeled a two-family Victorian house in Springfield in the style of Frank Lloyd Wright. The “Thurston Munson home” at 60 Byers Street now features prominently on the walking tour of the Springfield Preservation Trust. Featured in architecture magazines, people either loved it or hated it.

In this productive period, Munson designed sets for Berkshire Ballet productions and completed numerous portraits of players inducted into the original Basketball Hall of Fame in Springfield. He also designed churches throughout New England, became president of the Society of American Registered Architects, and created a magnificent 92-foot mosaic for the Church of the Holy Cross in Portland, Maine, comprised of more than 235,000 pieces of Venetian glass.

Thurston Munson. ‘Mural’ (formerly in Adajian's restaurant) Credit: Jane Dee / Hartford Magazine

Thurston Munson. ‘Mural’ (formerly in Adajian’s restaurant) Credit: Jane Dee / Hartford Magazine

He told a journalist in 1988 that he had purchased a winter home on Lake Chapala where he planned to spend five months each year “doing nothing but paint…. There will be no telephone. It is my answer to the many who have criticized me for not producing more of the sort of thing that was my early intent. But the Depression came along, together with three children and a complete collection of economic problems.”

At about this time Munson asked for help in locating the various canvass murals he had done for Greenfield Schools, pointing out that they now had a significant economic value since his wall-sized canvasses were priced at $200 a square foot. He offered to maintain them (unrolled) in his Chapala studio until Greenfield found a suitable place to display them.

The fourteen ‘murals’ in Adajian’s restaurant, an upmarket restaurant which opened in 1947, remained on show for almost forty years; they continued to interest patrons and art classes used to go there to study them. Described variously as fantasy or surrealistic, they depicted tales from the Arabian Nights. After the restaurant closed in 1986, Munson restored them for display in a gallery in Greenfield. Since 2004 they have been held in storage at National Library Relocations in Three Rivers.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village explore the history of the vibrant art community of Ajijic.

If you have a painting by Thurston Munson or can offer more details about his time in Chapala, please get in touch!

Sources

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.

May 122022
 

Julián Pulido Pedrosa was one of the group of talented artists who formed the Jovenes Pintores de Ajijic (Young Painters of Ajijic) in 1977.

Tragically, a decade later, Ajijic-born Pulido died on the highway between Tuxcueca and Tizapán el Alto in mysterious circumstances, while still a young man, not yet thirty years of age. He had already proved himself to be an outstanding artist, one of the first generation of local Ajijic artists to impress art critics with their extraordinary talents and creativity. Who knows how far Pulido might have taken his art had he only lived longer. Julián Pulido left behind his wife, Delma, and their three young children. In the wake of the tragedy, local and foreign artists organized an art sale (at the home of David Finn) as a benefit for his widow and children.

Like most other members of the Young Painters of Ajijic, Pulido first developed an interest in art during classes at the Children’s Art Program, organized by Neill James.

Undated. Untitled. AMA (Ajijic Museum of Art)

Julian Pulido. Undated. Untitled. AMA (Ajijic Museum of Art)

Pulido was one of several young students chosen by Neill James to receive a scholarship to further their art education either in San Miguel de Allende or Guadalajara. After studying at the Escuela de Artesanías in Ajijic, Pulido completed his formal art studies with five years at the Escuela de Artes Plásticos of the University of Guadalajara.

Detail from Julian Pulido painting. Reproduced courtesy of Georgette Richmond.

Detail from Julian Pulido painting. Reproduced courtesy of Georgette Richmond.

Pulido, who subsequently taught at the Escuela de Artesanías, worked in a variety of media and at a variety of scales, from small drawings and watercolors to large murals, including one at the Escuela de Artesanías in Ajijic and several others in public buildings in Guadalajara. [Does anyone have details to share?]

Studying alongside Pulido at the University of Guadalajara was another young local artist, Dionicio Morales. The two students held a joint exhibition of their watercolors, paintings and drawings at the Galería del Lago in Ajijic from 29 August to 11 September 1975. (The news was relayed to the English-speaking community in Joan Frost’s very first column for the weekly Guadalajara Reporter; Frost went on to become one of the paper’s most regular and dependable contributors.)

The following year, a new gallery, the “José Clemente Orozco Gallery” opened in March 1976 in Ajijic, with Dionicio Morales as director. In addition to Morales and Pulido, the gallery’s members—all exhibiting artists—were Jonathan Aparicio, Antonio Cárdenas, Antonio López Vega, Havano Tadeo, Henry Edwards, Sid Schwartzman and Frank Barton.

In 1977 the Guadalajara Reporter informed readers that Morales and Pulido had won the top two prizes in a Latin America-wide competition held to select artwork for the 1977 calendar of The International Federation of Family Planning. [If anyone has a copy of this calendar, please share!]

An exhibit which opened at the Instituto Anglo-Mexicana de Cultura in Guadalajara in October 1980 featured the works of Pulido and Morales alongside the work of a third Ajijic artist, Jesús Real.

Pulido held solo shows at the Centro de Artesanías de Ajijic (1980-81), the Presidencia Municipal de Yahualica (March 1981), and one entitled “Mi Pueblo” at Galería Universitaria in Guadalajara (November 1981). He also held a two-person show with Ernesto Flores G. at the Presidencia Municipal of Ciudad Guzmán (March-April 1981).

Work by Julian Pulido Pedrosa (c. 1958-1987) is deservedly included in the permanent collection of the Ajijic Museum of Art.

Sources

  • Ojo del Lago, April 1985; June 1987.
  • El Informador, 21 October 1980; 8 December 1980; 2 March 1981; 6 April 1981; 5 November 1981.
  • Guadalajara Reporter, 30 Aug 1975; 13 March 1976, 21; 16 Apr 1977, 19: 2 May 1987, 24.
  • Regina Potenza, personal communication.

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.

May 052022
 

Norwegian illustrator, printmaker and painter Eva Lange (1944-2017) traveled widely, held more than 30 solo shows and exhibited works in more than 200 group shows worldwide. Lange drew and produced lithographs in Ajijic in 1979-80, and held a solo show in the village in 1980 at the gallery in Mi México.

Eva Lange. Photo: Nancty Bundt. Creative Commons 4.0

Eva Lange. Photo: Nancty Bundt. Creative Commons 4.0

Lange was born in Arendal, Norway, on 15 June 1944 and died in Hvaler on 12 May 2017.

After studying art in Oslo at the Norwegian National Academy of Craft and Art Industry (1963-1965) and at the Norwegian National Academy of Fine Arts (1965-1969), Lange’s exhibition debut came while she was still a student. Lange later spent two years (1977-79) working at the lithograph workshop of the Norwegian School of Crafts and Design.

In the early 1970s, Lange was a member of the artist collective Gras, and became leader of the Young Artists Society (UKS) in 1974, and the initiator of the Artists’ Action-74. She later served on the board of NBFO (Norwegian Visual Artists) and on the supervisory board of Kunstnernes Hus.

Eva Lange. Øyer. Credit: Fineart.no

Eva Lange. Øyer. Credit: Fineart.no

Lange was married to painter and sculptor Victor Lind from 1963-1974. She lived the last years of her life with partner Erik Frisch, an author, at Hvaler, where she established the Hvaler Art Association, led the international sculpture project “Stone Art Whales” in Ytre Hvaler National Park, and ran the annual visual art, poetry and music event, “Pentecostal exhibition at Knatten.”

Lange held more than thirty solo shows in addition to her show in Ajijic, including exhibitions in Norway, several other European countries, and Egypt.

Lange won numerous major awards and was the recipient of the 2001 Prince Eugen Medal for Sculpture (Norway’s highest artistic honor).

Eva Lange. Dragsug. Credit: Fineart.no

Eva Lange. Dragsug. Credit: Fineart.no

Her art is well represented in major public collections, including those of the National Gallery of Norway, Norwegian Cultural Council, Oslo Municipality, Fredrikstad Municipality, Bibliothéque Nationale des Éstampes (Paris), The National Museum of Fine Arts (Malta), Woburn Fine Arts (England), Alexandria Center of Arts (Egypt), Silpakorn University Collection (Bangkok, Thailand) and L’Universita di Pavias Art Collection (Italy).

Eva Lange. 1979. Svermere. Collection AMA.

Eva Lange. 1979. Svermere. Collection AMA.

A collection of Eva Lange lithographs from her time in Ajijic has been loaned by Katie Goodridge Ingram to the Ajijic Museum of Art (AMA), which opened 1 June 2022.

Eva Lange. 1979. Untitled. Collection AMA.

Eva Lange. 1979. Untitled. Collection AMA.

Lange is quoted on the website of the gallery that represents her work as explaining that,

“You can probably say that my pictures are a bit strange and melancholy. I have no goal of meeting everyone, but I want to reach those who recognize themselves and find closeness in the “story.” I do not speak primarily to the mind, but more to the heart. There is something beneath in my pictures, you have to open up to find this.”

Note

Another Norwegian-born artist has links to Ajijic: the portraitist Synnove Pettersen lived in the village in the mid-1970s.

Acknowledgment

My thanks to Katie Goodridge Ingram for bringing this artist and her connection to Ajijic to my attention.

Main Source

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.

Oct 212021
 

Jan Sullivan (1921-2016) was a regular visitor to Ajijic and the surrounding area for more than 35 years. She accompanied noted American artist Hazel Hannell, who chose to spend the winter months in Ajijic for several years in the 1980s. Other members of this small loose-knit group included the noteworthy artists Harriet Rex Smith (1921-2017) and Elizabeth Murray. Sullivan was only a child when she first met Hannell; on a trip to Europe in 1928, Hannell and her husband, Vin, visited Paris and called on Sullivan’s parents, Nels and Myrtle (Bachli) Malmquist.

Jan Sullivan. d.u. "Lakeside Life" (oil).

Jan Sullivan. date unknown. “Lakeside Life” (oil).

Fifty years later, Sullivan founded the Art Barn and school in rural Valparaiso, Indiana. Currently for sale at the Art Barn is this lovely oil painting of a scene near Ajijic by Sullivan titled “Lakeside Life.”

The accompanying text reads:

Janet spent over 35 years in and around Ajijic, Mexico, going to the villages surrounding Lake Chapala with the mountains keeping the towns small and up against the lake. Lakeside life enthralled Janet who loved the old adobe structures, the bushes and trees climbing the hills. She chose a plein air painting spot to view the houses against the azure mountains, the lake to her back, sitting on the roadside engrossed in the color and texture of buildings along the shore.”

Janet (“Jan”) Malmquist Sullivan was born in Chicago on 5 June 1921 and died at her home in Valparaiso on 19 April 2016, predeceased by her husband, Maurice “Bud” Sullivan, who had passed away in May 1979. Jan seta side time to develop her own art throughout her career as a supervisor of art education for the Chicago Schools. She later taught art at Valparaiso University.

The Sullivans established the Art Barn—a project encompassing art education, exhibitions and events—in 1977 with the help of a grant from the Indiana Arts Commission. The location was a nineteenth-century farm near Valparaiso the couple had purchased in 1969.

Sullivan amassed a significant art collection, both to support local artists and to serve as an investment to provide a lasting legacy to support the Art Barn. She bequeathed her entire collection – more than 2000 items – to the Art Barn School of Art to ensure that it would have the means to continue its important mission.

Sources

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.

Sep 162021
 

Noted American artist Hazel Hannell was already in her eighties when she chose to spend the winter months in Ajijic. Hannell became a regular visitor for several years in the 1980s. This charming costumbrista woodblock from those years was sold on eBay. Hannell continued to paint and produce artworks until she was 103 years old.

Hazel Hannell. c 1985. By Lake Chapala. Woodblock.

Hazel Hannell. c 1985. “By Lake Chapala.” Woodblock.

Mary Hazel Johnson (later Hannel) was born on 31 December 1895 in LaGrange, Illinois, trained as a secretary, and studied art at the School of the Art Institute in Chicago and the Emma Church School of Art in Chicago. She was an extraordinarily versatile artist. In her lengthy career she had success in a variety of media, from watercolor painting, woodblocks and red clay pottery, to tiles, murals and commercial fabric and wallpaper designs for Marshall Field.

Hazel celebrated her 28th birthday in 1923 by marrying Finnish-American artist Vinol Hannell (1896-1964). After visiting artist friends in Furnessville, Indiana, the couple built a summer home there, before moving there permanently in the 1930s.

[Coincidentally, Furnessville has a particularly strong connection to Lake Chapala. Dwight Furness, a member of the family after whom Furnessville is named, settled in Mexico in the late nineteenth century and built the famous Hotel Ribera Castellanos on a lakeside estate between Ocotlán and Jamay in the early 1900s.]

Hazel Hannell was an activist in the suffragette movement, and she and her husband were both active environmentalists and instrumental in the 1950s in helping to preserve the Indiana Dunes. The Hannells also served as leaders in the No-Jury Society and the Chicago Society of Artists, and helped found the Association of Artists and Craftsmen of Porter County.

Hannell was accompanied on her trips to Ajijic by several other noteworthy artists, including Harriet Rex Smith (1921-2017), Elizabeth Murray and Jan Sullivan (1921-2016). She moved to Oregon in 1988 to live and work with Rex Smith, and died there on 6 February 2002 at the age of 106.

Hannell often chose not to sign her work. At about the time of her final visit to Lake Chapala, she was quoted in a newspaper interview as saying: “Hamada, a Japanese master potter, says you really ought not have to sign things, your works should be recognizably yours.”

Hannell’s woodblock art was featured in the Chicago Society of Artists annual calendar, and her varied works have been shown in major exhibits at the Brauer Museum of Art (Valparaiso University), Dankook University, Indianapolis Museum of Art, Northern Indiana Art Salon, Gary Southern Shores Exhibit, Dunes Art Foundation, and South Bend Art Center. The Valparaiso University has numerous works by Hannell and her husband in its permanent collection.

Sources

  • Biography from Brauer Museum Of Art
  • Dani Dodge. 1996. “While the Light is Good, Hazel Hannell, 100, Paints.” Seattle Times, 21 January 1996.
  • Margaret L Willis. 1987 “Artist’s Story Is a Tale of the Dunes.” The Chesterton Tribune, 14 August 1987, 4.

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 252021
 

Of all the extraordinary individuals and groups visiting Ajijic during “hippie times”, one of the most curious was the group called The Illuminated Elephants (Los elefantes iluminados).

The Illuminated Elephants visited Ajijic in 1982. The group, a traveling theatre “family” that had once been known as The Hathi Babas, adopted elements of the hippie movement, and had about twenty members at the time it visited Lake Chapala. The group’s co-founders included Mexican activist Alberto Ruz Buenfil.

The group lived in “old, converted school buses and vans,” and shared group expenses and some communal spaces, such as an office and show preparation area. They had roved the world for more than thirteen years prior to visiting Ajijic, hoping to find “a place to settle.”

John Frost. c 1983? Elefantes iluminados visit Ajijic.

John Frost. 1982. Elefantes iluminados visit Ajijic.

Jocotepec photographer John Frost took this photo of the group during their relatively short stay in Ajijic, “camping” by the lake.

John Frost. c 1983? Elefantes iluminados visit Ajijic. (detail)

John Frost. 1982. Elefantes iluminados visit Ajijic. (detail)

Among those traveling with this “traveling gypsy theatre group” in 1982 was Nicolas Morris, who was making a return trip to the area. As a child, Morris had lived with his artist-potter parents David and Helen Morris in Chapala in the early 1950s before the family moved back to California. Nicolas recalls that the Elefantes iluminados camped at the “old gold mill of so much legend and fame.” That property, close to the lakeshore on Calle Flores Magón, was owned at the time by “La Rusa” (Zara Alexeyewa).

John Frost. c 1983? Elefantes iluminados visit Ajijic. (detail)

John Frost. 1982. Elefantes iluminados visit Ajijic. (detail)

Apparently, Ajijic did not offer exactly what they were looking for as a place to settle. From Lake Chapala, The Illuminated Elephants continued on to Tepotzlán in the central Mexico state of Morelos, which proved to be their chosen destination. There they began building La Ecoaldea Huehuecoyotl, or “Huehue,” a village that embraces sustainability and now has more than a dozen homes. Residents include a wide variety of artists, poets, craftsmen, actors and musicians who offer courses and bilingual performances for schools and adult audiences while actively supporting their local communities. Huehue is a member of the Global Ecovillage Network and visitors are welcomed.

There are several interesting connections between Lake Chapala and Tepotzlán. For example, German poet Gustav Regler established his home on a Tepoztlán farm in the 1950s and lived there to his death in 1963. Several other artists who had lived in Ajijic on Lake Chapala moved to Tepoztlán in the 1970s and 1980s. They included  sculptor and painter Adolfo Riestra; photographer Toni Beatty and her husband, Larry Walsh (who all moved there in 1976); and painter and guitarist Gustavo Sendis.

Acknowledgments

  • My sincere thanks to Richard Tingen for sharing John Frost’s photo with me, and to Nicolas Morris for sharing memories of his time with Los elefantes iluminados.

Please feel free to comment or suggest corrections or additional material related to any post, via our comments feature or via email.

Jan 282021
 

Xavier Pérez Aguilar became well known in Ajijic in the 1980s and 1990s for his fine watercolor landscapes and portraits.

According to a “Profile of the Artist” in El Ojo del Lago, Pérez was born in Ocotlán (near the eastern end of Lake Chapala) but was raised and educated in Southern California. He worked in industrial design before entering Los Angeles City College to study a liberal arts program. He then attended the Art Center College of Design, and studied painting under Leon Franks, Sergei Bongart and Constance Marlow.

Xavier Perez Aguilar. Undated. Reproduced courtesy of Ricardo Santana.

Xavier Pérez Aguilar. Untitled, undated. Reproduced courtesy of Ricardo Santana.

With Marlow, he started the Valley Branch of the Art League of Los Angeles in 1968, under whose auspices he taught and gave painting demonstrations for 15 years. In August 1968 he exhibited ”Pico Adobe” in an invitational group show at the San Fernando Mission in Los Angeles. Both Sergei Bongart and Constance Marlow also had works in that show.

At the Art League, Pérez gave life and drawing classes. Elsewhere, he gave a demonstration of palette knife techniques at an art society meeting in Los Angeles, in September 1968, and conducted flower painting classes in Chino. In January 1975, Pérez, billed as a  “renowned artist and sculptor,” gave a demonstration in sculpturing at the San Fernando Valley Art Club. By that time, Pérez had founded the Xavier Pérez Studio.

According to the biographical profile in El Ojo, “Xavier’s works brought on a degree of notoriety and an accumulation of awards which ultimately led to personality conflicts within the League. He stopped showing his paintings in public.”

After this Pérez moved back into the design business and combined the restoration of antiques with designing and making reproduction furniture.

Xavier Perez Aguilar. 1979. Lake Chapala. Courtesy of Richard Tingen.

Xavier Pérez Aguilar. 1989. Lake Chapala. Reproduced courtesy of Richard Tingen.

Pérez visited Lake Chapala in 1979 and returned to live at Lake Chapala in 1984, establishing his home in Ixtlahuacán de los Membrillos. He opened the Galeria P. Bonnard, at Calle 16 de Septiembre #7 in Ajijic, the building where Enrique and Belva Velázquez have their joint studio today.

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

In 1986, Pérez was elected the first president of the Ajijic Society of the Arts (ASA). He saw his mission as forging greater unity among all the local artists. In addition, he began a project to restore and maintain the collection of archaeological finds started by the late Dr. Betty Bell.

Pérez was also a co-founder (with Tod Jonson, Ektor Carranza, Florence Pritikin and Pat Tanaka) in 1986 of the Culinary Arts Society of Ajijic (CASA).

Acknowledgments

  • My sincere thanks to Ricardo Santana for first bringing this artist to my attention, and to Richard Tingen and Judy Eager for sharing their memories of the artist.

Sources

  • El Ojo del Lago, September 1986
  • Valley News (Van Nuys, California): 1 February 1968, 74; 27 Aug 1968, 14; 24 Sep 1968, 24; 14 June 1973, 77; 14 January 1975, 26.

Please feel free to comment or suggest corrections or additional material related to any post, via our comments feature or via email.

Dec 102020
 

John Upton, the translator of poets such as Pablo Neruda and Miguel de Unamuno, and of several seminal works of Spanish literature, lived (off and on) in Ajijic from 1949 to the early 1990s.

In the early 1950s, Upton submitted several colorful pieces about Ajijic and Mexico for the San Francisco Chronicle, including one about the seasonal summer influx of art students:

I had the good fortune to spend an afternoon with Upton at his home in Ajijic in 1990. He was a most gracious host and very supportive of my efforts to document the life of “Zara”— “La Rusa”—the famous ballerina, a longtime resident of Ajijic, who had died in the village a few months earlier.

A couple of years ago, after I’d written a profile of Upton for this blog, I was visiting with journalist and good friend Dale Hoyt Palfrey. I don’t recall how the topic of Upton came up. But she suddenly broke off the conversation and left the room for a few minutes. She returned clutching a small blue notebook which she handed to me. To my surprise it was one of Upton’s notebooks, written and illustrated in his own hand. She insisted on me taking the notebook (I consider myself its custodian rather than its owner) so that I could see what gems it contained.

The pages offer a sneak peek into Upton’s many interests. Scattered notes suggest that it accompanied him on a trip to Mexico City and the Maya region of the Yucatán Peninsula and Guatemala. Page after page contains notes—usually illustrated with informal sketches—regarding the reading of Maya glyphs and numbers.

Extract from p 23 of John Upton's notebook; all rights reserved.

Extract from p 23 of John Upton’s notebook; all rights reserved.

Other pages of the notebook record vocabulary that Upton, for one reason or another, found interesting. Upton, a highly skilled translator, was considered an expert in the idiomatic and colloquial usage and translation of Spanish, with all its regional differences. These pages shed some insight into how Upton acquired his extraordinary linguistic proficiency.

Extract from p 37 of John Upton's notebook; all rights reserved.

Extract from p 37 of John Upton’s notebook; all rights reserved.

Upton was a keen observer as he traveled. The notebook includes this short piece of prose, headed “Extraneous page,” apparently written to share later with a writing colleague:

Could you make a story of this scene in Mexico City?

Couple at the next table: woman of about 45, too much make up, clothes too loud, obviously a whore, sitting with a very shy young man. He is wolfing food as fast as she can order it (she eats nothing – just sits and watches him eat) and as fast as the waitress can bring it: soup, sandwich, order of enchiladas, milk, coffee, large piece of cake – all these are on the table and she orders something else when it occurs to her. She smokes a cigarette and never takes her eyes from his face. (On second look, there are TWO glasses of milk.)

“But, chico! Why didn’t you tell me? Sure you needed a woman, but you can’t spend your last twenty pesos that way. You have to eat, niño!”

He looks up at her from his soup and smiles, shyly; whereupon her battered face lights up and she seems quite pretty.     — [pages 71-72 of notebook]

I would love to know whether this scene was ever incorporated into a short story or book.

Even at the best of times, traveling is sometimes stressful. One evening in San Miguel de Allende, Upton used his notebook (pages 81-82) to vent his frustration at events earlier that day.

Mexicans at their most maddening:

Upon getting off the train at San Miguel A., we were met by two porters who latched on to the suitcases. The women wanted to buy return tickets before leaving the station, as it is some distance from town.

—“Where is the ticket office?”

—“This way.” Men pick up suitcases and we follow them for 300 yards to the far end of the station building. We reach the door and he puts down the bags. “Only it isn’t open right now.”

—“Well, when does it open?”

—“In the morning.”

—“At what time?”

—“In the morning – about noon.”

This information didn’t satisfy me. I walked around the grounds until I found a man who looked knowing. —“When does the ticket office open, please?”

—“The ticket agent just left a couple of minutes ago. It’s closed now.”

—“Yes, I know it’s closed. What I want to know is when it opens.”

—“It’s closed for the rest of the day. The man just left. He went to Celaya.”

—“Well, what about tomorrow? When will he be here?”

—“He won’t open tomorrow, because it is Sunday. Not until Monday.”

—“And when will he open Monday?”

—“Oh! His office hours? From 8:30 a.m. to 4:.00 p.m. every day except Sunday.”

Upton’s deep love of Mexico—enhanced by his study of its people, language and cultures—led to an understanding of the country, and an appreciation for its history and achievements, that is surely a model for all of us.

Acknowledgment

  • My sincere thanks to Dale Hoyt Palfrey for so generously allowing me custody of John Upton’s notebook.

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.

Oct 222020
 

Josefa, the fashion designer credited with showcasing Mexican styles on the world haute couture stage, lived and worked for many years at Lake Chapala. She successfully melded indigenous Mexican colors and elements with functional design to produce elegant and original dresses and blouses. Josefa designs were never mass-produced but made by local women in small villages near Guadalajara.

Josefa Ibarra and her business partner, Ana Villa, built up a brand known as El Aguila Descalza (The Barefoot Eagle). Based in Tlaquepaque, The Barefoot Eagle opened retail stores in several major Mexican cities and one in Boston, while simultaneously supplying numerous high-end department and fashion stores in the USA and elsewhere.

Design by Josefa

Design by Josefa

Josefa followed her own intuition as regards fashion and her success resulted from a series of serendipitous encounters. Her first lucky break came while she was living in Puerto Vallarta in the late 1950s. Josefa and her husband, Jim Heltzel, lived near the beach in a thatched hut, from where Josefa sold jewelry made of coconuts and seashells. The couple’s hippie lifestyle extended to Josefa designing and making her own dresses and beachwear. Walking along the beach one day in 1959, Josefa struck up a conversation with Chris and Lois Portilla who ran the Mexican concession at Disneyland. They were far more interested in the clothes she was wearing than her jewelry and suggested that they help her market her dress designs.

Josefa began to make more designs and sell her creations to visiting tourists. Her second big break, in 1963, involved American superstar Elizabeth Taylor, who was visiting Puerto Vallarta, then only a small village, while Richard Burton was filming The Night of the Iguana, directed by John Huston and co-starring Ava Gardner.

One afternoon, in a break from filming, Taylor was with the cast and crew exploring the village when they came across a selection of beautiful dresses hanging from the branches of a tree outside a typical small hut. The visitors bought every last one of Josefa’s dresses and the famous American movie star subsequently added numerous additional Josefa designs to her wardrobe during her repeat visits to Puerto Vallarta over the next decade.

Even with Taylor’s support, it is unlikely that Josefa would have become as famous as she did had it not been for a third lucky break. This came when she was introduced by a friend, Lou Foote, to Boston-born Ana Konstandin Villa, who worked in Tlaquepaque alongside her husband, Edmondo Villa, for Arthur Kent, owner of El Palomar, the famous stoneware factory. Ana and her husband wanted to open their own retail store. Ana, a graduate of the Academy Moderne of Fashion in Boston, had an eye for style and was a buyer for the city’s Filene’s Department Store. Ana loved Josefa’s designs and realized that they presented a unique business opportunity. The two ladies got on famously together and their complementary skill sets ensured the success of The Barefoot Eagle, the Villas’ store in Tlaquepaque.

Journalist Sheryl Kornman who interviewed Josefa in 1970 found her just “as exciting, as articulate, as vivid as the costumes she designs.” Kornman described Josefa as casually dressed, wearing a “flimsy blue and red short shift” with her “long brown hair in a braid tossed forward over one shoulder,” and sandals on her feet. The designer said she had started by making jewelry in Puerto Vallarta a little more than a decade earlier before beginning to sew her own clothes and making some for friends. She then taught her “house girl” and others how to sew, and began to produce designs inspired by indigenous Huichol and Oaxacan handicrafts and art. At the time of Kornman’s interview, Josefa and her husband were living in Santa Fe, New Mexico, from where Josefa returned to Guadalajara at least twice a year, timing the visits to prepare for a summer line released in April and a fall/winter line released a few months later.

The Barefoot Eagle grew rapidly and became Mexico’s leading producer of internationally famous high fashion women’s apparel. Chris Adams (Ana Villa’s brother-in-law) provides a detailed case study of The Barefoot Eagle in his book, Up Your Sales in Any Economy. At its peak, the company employed several hundred women in three outlying villages near Guadalajara to undertake all the embroidery and decoration, with everything done by hand to maintain the artesanal quality. Most of the cotton fabric used came from Mexico City; the steadfast dyes were imported.

The Barefoot Eagle opened retail stores in several major Mexican cities: Acapulco, Cancún, Manzanillo, Mexico City, Puerto Vallarta, Monterrey, San Miguel de Allende, Tijuana, and Zihuatanejo. It also opened one in Boston’s famed Faneuil Hall Marketplace. Overseas stores that stocked Josefa designs included Neiman Marcus, Saks Fifth Avenue, Lord & Taylor and Macy’s, in addition to specialist boutiques in Denmark, England, the Netherlands and France.

The celebrity effect was contagious. Besides Elizabeth Taylor, those photographed wearing Josefa dresses or blouses included Lady Bird Johnson (who wore a Josefa dress for the cover of McCall’s magazine in August 1974), Glenda Jackson (in the movie A Touch of Class), Sophia Loren, Diana Ross, Loretta Young, Princess Grace of Monaco, Nancy Reagan, Deborah Kerr and Farah Diba, the wife of the former Shah of Iran. A Josefa-designed shirt was worn by Bo Derek’s onscreen husband in the Movie 10, which was filmed at Las Hadas in Manzanillo.

Josefa was, according to various sources, the first Mexican dress designer to have her work grace the cover of Vogue Paris. Interestingly, not long afterwards, another designer—Gail Michel de Guzmán—who lived at Lake Chapala at the same time as Josefa, had her own work featured in Vogue Paris.

According to Adams, Josefa considered it a compliment that she was the most copied designer in Mexico. Adams played a part in the commercialization of The Barefoot Eagle brand, producing a factsheet and sales pointers for all the salespeople in the various retail stores. Among other things, salespeople were instructed to ensure that prospective clients understood that even if they thought the items were pricey, they were definitely worth every centavo because they were hand-embroidered designer creations and works of art.

The Barefoot Eagle and Josefa’s brand continued to grow. Josefa was one of the first designers in Mexico to export on a large-scale. The extraordinary export success of Josefa was recognized by Mexico’s federal government which awarded her company a National Export Prize seven years in a row. With the sponsorship and support of the Mexican Embassy in the US, Josefa held a special Mexican fashion show in 1974 in Washington D.C. for all the ambassadors stationed there.

Exhibition of designs by Josefa

2004 exhibition of Mexican textiles and designs by Josefa

The extraordinary quality of Josefa’s designs and workmanship led to her work being the focus of a major exhibition in Mexico City at the Museo de la Indumentaria Luis Marquez Romay in 2004. A stunning display (250 designs in all) showcased Josefa’s manta kaftans in their distinctive Mexican textures and colors (turquoise, green, fuchsia, rose and yellow). Decorated with embroidered flowers, designs influenced by Mexico’s indigenous peoples, butterflies and geometric patterns, the exhibit was a kaleidoscope of color. Josefa had cemented her reputation as “an icon of national fashion design.”

Josefa’s designs were also included in 2009 in a second major Mexico City exhibition at the Mexico City Popular Art Museum (Museo de Arte Popular de la Ciudad de México). Curated by Mario Méndez, “México de autor, historia en color” juxtaposed Josefa’s “modern” designs alongside indigenous textile items from the Mapelli collection, emphasizing what they had in common and how one influenced the other. Josefa’s “Mexicanized” designs, celebrating bright colors, owed much to, and simultaneously increased the appeal of, indigenous textile patterns and clothing.

Josefa retired from designing clothing in the late 1980s.

While several earlier designers, such as Jim and Rita Tillet, had successfully established smaller operations and exported Mexican fashions, they had never succeeded in scaling up production to the levels reached by The Barefoot Eagle. Others, such as American Charmin Schlossman, who lived in Ajijic in the 1940s, took their creativity back home and established successful firms north of the border.

Mysterious early life

Relatively little is known for sure about her life story outside fashion. Adams described Josefa as Mexican born and residing in Tlaquepaque and the state of Oregon. According to a 2004 news piece, Josefa claimed to have been born in Chihuahua more than 80 years ago, while friends claimed she had arrived in Puerto Vallarta 30 years ago from the state of Oregon.

Label in Josefa blouse

Label in Josefa blouse

According to the registration of her birth, Josefa Ibarra García was born on 12 April 1919 in Ciudad Sabinas Hidalgo in the state of Nuevo León. However, her birth was only registered in that city on 10 March 1928 when she was 9 years old! Her parents were Rafael Ibarra Valle (Rafael Ybarra-Valle in the USA) and Isidra García. The plaque on the grave of Josefa’s parents in a Fort Worth, Texas, cemetery, reads “Rafael Ybarra-Valle (1883-1968) / Isidra (1889-1981).” Both of Josefa’s parents were born in Mexico. The couple had at least four children: three girls and a boy. Even before the arrival of Josefa, the family had apparently been living on-and-off in Fort Worth, where their only son, Ray, was born in 1915.

According to Rubén Díaz, a friend of Josefa’s and now the editor of Mexico City-based Fashion News, Josefa returned to Mexico at age 18 (ie in about 1937) and traveled all over the country as a flight attendant with Mexicana de Aviación. After meeting and marrying Jim Heltzel (previously married to Eleanor Reed), the newly weds lived among the indigenous communities of various states in Mexico, including Oaxaca, Chiapas, Tabasco, Veracruz and Guerrero, before settling in Puerto Vallarta.

During the 1980s and 1990s, The Barefoot Eagle’s prime years, Josefa lived at Lake Chapala. Her home (with one room devoted to a working studio) was designed by her good friend Jorge Wilmot, the famous potter. Wilmot added many personal touches to the home, located in El Limón, just west of San Juan Cosalá, including a special hand-made foot bath in the ensuite since Josefa, as her company name suggested, was accustomed to going barefoot most of the day.

Josefa’s success enabled her to travel more widely and she was particularly inspired by a trip to China. Unfortunately, in retirement, she experienced both health and financial problems. She came out of retirement to work for a while, offering designs for others to produce and market. Eventually, though, her declining health meant she could no longer focus on her passion. In a letter to a friend in May 2002, Josefa complained about three terrible months of ill health while waiting to have cataract surgery on the IMSS (Mexican Social Security) and admitted she was “getting fed up at waiting and not knowing a date.” Meanwhile, she wrote, she had accepted a job with

“a couple who will make up dresses from my designs…. I never thought I’d go back to those working days EVER – they were great days (while it lasted) but egods this is not the time to try and start up ANYTHING – it’s insane, that’s what it is but the peso isn’t worth a damn and with the bottom having fallen to NADA – things couldn’t be worse. (At least here in Chapala).”

Exhibition of designs by Josefa

Exhibition of Mexican textiles and designs by Josefa

In about 2006, as her health and finances continued to decline, Josefa sold her house and moved into a nursing home. When she abandoned her home, she left behind a decorated trunk full of personal photos, documents and design memorabilia. The new owner, a Canadian woman, left the trunk in the house for years in homage to Josefa. When the house was resold about a year ago, the trunk was removed for safekeeping; a suitable permanent home is now being sought for it.

Among Josefa’s effects in the trunk was a clearly-treasured, much folded and faded handwritten extract from Witter Bynner’s translation of Lao Tzu “The Way of Life”. It is unclear how well Josefa knew Bynner, who had a house in Chapala from 1940 to his death in 1968.

Before it move, hold it,
Before it go wrong, mould it,
Drain off water in winter before it freeze,
Before weeds grow, sow them to the breeze.
You can deal with what has not happened, can foresee
Harmful events and not allow them to be.
Though– as naturally as a seed becomes a tree of arm-wide girth-
There can rise a nine-tiered tower from a man’s handful of earth
Or here at your feet a thousand-mile journey have birth,
Quick action bruises,
Quick grasping loses.
Therefore a sane man’s care is not to exert
One move that can miss, one move that can hurt.
Most people who miss, after almost winning,
Should have ‘known the end from the beginning.’
A sane man is sane in knowing what things he can spare,
In not wishing what most people wish,
In not reaching for things that seem rare.
The cultured might call him heathenish,
This man of few words, because his one care
Is not to interfere but to let nature renew
The sense of direction men undo.

By 2008, Josefa was confined to a wheelchair while waiting for a hip replacement operation. A fashion fund raiser was held that year in Ajijic to help pay for her medical treatment.

Josefa Ibarra, artist, entrepreneur and mother of Mexican fashion, died in about 2010. Her decision to develop designs incorporating folkloric motifs and her insistence on incorporating artisanal workmanship prodded Mexican fashion design into a direction still evident today.

Her continued influence on young Mexican designers was highlighted by an exhibit in Guadalajara in 2016. Examples of Josefa’s work formed the backdrop to an end of course display of work by young students graduating from UTEG (Universidad Tecnológica Empresarial de Guadalajara).

Several Josefa designs were chosen for inclusion in “El Arte de la Indumentaria y la Moda en México (1940-2015),” a Mexico City show held in 2016 at the Palacio de Cultura Banamex (Palacio de Iturbide) to commemorate 75 years of Mexican fashion design.

International interest in Josefa’s designs has also continued unabated. For example, her work was showcased north of the border in a December 2016 exhibit, “La Familia”, at Friends of Georgetown History (6206 Carleton Ave S) in Seattle, Washington. The show was of selected pieces from the collection of Allan Phillips, a grandson of Josefa’s sister, Olivia.

In 2017, Mexico was the featured country at the VII Congreso Bienal Latinoamericano de Moda in Cartagena, Colombia. An accompanying exhibit—“México Mágico”— took a retrospective look at the history of Mexico’s fashion industry, and how Josefa had set what had been only a nascent industry on the path to global success. The exhibit included contemporary work by students from the Universidad de Guadalajara that echoed the path laid down by Josefa.

Josefa’s legacy lives on. Her story has been shared with succeeding generations of fashion students in Mexico and she is justly referred to as “the mother of Mexican fashion” or as “Mexico’s Coco Chanel”. Students are taught that it is perfectly possible—indeed fashionably current and profitable—to bring elements of indigenous, local design to the global fashion scene.

Note: This is an expanded (and corrected) version of a post first published on 12 September 2018.

Acknowledgment

  • My sincere thanks to Sherry Hudson for her assistance with compiling this profile.

Sources

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.

Oct 152020
 

Educator, translator and all-round good guy John Upton had been living in Ajijic for about a year when he submitted an article about the village in 1950 to the  San Francisco Chronicle. The article focuses especially on the impact of the summer Ajijic Art Workshop, marketed in US colleges and universities.

Upton-Ajijic article

Upton opens by describing Ajijic as “a peaceful Mexican fishing village where life goes on much as it did before the time of Cortes-for 46 weeks of the year.” The bulk of his article is about the remaining six weeks, when — during the rainy season in this “stone and adobe pueblo… almost untouched by the twentieth century” — “Modern Art comes to Ajijic- along with portable radios and falsies.”

Buses from Guadalajara lumber through the burro-clogged streets and discharge members of the Mexican Art Workshop, blinking in the hard, white sunshine.” These art students stay in “La Posada, Ajijic’s only hotel,” which “echoes with the harsh accents of Los Angeles and Chicago.

On the broken brick sidewalks, in the corner store, and under the flame trees in the square, there are little knots of Americans in plaid shirts and blue jeans, carrying paints and canvas and smelling of Dior.”

The workshop was organized by Irma Jonas; its art teachers, headed by Ernesto Linares, included Carlos Mérida, Nicolas Muzenic and Tobias [Toby] Schneebaum. The workshop’s social secretary was Zoe Kernick. The students, mostly women, paid “$275 for a summer of art, inspiration and small adventures.”

Classes are held in one of the town’s largest houses, a sprawling pink adobe with doors eight feet high that open with a key about as large and portable as a pipe wrench. Easels are set up in the luxuriant garden of banana and mango trees until 4.15 in the afternoon, when the daily rainstorm promptly begins. Its downpour lasts little more than half an hour, but after brushes are cleaned and canvases stacked there’s barely time for a rum and water before dinner.

Extra-curricular entertainment is continued largely in gatherings at the inn or in Linares’ cool, high-ceilinged sala, since townspeople frown on women who smoke or drink in public. The cantina has no “table for ladies,” and discourages their attendance-mostly because the showpiece of the establishment is a large, white urinal installed just inside the door.

Music for these evenings is provided by mariachis, local minstrels whose ragged esprit de corps is nicely balanced by their willingness to play anything…. A single evening’s repertoire may include “Quizas” (Number One on the Ajijic hit parade), “Night and Day,” and “Los Blues de San Luis.””

The parties were suitably rowdy, fueled by local tequila, which was “35 cents a liter if you bring your own bottle.”

Acknowledgment

Source

  • John Upton. 1950. “Ah-hee-heek: A Place to Loaf in Mexico.” San Francisco Chronicle, 7 May 1950.

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.

Aug 272020
 

Margaretha (Margaret) Van Gurp, a well known artist from eastern Canada, was born in Delft, Netherlands, 6 December 1926. She moved to Canada in 1953.

Margaretha Van Gurp. Jocotepec.

Margaretha Van Gurp. Jocotepec.

In 1983, she spent three weeks with Susan Van Gurp, one of her daughters, in Jocotepec, Mexico. Susan Van Gurp was teaching at the Lakeside School for the Deaf, now the Centro de Atención Multiple Gallaudet (“Gallaudet Special Education Center”), from 1982 to 1984.

During Margaretha Van Gurp’s visit, she completed  a series of pen and ink drawings of the students at the school, as well as of other people in the town.

Margaret Van Gurp. Viviana.

Margaretha Van Gurp. Viviana.

Margaretha Van Gurp also painted several charming watercolors of life in the town.

Margaret Van Gurp: Watercolor of Jocotepec (1983)

Margaretha Van Gurp: Watercolor of Jocotepec (1983)

Van Gurp’s early art education (1945-1947) was under Gillis van Oosten in Delft, Netherlands. She also took courses at the College of Art and Design in Halifax, Nova Scotia, Canada, studied portrait sculpture in clay under Allison McNeil, and (1980) studied portraiture under David Leffel and Robert Philipp at the Art Students League of New York in the U.S. Her art has been widely shown in Eastern Canada.

Margaretha Van Gurp. Jocotepec.

Margaretha Van Gurp. Jocotepec.

Margaret Van Gurp has also illustrated books, such as Acadian Awakenings, and sculpted and painted mannequin heads for Parks Canada exhibits at several locations, including Castle Hill, Newfoundland; Citadel Hill Museum, Halifax; and Fort Anne, Annapolis Royal, Nova Scotia.

After a remarkable artistic career, Margaret Van Gurp died in Halifax, Nova Scotia, on 14 August 2020. We extend our deepest condolences to her family and friends.

To learn more about this artist:

Note: the earliest version of this post was published on 18 December 2014.

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.

Jul 302020
 

Portrait artist Betty Warren, later known as Betty Warren Herzog, was born in New York City on 6 January 1920. Her brightly colored portraits were in such demand that she became one of the highest paid female portraitists of the 20th century. In 1940, at age 20, she became the youngest woman in US History to hold a solo exhibit at a major US Museum (Berkshire Museum).

Betty Warren. Sketch of Seth Burgess.

Betty Warren. Sketch of Seth Burgess. Reproduced by kind permission of Seth Burgess.

Betty Warren first visited Lake Chapala in February 1974, when she and her husband (Jacob Herzog) visited a friend—Everett J. Parrys of Albany—who was staying at the Villa Montecarlo in Chapala. Warren arranged to take the Helen Kirtland home in Ajijic for the following month to use as a studio. Two years later, Warren returned to Chapala, where she held a solo show of oils and drawings at the Villa Montecarlo in March. That show was sponsored by the Galeria del Lago (run by Helen Kirtland’s daughter, Katie Goodridge Ingram).

The following year, her third winter at the lake, Warren held another solo show of her works at the Galeria del Lago. That show ran from 26 February to 11 March.

In 1980, Warren was one of 11 painters whose work was shown in a group show in Guadalajara at the ex-Convento del Carmen. On that occasion, the other artists, almost all of whom had close ties to Lake Chapala, were Paul Fontaine, Daphne Aluta, Georg Rauch, Eleanor Smart, Richard Lapa, Stefan Lökös, Evelyne Boren, Digur Weber, Gustel Foust and Taffy Branham.

From the early 1980s, Warren and her husband spent her winters in Ajijic, where she maintained an art studio.

Betty Warren in Ajijic

Betty Warren in Ajijic

Betty Warren was the daughter of illustrator Jack A. Warren, cartoonist of Pecos Bill. She studied at the Art Students League in New York, the National Academy of Design, the Cape School of Art (summers, 1937-42) with Henry Hensche, Farnsworth School of Art, Sarasota, Florida, and the Reineke School in New Orleans. Warren was awarded an Honorary Doctorate of Fine Arts in 1991 by Hartwick College, Oneonta, New York.

Betty Warren taught at the Albany Institute of History and Art for seventeen years and co- founded The Palm Tree School of Art, in Sarasota, Florida, and The Malden Bridge School of Art, in Malden Bridge, New York.

She had more than 35 solo shows during her artistic career, and exhibited at Artists of the Mohawk-Hudson Region, Allied Artists of America, American Water-Color Society, National Arts Club, Knickerbocker Artists, New York, and the Grand Central Art Galleries. Her last formal portrait was of Governor Hugh Carey for the State of New York in 1991. She died in Albany on 8 November 1993.

She one of the six wives of actor Stuart Lancaster (1920-2000). She had two sons: potter, sculptor and author Michael Dean Lancaster and landscape artist John Warren Lancaster. Following her divorce from Stuart Lancaster, Warren later married Jacob Herzog, a prominent attorney in upstate New York.

Betty Warren was a member of Grand Central Art Galleries, National Arts Club, American Artists Professional League,National League of American Pen Women, Pen & Brush.

Warren’s portraits can be found in the collections of the The University of Wisconsin; General Electric; University of North Carolina at Chapel Hill; Albany Institute of History and Art, New York; the Malden Bridge School of Art; Hartwick College, New York; the New York State Supreme Court in Albany; and the Grand Lodge of New York.

Note: This is an updated version of a post first published Oct 30, 2014

Sources

  • Guadalajara Reporter: 23 Feb 1974; 27 Mar 1976, 12 Feb 1977, 17.
  • El Informador: 28 Mar 1976; 26 Jan 1980.

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.

May 072020
 

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 Hospital Civil and Sanatorio Guadalajara. Despite some parental pressure to pursue a conventional career (see comments), Gustavo chose to marry young and went to live in Europe. His father apparently supported this decision and his mother helped provide valuable contacts in regards to concerts and exhibitions.

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 (where he lived with the family of Jim Byers), 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. Practically self-taught as a painter, Sendis exhibited in several European countries, including Sociedad Cultural Ebusus in Ibiza, Spain (1970); 1970 Palacio Fox, Lisbon, Portugal (1970); University of Paris, France (1970); the Ibiza Bienal (1971); Galeria Varia, Berne, Switzerland (1974); Galeira Barsotti, Viareggion, Italy (1975); Galeria 18 de Septiembre, Prato, Italy (1976); 1977 Palacio de la Exposición, Milan, Italy (1977) and Galeria Monserrato, Monserrat Cagliari, Cerdeña, Italy (1977). He returned to Spain for a show in Málaga (1977) of paintings related to music, with titles like “Notes on the Flute”.

On his return to Mexico, Sendis 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.

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, released by the family in 1995, 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.

He continued to exhibit frequently into the early 1980s, showing works at the Salón de Octubre, Casa de la Cultura, Guadalajara (1978, 1979, 1980); Ex-convento del Carmen, Guadalajara (1980); Plástica Jalisco ’81, Casa de la Cultura, Guadalajara (1981); Galeria Atelier, Guadalajara (1981); Galería Uno, Puerto Vallarta (1982) and Collage, Galería de Arte, Monterrey, Nuevo León (1982).

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 (and reprinted with additional material on 2 October 2017).

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 and by Adriana Rodríguez (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).
  • Ramiro Torreblanco. 1981. “Pintor de Profundid”, El Informador, 14 June 1981.

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.

Apr 092020
 

Accompanied by his family, multilingual Polish-born artist and educator Harry Mintz (1907-2002) was a frequent visitor to Lake Chapala from the 1970s into the 1990s. His first recorded visit was in 1974, when the local paper reported that the family was spending the summer in Chula Vista and that it was a working vacation for Harry who “hopes to complete a series of water colors while in this lakeside community.” On that occasion, the family stayed about a month before returning to Chicago with plans to revisit Lake Chapala the following summer.

The family eventually based themselves in a house/studio on the western outskirts of Ajijic at Linda Vista #14 where Harry’s large, bright studio reverberated to the sound of classical music as he worked on his oil paintings and various series of prints. In later years, he produced a series of vivid abstracts, known by his family as Paint Pours.

While in Mexico, Harry Mintz became a good friend of talented photographer Bert Miller.
Mintz’s daughter, Sari, recalls how much her father loved Mexico:

My father found the country and culture to be alive and real and exciting and could hardly wait for my school teacher mother to finish teaching in June so they could load the car and drive to Lake Chapala. Dad loved the markets, the streets, the people, the colors, the trees, the villages. He couldn’t get enough.”

According to his U.S. naturalization papers (filed in 1941), Mintz was born in Ostrowiec, Poland, on 27 September 1904. He is thought to have studied at Warsaw Academy of Fine Arts before crossing the Atlantic to start a fellowship in Brazil. From Brazil Mintz moved to the U.S., arriving in New York aboard the SS Southern Cross on 12 May 1924. In the U.S., Mintz studied at the Chicago Art Institute and, during the 1930s, was a registered artist for the Works Progress Administration Federal Art Project.

Mintz was certainly living in Chicago by 1932 and was still living there when he applied for naturalization in 1941. His decision to seek naturalization appears to have been motivated by his marriage to Marjory Elizabeth Carter in Chicago the previous year, on 10 February 1940. That marriage lasted about a decade.

Mintz taught art at the Evanston Art Center (1940-1970), the North Shore Art League (1950-1959) and was on the faculty of the Art Institute of Chicago (1955-1970). He was also a visiting professor of art at Washington University, St. Louis (1954-1955). He took early retirement from his teaching positions to focus exclusively on his art, which became increasingly abstract.

Mintz was a regular visitor to Mexico from the 1940s onwards, spending time in a number of places but mostly in the city of Guanajuato and the art center of San Miguel de Allende. Mintz was teaching at the Bellas Artes school in San Miguel de Allende in 1958 when he met and fell in love with Rosabelle Vita Truglio, a visiting summer student. After the briefest of courtships, they married on 1 September 1958 and subsequently had two children. Their daughter, Sari Rachel Mintz, in an interview for a Chicago style magazine, summarized her father’s reaction on meeting his soulmate:

He looked like Picasso, spoke 12 languages, met my mother in Mexico when she was 23 and he was 57, swept her off her feet, convinced her to dump a fiancé back home and married her in a month. I have one brother, and both of our birth certificates say he was 57 when we were born, so we really never knew his age.”

The article (about Sari’s very stylish Chicago home) includes a photo of a Mintz Monotype (a single print from an original painted on glass) entitled “Tree in Ajijic, Mexico” painted in 1983.

Harry Mintz. Mexican street. 1952. (Auctioned by Hindman, Chicago, in 2007)

Harry Mintz. Mexican street. 1952. (Auctioned by Hindman, Chicago, in 2007)

Mintz held more than 40 one-man shows, mainly in the Chicago area. Venues included the Art Institute of Chicago; Evanston Arts Center and the Ruth Volid Gallery. He also had solo shows in Heller Gallery, New York City; John Heller Gallery, New York City; Feingarten Galleries, Chicago, and Beverly Hills, California (1961); the University of Judaism, Los Angeles and the Galeria Escondida in Taos, New Mexico.

Mintz’s curriculum also lists two solo shows in Mexico: at the Galería del Arte, Guadalajara (1987) and at ARTestudio in Ajijic (date unknown).

His works were also included in more than 300 group shows, including the New York World’s Fair (1940); Whitney Museum of American Art, New York City; Museum of Modern Art, New York City; Pennsylvania Academy of Fine Arts; Carnegie International, Pittsburgh; Venice Biennale in Italy; Palace of the Legion of Honor, San Francisco; Corcoran Gallery of Art; Washington, D.C.; Museum of Cincinnati, Cincinnati; the Milwaukee Art Institute; and Denver Art Museum.

Mintz had a work selected for the 66th Annual Exhibition by Artists of Chicago and Vicinity in 1963. By coincidence, Stanley Sourelis, another artist with close connections to Chicago and the Lake Chapala area, also had a work in that show.

Examples of Mintz’s fine paintings can be found in the permanent collections of the Art Institute of Chicago; Whitney Museum; Warsaw Academy Fine Arts; Museum of Art in Tel-Aviv, Israel; Museum of Modern Art, Rio de Janeiro; Evansville (Indiana) Museum; Notre Dame University; Northwestern University; Columbus University (Ohio).

A large collection of documents and photographs relating to Mintz and his art are held in the Ryerson and Burnham Archives of The Art Institute of Chicago.

Acknowledgments

My sincere thanks to Sari Mintz, for her help in compiling this profile of her father, and to Jenni Mykrantz, who manages Mintz’s art estate.

Sources

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.

Mar 192020
 

Ken Smedley and his wife, Dorianne Smedley-Kohl, lived and performed at Lake Chapala from 1978 until 1989. Ken was a long-time friend of George Ryga, and the couple stayed initially at Ryga’s “cottage” in San Antonio Tlayacapan, before moving later to Ajijic, where they rented a house opposite “La Rusa” on Calle Independencia.

Image: Cover art of Smedley’s “Arrest That Naked Image”

Ken Smedley is an actor, director and dramatist who grew up in Kamloops, British Columbia. Smedley has presented one-man shows such as “Three of a Certain Kind” at Fringe festivals in Edmonton and Vancouver (both in 1986) and was a founding member of the Western Canada Theatre Company, now a professional theatre. He has directed plays at the Phoenix Theatre in the U.K. and several radio plays for CBC.

During his time in Ajijic, Smedley wrote Horn Swoggled, an over-the-top Pinteresque black comedy set in Mexico. The play was performed as a stage reading at several locations – Kamloops, Vernon, Kelowna, Penticton and Armstrong – in the interior of British Columbia in 1994.

The setting for Horn Swoggled is a gathering of relatives mourning the family’s dead matriarch, whose body lies in a casket in the living room. As the assorted relatives – including the priceless family patriarch, “Don Porfidio”, who clutches a gallon jug of tequila throughout – interact, they recall past events, recount differing versions of past events and argue angrily and vehemently with each other.

While the Smedleys were living in Mexico, Smedley directed several productions at Lake Chapala, including plays by Joanna Glass, Jack Heifner, David Marnet and Harold Pinter. Perhaps the single most noteworthy production was Smedley’s dinner-theater offering, in 1979 at the (Old) Posada Ajijic, of Portrait of a Lady, a Tribute to Margaret Laurence. This work, based on George Ryga’s seminal adaptation of Margaret Laurence’s classic novel The Stone Angel, featured Dorian Kohl’s acclaimed portrayal of heroine Hagar Shipley, a role Kohl has reprised numerous times since, in theaters across British Columbia.

Smedley was later appointed director of the George Ryga Centre, a cultural venue occupying Ryga’s former home in Summerland, British Columbia, Canada. Due to funding problems, the center closed in 2013.

Dorianne Smedley-Kohl (also known as Dorian Kohl) is a Canadian model, actress and artist. Dorianne was a fashion model in Toronto, New York, Paris and London for more than a decade, before becoming a regular on the “Wayne & Shuster Hour” on television. She has also appeared in the CBC TV series “The Party Game”, “The Actioneer” and many other works. Her stage performances include roles at Toronto’s Royal Alex Theatre, in “The King and I” and in “Pal Joey”.

In 1988, Ken and Dorianne Smedley were instrumental in mounting the first (and only) Ajijic Fringe Theatre – “El Fringe” – which included performances by Dorianne in “Circle of the Indian Year”, and by Ken in “Ringside Date with the Angel”, alongside various other events.

smedley-kohl-diego

Terence “Diego” Smedley-Kohl

The couple’s son Terence “Diego” Smedley-Kohl was born in Ajijic and spent the first ten years of his life in Mexico. Diego later became a member of “El Mariachi (Los Dorados)”, a Canadian mariachi band that had the honor of playing at the prestigious International Mariachi Festival in Guadalajara a few years ago.

Want to find the play?

  • Ken Smedley. 1983. Horn Swoggled. Canada: Rich Fog Micro Publishing (2019).

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.

Feb 062020
 

Language educator and writer Katharine (“Katie”) Goodridge Ingram was born in Mexico City on 23 June 1938 to American parents. Her father, Ezra Read Goodridge, was a rare book dealer and her mother, Helen Kirtland, a fashion designer.

Katie spent her early childhood in Mexico City. In the mid-1940s, when her parents’ marriage came to an end, her mother took Katie (then eight) and her two brothers (two- and ten-years-old, respectively) to live in Ajijic on the shores of Lake Chapala. Her very determined mother began this new phase of her life by becoming an entrepreneur, starting a weaving business and using her design skills to create fashionable clothes and accessories.

Katie’s creative non-fiction memoir of her childhood in Mexico City and Ajijic – According to Soledad: memories of a Mexican childhood – has just been published. It is a compelling read. Advance readers have described According to Soledad as a literary equivalent of the award-winning movie Roma (2018), written and directed by Alfonso Cuarón. However, whereas Roma was set in 1970-71, According to Soledad is set earlier, in 1947-52.

Katie was born to write. At the urging of German poet Gustav Regler, a friend of the family, she began to write her autobiography at the age of 9! She still treasures the wonderful response she received after writing about this at the time to another family friend at the University of Michigan. In part, the reply reads: “I am delighted that you haven’t yet finished either your book or your life… the latter at any rate really ought to be a fascinating subject. You go ahead and finish the book, anyhow, and I’ll bet you can get it published. Certainly you can if your letter is any indication of your auctorial prowess!”

In Ajijic, Katie was educated by a series of private tutors. At the age of 14, after her mother remarried and her father died in a Mexico City nightclub fire, Katie was sent north to The Putney School, an independent high school in Vermont, to complete high school. A bright and precocious student, Katie subsequently graduated from Pomona College, a liberal arts college in Claremont, California, in 1959.

After Pomona, Katie taught at Hamlin School in San Francisco (1959–1961) and Wesley School, Cape Coast, Ghana (1963–1965).

While living in the US, Katie returned to Ajijic every summer. In 1973 she settled in the village full-time with her two children and managed the Galería del Lago art gallery from 1973 to 1978. She then opened her own Mi México gallery in Ajijic which she continued to own until 1992. During her time in Mexico, Katie co-founded the bilingual Oak Hill School at Lake Chapala in 1974. She was also the area’s regional correspondent for the Mexico City News, writing a regular weekly column covering local art, culture and current events.

In 1981, Katie moved back to California, where she ran Gallery Bazar El Paseo in Santa Barbara for the next eight years. Katie co-founded the Santa Barbara Poetry Festival in 1990 and was a scholar at the Santa Barbara Writers Conference in 2002 and 2003.

She returned to teaching in the 1990s. While working at Ojai Valley School (1992–1994), she gained a certificate in teaching English as a Second Language from the University California, Santa Barbara. Katie then moved to the Crane School in Santa Barbara, where she chaired the Spanish department from 1997 to 2002.

Katie has regularly contributed poems and stories to collections and anthologies, such as A Bird Black as the Sun: California Poets on Crows & Ravens, edited by Enid Osborn and Cynthia Anderson in 2011, and Solo Novo: Psalms of Cinder and Silt (2019).

Her short story “Swimming Under Salvador”, the basis for chapter 14 of According to Soledad, won the nonfiction prize in the New Millennium Awards 26 in 2008. It was summarized on that occasion as “the account of a torrid love affair in Central America from the perspective of a small child whose loyalties are torn when she is rescued from drowning by her mother’s lover, a famous sculptor.”

Katie lives with her husband, Jim, an artist and retired architect, in Ojai, California.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

According to Soledad, Katie’s first full length published work, is available in both print and Kindle editions via Amazon. Print copies are also available at select locations (La Nueva Posada, Mi México) in Ajijic, and at Galería Diane Pearl in Riberas.

Buy your copy today: According to Soledad

Acknowledgment

My sincere thanks to Katie for sharing her memories with me and for entrusting me with helping her publish According to Soledad.

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.

Sep 262019
 

Prior to 1908, when the south-eastern part of Lake Chapala was drained for agriculture, the town of Sahuayo was very close to the shore of the lake. Sahuayo is where Mexican poet Luis Arceo Preciado was born on 24 January 1926. Arceo, one of eight siblings, died there in 2018.

According to his biography in Enciclopedia de la literatura en México, Arceo studied at Montezuma College in New Mexico (then a Jesuit seminary) before completing postgraduate degrees in Hispanic literature from La Universidad del Altiplano and the Centro de Estudios Superiores Dante Alighieri.

Arceo combined poetry writing with a teaching career, which included working at the Escuela Normal Superior Juana de Asbaje (in Zamora, Michoacán) and supervising teachers in the telesecundaria system for the Ciénaga region at the eastern end of Lake Chapala.

Arceo won more than thirty poetry awards in Mexico. He wrote more than a dozen books of poems, including Huellas en el Tiempo (1964); El Llamado Inútil; Poemas de Alguna Vez; La Tierra de los Paisajes Doloridos; El Cid y el Juglar; Poemas Mayores; ¿Qué hacen mis raíces en la Tierra?; De Paso por la Mancha; Décimas Sacramentales; Cantos Testimoniales para una Amiga (2004); Itinerario del Amor y de la Ausencia.

He is one of the seven poets whose work featured in De Esta Tierra Nuestra; Antología Poética (Colección Sahuayo No. I, 1972) and his poems were also included in Antología del Primer Festival Internacional de Poesía Morelia 1981 (1982, selected and edited by Homero Aridjis), Juegos Florales (V) (1991) and El viaje y sus rituales (2016).

Arceo, who was the first Cronista of the City of Sahuayo, from 1984-1986, was the founding director of the literary group “Cero Al Poniente” and an organizer of the national “Sahuayo Prize for Literature”, held in Sahuayo the first Friday in December each year. He also founded three literary magazines: Pórtico, Caracol and Aristas.

Examples of his work have been translated into English, Catalan and P’urépecha, the language of the indigenous inhabitants of Michoacán.

Source

  • Anon. “Luis Arceo Preciado“. Enciclopedia de la literatura en México ELEM (Fundación para las Letras Mexicanas).

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.

Sep 192019
 

Accomplished amateur artist Sid Miller painted and sculpted in Ajijic from 1982 to shortly before his death in 1998. His work was included in numerous local exhibitions, alongside that of friends such as Georg Rauch and Peter and Carole D’Addio.

Miller was born in Brooklyn, New York, in 1912 to a Lithuanian Jewish couple who had met in New York; he was the youngest of six children. To help pay his tuition while studying politics and history at Brooklyn College, he made stained glass vent covers. When revisiting Brooklyn almost thirty years later in 1961, he was delighted to see that many of his decorative vents were still in place.

He was also a fine musician who, in his youth, played the clarinet and saxophone in jazz bands. While still in his twenties, Miller had played in bands on Hudson River boats, as well as in the Catskills and the Caribbean.

Miller met his future wife on a blind date in San Francisco in 1944, while awaiting being shipped out to Japan. She was a teacher, born in Detroit to parents of Hungarian heritage. They married three weeks later, barely a week before he left San Francisco to serve in Japan for 18 months.

The departure for the Far East was somewhat unexpected given that Miller had been preparing originally for a mission in Spain by taking intensive Spanish classes. The Spanish he acquired at this time proved to be extremely useful later in his life when he created a life in Mexico.

During his time in Asia, Miller sent regular letters back home, decorated with informal drawings. (This brings to mind the charming decorated envelopes used by Tink Strother when writing to her husband, Vane, while he was serving in the U.S. military.)

It was while serving with the U.S. Air Corps in the Pacific, in New Guinea, that Miller first began to carve wooden sculptures, selecting the female form as his preferred subject matter. Some of these sculptures, especially the ones of mother and child, are beautifully observed and executed.

After is safe return from the war, Miller and his wife settled in the San Fernando Valley, where he slowly built up a career, graduating from selling vacuum cleaners to marketing furniture and interior decorative items. Miller eventually established his own independent interior design business. Among his more noteworthy clients were the singer June Wayne (very popular at the time) and O. J. Simpson when he was married to his first wife.

Miller and his wife first visited Mexico in the 1950s, sightseeing in Mexico City and Acapulco. In the early 1970s, they visited Europe. Miller lost his wife, who worked as a teacher at private schools for emotionally disturbed children, owing to an unfortunate accident. A diabetic, she stepped on a tack while barefoot, acquired a serious infection, and died less than a year later in 1978.

Sid Miller and his wife at home in Ajijic.( Courtesy Judy Miller)

Photo of Sid Miller at his home in Ajijic. (courtesy Judy Miller)

Four years losing his wife, Miller moved to Mexico. He lived first in Vista del Lago, the subdivision east of Chapala that attracted a disproportionate number of retired military, before moving to Canacinta, just west of Ajijic. In 1988 he bought a house at the entrance to Villa Nova which he remodeled almost immediately to include a second bedroom and a casita. This home provided a wonderful backdrop for his art and was the perfect place for entertaining.

Sid Miller. Home in Ajijic. (courtesy Judy Miller)

Sid Miller’s own painting of his home in Ajijic. (courtesy Judy Miller)

A short man, Miller had something of the air of a distracted Einstein about him in his later years, an impression only heightened by his disheveled white hair; family photos support this uncanny resemblance.

Miller was an incredibly talented and creative individual. He was never made any effort to commercialize his art and gave away many of his original pieces as gifts to friends and family. Because he used what materials were at hand, including cardboard and off-cuts of wood, some of his work has not aged well. Nowhere is his propensity to use surplus materials more evident than in his highly-original irregular polygonal shapes and frames. Miller never had any formal art training and it took him about six weeks on average to complete one of his sculptures.

Sid Miller. UNtitled abstract. (Courtesy Ricardo Santana)

Sid Miller. Untitled abstract. (Courtesy Ricardo Santana)

Given the choice, he preferred sculpture to painting, saying in an interview in 1986 that he couldn’t paint but had “a natural inclination for the three dimensional figure.” “Sculpting”, he said, “relaxes me, it keeps me alive and young.”

His sculpture exhibits at Lake Chapala included a solo show at the Art Studio Galeria in San Antonio Tlayacapan in March 1989. The accompanying promotional blurb praised his originality: “Sidney is as colorful as his work.”

Miller’s daughter, Judy Miller, retired to Ajijic a few years ago. She is also a distinguished artist whose preferred medium in retirement is pastels. Judy is a Master Circle Pastelist with the International Association of Pastel Societies (IAPS). Her artistic career, however, was as a ceramicist. After studying at U.C.L.A. and U.C. Berkeley in the early 1970s, she began working as a professional ceramicist, eventually making more than 50,000 hand-colored plates – depicting emotionally-engaged scenes from life – before retiring in 2002. This career stemmed from necessity and serendipity. When she moved into her first apartment, she had no tableware and decided to make her own plates, decorated with scenes from her past.

Both her ceramics and her superb pastels have been featured in numerous exhibits in the U.S. and elsewhere.

For more about her work, please visit her website.

Acknowledgment

  • My sincere thanks to Judy Miller for graciously sharing family memories with me and showing me many examples of her father’s varied work. My thanks, too, to Ricardo Santana for showing me several works by Sid Miller that are in his private collection.

Sources

  • Anon. “Portrait of the Artist”, El Ojo del Lago, April 1986.
  • El Ojo del Lago, March 1989.

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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