Oct 082020
 

Roy Vincent MacNicol (1889-1970), “Paintbrush Ambassador of Goodwill”, had an extraordinary artistic career, even if his personal life was sometimes confrontational.

The American painter, designer, writer and lecturer had close ties to Chapala for many years: in 1954, he bought and remodeled the house in Chapala that had been rented in 1923 by English author D. H. Lawrence, and then, according to artist Everett Gee Jackson, by himself and Lowell Houser.

After MacNicol and his fourth wife Mary Blanche Starr bought the house, they divided their time between Chapala and New York, with occasional trips elsewhere, including Europe. Their New York home, from 1956 (possibly earlier) was at 100 Sullivan Street.

Roy MacNicol: Mood, Mexico (1936)

Roy MacNicol: Mood, Mexico (1936)

Roy MacNicol was a prolific painter and numerous MacNicol paintings of Lake Chapala are known. Romantically and artistically, he lived an especially colorful life and was involved in several high profile scandals and lawsuits.

Born in New York City on 27 November 1889, MacNicol left home as a teenager to take acting classes and work on the stage, appearing in the farces Twin Beds and Where’s Your Wife? on Broadway in 1919.

MacNicol’s first marriage lasted less than four years. In 1920, MacNicol took vaudeville singer and performer Fay Courtney as his second wife. With the backing of his new wife, MacNicol left the stage to concentrate on his painting career.

Best known for his watercolors and elaborate decorative screens, MacNicol’s work embraced a number of different styles over the years before he developed (in the 1940s) a unique style he termed “geo-segmatic.”

MacNicol’s first solo exhibit was in November 1921 at the Anderson Galleries, New York. His bird and animal motifs on large screens were admired on opening night by more than 800 guests. However, this led to a serious professional clash with a fellow artist, Robert W. Chanler, who called him a “copyist” who had stolen his designs. MacNicol was outraged and took Chanler to court, seeking $50,000 for the alleged libel.

His second solo show was in Palm Beach, Florida, the start of the artist’s long connection with the Palm Beach area.

After visiting France and Spain, MacNicol held a solo exhibition at the Art Institute of Chicago in April 1926, which included many abstract paintings of fauna such as cranes, herons, Australian squirrels and penguins. In the program notes, A. G. Warshawsky praised the abstract compositions that “still hold a human and essentially humorous effect, which adds both to the charm and naiveté of the subject”.

Roy MacNicol: Untitled (1961)

Roy MacNicol: Untitled (1961)

In the 1930s, his wife’s singing career took the couple to Europe, Asia and South America. Between these trips MacNicol held many more solo shows, including one at the Everglades Club in Palm Beach (1931) and at the A Century of Progress World’s Fair in Chicago (1933–34).

In about 1937, the MacNicols, on an impulse, decided to drive down to Mexico to seek more of the “Spanish flavor” that had inspired some of MacNicol’s best work to date. In Mexico City, Thomas Gore, the owner-manager of the Hotel Geneve in the Zona Rosa, commissioned MacNicol to paint two Xochimilco-related murals for the dining room.

Tragically, Fay became ill on their tour of South America and died, at home in New York, in February 1941.

MacNicol’s frequent travels had inspired him to compile a “good-neighbor” show of Mexican-inspired works as a means of improving the ties between Mexico and the U.S. He returned to Mexico City and devoted nine months to painting a series of large (22 x 30″) watercolors, which were the basis of numerous “Good Neighbor Exhibits” shown in galleries across Mexico and the U.S. and in coast-to-coast television coverage.

MacNicol was dismissive of critics who argues his work was influenced by Diego Rivera, though he admitted that perhaps he had been influenced by the “entire Mexican school of art.” In particular, he admired the work of Siqueiros and of Rufino Tamayo, “the most charming, imaginative, and amusing painter in Mexico.”

Eleanor Roosevelt visited the artist’s 33rd solo show in March 1943 at the Pan American Union in Washington, D.C. and eagerly recommended it to others:

“On leaving the club, I went to the Pan American Building to see an exhibition of paintings done in Mexico by Mr. Roy MacNicol. They were perfectly charming, and I was particularly interested in the Indian types. Some showed the hardships of the life they and their forefathers had lived. Others had a gentleness and sweetness which seemed to draw you to them through the canvas. The color in every picture was fascinating and I feel sure that this is the predominant note in Mexico which attracts everyone in this country who goes there.”

Mrs. Roosevelt sponsored subsequent “Good Neighbor” exhibits, as did several prominent Mexican officials, including Mexican president Miguel Alemán.

MacNicol divided his time over the next few years between Mexico and the U.S. with solo shows in Los Angeles and at the Galería de Arte Decoración (1943) and the Palacio de Bellas Artes (1945), both in Mexico City.

In what MacNicol terms “My great folly” in his autobiography, he married Mrs. Helen Stevick, “wealthy publisher of the Champaign, Illinois, News Gazette,” in Chicago in September 1945. Newly-married, the couple went to Mexico City for their honeymoon, where Stevick’s daughter joined them. This marriage quickly became a complete disaster, leading to ample fodder for the newspapers of the time, who had a field day describing the plight (and possible motives) of the prominent painter. The Steviks accused MacNicol of fraud and had him (briefly) imprisoned in a Mexican jail. In retaliation, MacNicol sued the daughter for $500,000 for her part in wrecking his marriage.

MacNicol may have wanted $500,000, but he certainly did not get it; the case was dismissed on technical grounds. The divorce was finalized in July 1946.

Roy MacNicol. The Lily Vendor. c. 1946.

Roy MacNicol. The Lily Vendor. c. 1946.

That winter, MacNicol returned to Palm Beach for the first time in 15 years, and made arrangements to hold his 50th solo show there in the State Suite of the Biltmore Hotel. When Mrs Bassett Mitchell (the former Mary Blanche Starr) walked in the room he was instantly smitten. It turned out that Mary was the widow of a Florida financier and was equally enthralled. She bought “The Lily Vendor,” and then they had dinner together. They married in Palm Beach on 27 March 1947, and honeymooned in Nassau. Their love for each other never diminished.

In 1948, MacNiol held the first major exhibition of his “geo-segmatic” paintings in Paris, France. The following year, after a successful show at Penthouse Galleries in New York City, the MacNicols decided to move from Palm Beach to Mexico City. They drove down in their Lincoln convertible (with four truck loads of furniture following behind) and bought a 3,000-square-meter property in Coyoacan. It took them two years to convert it into a house, studio and gallery.

Health issues forced them to sell their Mexico City home and seek a home at a lower elevation.

“We took three months motoring around before we discovered the enchanting little fishing village of Chapala, tucked on the banks of a sparkling lake, set among emerald mountains and violet haze. There was a blessed tranquillity in the low rooftops and the plaza overshadowed by giant laurel trees. But it also had the advantage of a modem four-lane highway leading through rolling green hills from Guadalajara, the second largest, and the cleanest, city in Mexico, a drive of only thirty-five minutes. (Paintbrush Ambassador, 226-7)

They drove into Chapala in January 1954 and, within days, bought the house, at Zaragoza #307, which British novelist D. H. Lawrence had rented in 1923.

The MacNicols restored the house and added a swimming pool. They also added a memorial plaque on the street wall to Lawrence: “In this house D. H. Lawrence lived and wrote ‘The Plumed Serpent’ in the year 1923.” A second wall plaque had a quote from another of MacNicol’s boyhood heroes, Robert Louis Stevenson.

A “list of foreign residents in Chapala” from June 1955, and now in the archive of the Lake Chapala Society (LCS), includes Roy and Mary MacNicol among the 55 total foreign residents in the town at that time, though they were not LCS members. According to MacNicol, “Chapala has its retired American naval and military brass, business men, delightful English, some good writers and myself as the only painter.”

Roy MacNicol. 1956. Poolroom, Chapala, Mexico. B/W photo of oil in tones of red and green. (Plate 11 of Paintbrush Ambassador)

Roy MacNicol. 1956. Poolroom, Chapala, Mexico. B/W photo of oil in tones of red and green. (Plate 11 of Paintbrush Ambassador)

In 1956, MacNicol was persuaded to hold an exhibit in Copenhagen, Denmark. He and Mary flew from Mexico City to New York, carrying 52 paintings and then sailed on the MS Kungsholm across the Atlantic. The show was an unmitigated disaster, largely owing (according to MacNicol) to the complete absence of any help or support from the local U.S. Embassy. The MacNicols returned home to Chapala in November.

It is unclear precisely when the MacNicols sold their house in Chapala, but according to columnist Kenneth McCaleb, MacNicol was disposing of the contents of his Chapala home in the early 1960s, prior to selling it and moving to New York.

The exhibition catalog dating from late 1968 or early 1969 for MacNicol’s “Faces and Places of Nations” exhibit says it was the artist’s 59th (and last) solo exhibit. The catalog describes the “Paintbrush Ambassador of Goodwill”:

“He believes in the universal diplomacy of art as a means to world understanding. His “Faces and Places of Nations” series was begun in 1943. The exhibit has been shown in Mexico City, Spain, Paris, Stockholm, Copenhagen, British West Indies, Cuba, South America, as well as in key cities in U.S.A. The 1949 exhibition was televised coast-to-coast by NBC.”

Of the sixteen works listed in the catalog, six are from Mexico, including two directly linked to Lake Chapala: “Old Fisherman & Boy (Lake Chapala)” and “Mary & Duke, Casa MacNicol (Lake Chapala).” Duke was MacNicol’s Dalmation.

In addition to painting, MacNicol frequently lectured on art and his formal jobs as a young man included a spell as associate editor at the American Historical Company in New York City. He was a contributor to several newspapers including the Christian Science Monitor, Atlanta Journal, The Times Herald, Mexico City News and The Havana Post.

His autobiography – Paintbrush Ambassador – mentions dozens of notable personalities including the likes of Ernest Hemingway, President Franklin D. Roosevelt, Jack Warner, Danny Kaye, Gloria Swanson and Mr. and Mrs. Nelson D. Rockefeller.

MacNicol died in New York in November 1970.

Examples of his artwork are in the permanent collections of the University of Illinois; Randolph-Macon Woman’s College; University of Havana, Cuba, and the Reporter’s Club, Havana.

Despite enjoying considerable success (and some notoriety) during his lifetime, Roy MacNicol is among the many larger-than-life artists to have lived and worked at Lake Chapala whose artistic contributions to the area’s cultural heritage have, sadly, been largely forgotten.

Sources

  • Irving Johnson. 1946. “Honeymoon for Three.” San Antonio Light, 24 November 1946, 59.
  • Roy MacNicol. 1957. Paintbrush Ambassador. New York: Vantage Press.
  • Kenneth McCaleb. 1968. “Conversation Piece: How To Be an Art Collector,” The Corpus Christi Caller-Times, 15 February 1968, 17.
  • New York Times, 26 May 1925.
  • The Palm Beach Post, 20 March 1947.
  • Eleanor Roosevelt. “My Day,” Kansas City Star, 5 March 1943, 23.

Note: This is an expanded version of a post first published on 18 February 2016.

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.

 Posted by at 6:34 am  Tagged with:
Sep 242020
 

In researching the artists and authors associated with Lake Chapala, I now have a long list of enigmatic references to lesser known artists, whose life and work remain very much a mystery.

One of the more intriguing is a “Miss Trude Neuhaus,” a German artist, who, according to the New York Times of 1 Nov 1925, brought “an exhibition of paintings, water colors and drawings of Mexican types and scenery” to the Anderson Galleries in New York. The show at the Anderson Galleries ran from 3-14 November 1925. The pieces had previously been exhibited at the National Art Gallery in Mexico City, and the exhibition also included “Aztec figurines and pottery recently excavated by the artist in Chapala, Mexico”. (Note that collecting ancient artifacts as souvenirs and removing them from the country was a common practice at the time, albeit one that is now subject to legal provisions and generally frowned upon.)

The only background offered about Miss Neuhaus is that she had “studied under Burmester in Munich” (possibly Georg Burmester, 1864–1936) and was a portrait painter in Germany. According to the short piece in the New York Times, she planned to return to Germany “after exhibiting her work in the large cities of the United States”, in order “to make several portraits, for which she has commissions.”

This Trude Neuhaus painting dates from 1919, before she visited Mexico.

Trude Neuhaus. 1919. Untitled, Credit: Willem Eppink.

Trude Neuhaus. 1919. Untitled, Credit: Willem Eppink.

A few more details have surfaced over the past few years about Trude Neuhaus, but none that explains why she visited Chapala.

According to U.S. immigration records, Neuhaus was born in early 1899 in Gottingen, Germany, and was 26 years and 7 months of age when she entered the U.S. for the exhibition in New York. The exhibit followed a stay of 14 months in Mexico from summer 1924 to September 1925, which means she was in Chapala shortly after D. H. Lawrence was there, and at exactly the same time as artist Everett Gee Jackson was living in the lakeside village.

Trude Neuhaus. c. 1925 "Florista Mexicana."

Trude Neuhaus. c. 1925 “Florista Mexicana.”

No details have yet emerged of her exhibition at the National Art Gallery in Mexico City. However, after New York, “the young and already renowned artist” returned to Germany and showed her drawings, paintings and collection of artifacts at the Kunstgewerbemuseum (Museum of Decorative Arts) in Berlin in February 1925. A reviewer of the show described Miss Neuhaus as “an enthusiastic admirer” of Mexico, who “has dedicated her brush to reproducing popular types and customs of that country,” ranging from beggars and young people on the street to “a little Indian girl with a sad expression,” potters in their workshops and florists from Xochimilco.

Trude Neuhaus. c. 1925 "Remero de Xochimilco."

Trude Neuhaus. c. 1925 “Remero de Xochimilco.”

The watercolors in the show that attracted attention included paintings of “the picturesque streets of Aguascalientes and Zacatlán and a sunset by the sea.” The mention of Zacatlán (in the state of Puebla), which is rarely visited even today by tourists, is especially interesting and suggests that Trude Neuhaus was a very adventurous young lady.

In addition to her artwork, the Berlin exhibit included the objects Neuhaus had found at Chapala and elsewhere as well as “some samples of the artistic industries that currently exist in Mexico, such as yarns, fabrics and ceramics made by Galán [sic], the famous potter from Tlaquepaque.” This is likely to refer to Armando Galván Rodríguez, born in 1898, who was recognized as a preeminent potter in Tonalá.

The artist was accompanied by her mother, Toni Neuhaus, to the opening of the show, which attracted numerous German and Mexican dignitaries.

Only one month after the show in Berlin, Trude Neuhaus was on her way back to Mexico, this time as a married woman, the wife of Rudolf (Rodolfo) May. May was born on 17 June 1894 in Nuremberg, Germany, and served in a Germany artillery unit during the first world war. By the mid-1920s, he was living in Mexico City. While May was not in New York at the time of Neuhaus’ show there, he passed through the city en route to Germany at the end of November 1925.

In March 1926, the newly married couple returned to Mexico from Hamburg on board the SS Rio Bravo. The ship’s manifest lists them as Rudolf May, a merchant aged 32, and Trude May, aged 30. (Trude would actually have been 27 years old according to the US immigration document referred to earlier.)

A decade later, “Trude Neuhaus-May” was the co-applicant with Angel M. Diez for a patent and trade-mark for a “mechanism for veering the headlamps of automobiles”. This patent was granted in Mexico in 1936 and in the U.S. two years later.

Both Rodolfo and Trude became naturalized Mexican citizens at some point prior to when Rodolfo visited Germany for several weeks in 1937-1938. Rodolfo (unaccompanied by his wife) entered the U.S. on his way to Europe on 23 November 1937 and landed at New York on his return on 4 February 1938.

In May 1955, and again in May 1959, Rodolfo and Trude took an Air France flight from Mexico City to New York; it is unclear if New York was their final destination or whether they were in transit to Europe. These flights list the address of their Mexico City residence as Amores #211 (Colonia del Valle).

Rodolfo died in Mexico City in March 1961 and Trude died there seven months later.

Trude and Rodolfo had at least one child, Luis, who was born in Mexico City in about 1932 and died there in 1965.

Among the many questions still unanswered is whether or not Trude Neuhaus continued her art career after she married and returned to live in Mexico—the only known works of this artist all date back to before her exhibitions in 1925 and 1926.

The only auction record for Trude Neuhaus is for a painting entitled “Indian mother and child” (date unknown) which sold in the U.S. in 1984 for $500.

Can anyone help fill in some of the blanks about this “mystery artist”? If so, please get in touch!

Sources

  • Luis Kabikef. 1926. “Exposición de cuadros.” Berliner Tageblatt, Año 4, #2 (February 1926), 8.
  • New York Times. 1925. “Miss Neuhaus shows paintings.” New York Times, 1 Nov 1925, W20.

Acknowledgment

  • My sincere thanks to Willem Eppink (see comments) for allowing me the use of a photo of a Trude Neuhaus painting in his possession.

Note: This post is an extended version of a post first published 13 December 2015.

Other mysteries relating to Lake Chapala authors and artists:

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

Sep 092020
 

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

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

Priscilla Frazer. Marine scene (undated, untitled).

Priscilla Frazer. Marine scene (undated, untitled). Photo courtesy of Tina Ravizza-Blumenfeld

As a child, Frazer’s parents encouraged her to develop wide interests, from archery, fishing and boating to music (she took violin lessons for nine years) and theater. As a teenager, she dreamed of becoming a great actress, and her first degree was in Speech and Drama, after which she worked for two years as Production Manager of the Laguna Beach Community Players.

In her own words, during that stage of her life,

“Interest in many things… led to night school courses in Radio Acting, Woodshop, Newspaper Feature Writing, Screenwriting, and three years of night and day school at Art Center, Chouinards, and Jepson Art Institute [in Los Angeles]. War Training courses include Aircraft Mechanical Drawing, Trigonometry and Slide Rule, and Electrical Wiring and Radio Assembly.”

Among her art teachers were Hester Lauman (South Pasadena High School art department), Eliot O’Hara, Rex Brandt, Phil Dike, and Lucille Douglas. In 1928-29, and accompanied by her younger brother, Edwin, Frazer spent eight months with famed art teacher Lucille Douglas on a world tour aboard the SS President Wilson—a “floating university”—painting wherever she went. Her family still owns a document in which Frazer lists her itinerary on that trip, an itinerary that makes me feel exhausted before even leaving home!

“We visited Cuba; Canal Zone; Hawaii; Japan: Kobe, Kyoto, Tokyo, Nikko, Kamakura; China: Shanghai, Kowloon, Hongkong, Canton – and up the Pearl River inland; Manila; Singapore; Federated Malay States; Siam; French Indo-China and Angkor; Penang; India – which we crossed twice – from Calcutta to Bombay and back to Madras; Ceylon; Red Sea to Port Said and Cairo – Upper Egypt, Karnak, Luxor, and the Valley of the Kings; Holy Land, Jerusalem; Beirut, Haifa; Adalia, Turkey; Limasol and Larnaca, Cyprue; Greece, Athens and Corinth. Corinth Canal to Brindisi, Italy. Naples, Sorrento, Rome, Florence, Venice. I flew through the Alps from Venice to Vienna, Austria. Prague, Czechoslovakia; Dresden, Berlin, Paris, Switzerland, Marseilles, New York.”

During the war, Frazer was a “Ruby Riveter.” She worked as a riveter, in a machine shop, and as a “Factory Layout Draftsman and Method’s Analyst for four years at Douglas Aircraft in Santa Monica.”

In 1948, Frazer and Anne Von were granted joint copyright of a printed paper cut-out toy named “Clipsies,” which apparently consisted of a farm with sets of cut-outs of chickens, cows, kitten, puppies, ducks and other animals. It appears that they designed, manufactured and marketed these kits themselves.

Frazer spent the summer of 1954 in Europe studying art in Oxford (U.K.) and at the Académie de la Grande Chaumière in Paris.

Her first recorded trip to Mexico came in 1955 when she studied with James Pinto at the Instituto Allende in San Miguel de Allende.

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

Priscilla Frazer. c 1963. "Sunday Best"

Priscilla Frazer. c 1963. “Sunday Best”

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

Frazer managed the One Man Shows at the Laguna Art Gallery for two years. In 1963, an article in the June issue of Ford Times included a photograph of Frazer’s “Sunday best”, the prize-winning watercolor in the Laguna Beach Art Show.

Frazer was already very familiar with Mexico before she bought two lots and built a home in Chapala Haciendas—which advertised itself as the “World’s Best Subdivision” in the “World’s best Climate”—in 1963. She took possession of her new home late that year and is recorded as attending a party at the Posada Ajijic in January 1964, along with another Pasadena artist, Jonathan Scott.

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

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

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

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

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

Priscilla Frazer. ca 1970. Pátzcuaro. (Duco)

Priscilla Frazer. ca 1970. Pátzcuaro. (Duco)

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

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

Acknowledgment

My sincere thanks to Tina Ravizza-Blumenfeld (a great niece of Frazer) for sharing the family’s knowledge of the artist and for locating the Ford Times issue which included “Sunday Best.”

Notes:

This is an updated and expanded version of a post first published 28 December 2017.

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

Sources:

  • Battle Creek Enquirer (Battle Creek, Michigan), 26 May 1963, p 24.
  • Justino Fernandez. 1961. Catálogo de las Exposiciones de Arte en 1960. Suplemento Num. 1 del Num. 30 de los Anales del Instituto de Investigaciones Estéticas, Mexico, 1961.
  • Guadalajara Reporter: 23 Jan 1964, 24 Dec 1964, 30 Sep 1965, 2 Apr 1966, 14 May 1966, 5 Nov 1966, 10 Jan 1970, 18 April 1970, 22 Aug 1970
  • Edan Hughes. 1989. Artists in California, 1786-1940. Hughes Pub. Co.
  • Independent Press-Telegram, Long Beach, California, 10 April 1960, p 57.
  • La Galería del Lago de Chapala. 1972. A Cookbook with Color Reproductions by Artists from the Galería. 1972. (Ajijic, Mexico: La Galería del Lago de Chapala).
  • Laguna Beach Art Association. 1956. Laguna Beach Art Association catalogue, March 1956.
  • John C. Weigel. 1963. “Art in the Outdoors.” Ford Times, June 1963, 41-45.

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

 Posted by at 5:29 am  Tagged with:
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 Lokos, 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.

Jul 152020
 

Canadian artist Clarence Ainslie Loomis was born in Toronto, Ontario, in 1917. Loomis studied at the Northern Vocational School under S. S. Finlay, and at the Ontario College of Art under J. W. Beatty. After graduating with the degree of AOCA (Associate of the Ontario College of Art), Loomis was later (1940) elected a member of the Society of Canadian Painter-Etchers and Engravers (CPE), becoming its secretary in 1943.

Clarence Ainslie Loomis: Sunset at Lake Chapala (1991)

Clarence Ainslie Loomis: Sunset at Lake Chapala (1991)

Relatively little is known about Loomis, whose small oil painting entitled “Sunset, Lake Chapala” (see image) dates from 1991 and depicts a horse and rider by the lake at sunset.

Clarence Ainslie Loomis: Ajijic Mountains (1990)

Clarence Ainslie Loomis: The Mountains, Ajijic (1990)

In 1947, a colored print entitled “End of Run” by Loomis was included in the Annual exhibition of the Society of Canadian Painter-Etchers and Engravers at the Art Gallery of Winnipeg.

At least one of Loomis’ works is in the permanent collection of the Art Gallery of Hamilton, Hamilton, Ontario, Canada.

In 1993, the National Art Gallery of Canada received a gift from “C. Ainslie Loomis” of Brantford, Ontario, of an album of photographs entitled The Antiquities of Cambodia, which had been published in 1867. Apparently Loomis bought this work for 75 cents in Britnell’s bookstore in Toronto when he was a university student in 1939. Today, the album is thought to be worth close to $10,000! (The Ottawa Citizen, 10 July 1994).

Loomis died in Brantford, Ontario on 24 June 1994.

Acknowledgment

  • Thanks to Thomas Ryerson for supplying the date and place of Loomis’ death (see comments below).

Sources

  • The Winnipeg Tribune (Winnipeg, Manitoba, Canada) 11 Dec 1948, 6.
  • The Ottawa Citizen, 10 July 1994.

Note: This is an updated version of a post first published on 13 July 2014.

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

 Posted by at 6:21 am  Tagged with:
Jul 022020
 

After visiting Ajijic in the mid-1940s, Irma René Koen spent the remaining three decades of her life living and painting in Mexico.

Koen, whose birth name was Irma Julia Köhn, was born in Rock Island, Illinois, on 8 October 1883. She graduated from Rock Island High School before briefly attending Augustana College. Despite being an accomplished cellist, she opted to enroll at the Art Institute of Chicago (AIC) in 1903; she was a regular exhibitor in its exhibitions from 1907 to 1917.

Koen completed her studies at the Woodstock School of Landscape Painting, and also studied under C. F. Brown, W.L. Lathrop and John Johansen in Vermont before taking a trip to Europe in 1914, where she was studying with Henry B. Snell at St. Ives in England when the first world war erupted. Koen returned to the US After the war, Koen painted in southern France and North Africa.

Market scene (possibly Oaxaca) painted by Irma Koen

Market scene in Central America painted by Irma Koen

Koen, who never married, traveled very widely during her working life, studying and painting in numerous art colonies, including St. Ives, Cornwall, England (1914); Monterey/Carmel, California (1915); East Gloucester, Massachusetts (1917); New Hope, Pennsylvania (1928); Boothbay Harbor, Maine (1927, 1928); Taos, New Mexico (1929). She also visited Asia, including Nepal. Prior to 1923, she signed her paintings as “Irma Köhn.” Sometime after a trip to France and North Africa in 1923-24, she changed her professional name to “Irma René Koen”.

She was already an artist of considerable renown before visiting Mexico. For example, the Christian Science Monitor noted in 1927 that Koen was “often designated as America’s leading woman artist.”

Photo of Irma Koen from “The News,” Mexico D.F. , 1956

Photo of Koen from “The News,” Mexico D.F. , 1956

After the second world war, she spent the remainder of her life based in Mexico. Art historian and biographer Cynthia Wiedemann Empen writes that Koen traveled to Mexico in the early 1940s for two months, moved to San Miguel de Allende circa 1944, and resided briefly in Ajijic on Lake Chapala, Pátzcuaro and Mazatlán before establishing a permanent home and studio in Cuernavaca, in the central Mexican state of Morelos, near Mexico City.

Neill James, writing about Ajijic in 1945, described how a recent visitor “Irma René Koen, an impressionist painter from Chicago, found a rich source of material in the local landscape”, so presumably Koen most likely visited Ajijic in late 1944 or early in 1945.

A “Mrs Sam Shloss” of Des Moines visited Ajijic a few years later. Interviewed on her return home in February 1949, she reported how she had visited Neill James in “primitive Ajijic” and purchased “a blouse of Indian handiwork” from James’ small shop. Schloss claimed that the blouse had been designed by “Irma Rene Koen, whose work will be exhibited in March at the Des Moines Art Center” and that the blouses were “marketed by Miss James in an attempt to help the native Mexican women earn pesos with their embroidery.” (Sylvia Fein, the famous American surrealist artist who lived for several years in Ajijic in the mid-1940s, also contributed designs to Neill James, and helped market the blouses in Mexico City and beyond.)

According to a report in 1946 in The Dispatch, an Illinois daily, Koen had already spent two and a half years in Mexico, having spent “the first summer” in “the Indian village of Ajijic which is a mecca for artists and writers.” The report quoted Koen as explaining how she generally “stayed from 3 to 5 months in a town and then moved on.” At that time, Koen relied on her memory and impressions to complete all her paintings in her studio, having found that “painting on the scene was impossible as the natives would practically mob artists who attempted it.”

Her first major exhibition in Mexico was held in 1947 at the Circulo de Bellas Artes de México; this exhibit, of (25 oils and 18 watercolors) was later shown in Chicago. The following year, art critic Guillermo Rivas extolled the virtues of Koen for readers of Mexican Life, describing how her painting had “changed completely” since arriving in Mexico: “Her image of Mexico is that of people and landscape fused within a rhythmic movement of incandescent color…. Putting aside her brushes she works with a palette-knife, arranging her undiluted pigments over the canvas in heavy strokes…. It is very seldom indeed that a foreign painter working in Mexico does not yield to its influence and there are occasions when such influence is sufficiently powerful as to define a turning point in their creative course.”

Irma Rene Koen. c 1945. "Street in Ajijic."

Irma Rene Koen. c 1945. “Street in Ajijic.”

Koen sold almost all her paintings to collectors. The only image I have ever seen of any of her Lake Chapala paintings is of one entitled “Street in Ajijic,” which she presented to the Rock Island YMCA in 1948. (left) If you own, or have access to, any of her other Lake Chapala paintings, please get in touch!

During her thirty years in Mexico, Koen traveled and painted throughout the country, with extensive trips also to Central America (Guatemala), Spain, Japan, Hong Kong, Kashmir, Nepal, and Iran.

Her vivid oil paintings, watercolors and plein-air landscape scenes were widely exhibited during her lifetime, at galleries and museums in San Francisco, Chicago, New York, Philadelphia, and Washington, D.C., as well as in Paris (1923) and Mexico.

Koen was a prolific exhibitor throughout her life. In addition to dozens of shows in the US, her paintings were displayed in the Galeria de Arte Mexicano (Gallery of Mexican Art) in Mexico City in 1956, and, in 1968, a selection of her Mexican landscapes and markets was hung at the Galeria de Edith Quijano, also in Mexico City. The following year, an exhibit of her oil paintings was held in the Palacio de Cortés, the main museum in her adopted home of Cuernavaca.

Koen died in Cuernavaca in 1975.

A major retrospective of her work, entitled “Irma René Koen: An Artist Rediscovered,” was held in 2017 at the Figge Art Museum in Davenport, Iowa.

Note: This is an updated and expanded version of a post originally published on 14 July 2014.

Main sources:

 Posted by at 6:35 am  Tagged with:
Jun 182020
 

Even my best efforts sometimes fail to turn up anything of note about certain artists that I know lived and worked at Lake Chapala.

Joe Vines is a case in point. Even though several artists I have interviewed in the past decade have mentioned him—and recall his work—I have managed to find out virtually nothing about this elusive artist who lived in the late 1960s in Jocotepec.

Vines-Joe-GR-1968-13-July-sJoe Vines, mistakenly spelled as either Jo Vines or Joe Vine in some contemporary news reports, was a male artist who signed his work “Jovines.” He held a solo show in March 1968 at the “Galería Ajijic Bellas Artes,” administered by Hudson and Mary Rose, that was located at Marcos Castellanos #15 (at the intersection with Constitución) in Ajijic. Reviewing the show, Allyn Hunt described his work as “sparkling, colorful silkscreen prints.”

Vines’ work was also included in a “collective fine crafts show” at the same gallery in May 1968, alongside examples of work by Mary Rose, Hudson Rose, Peter Huf and his wife, Eunice Hunt, Ben Crabbe, Gail Michel, Joe Rowe and Beverly Hunt. On that occasion, Vines, who was described as “an excellent serigrapher” contributed “several unpretentious sculptures.”

According to Peter Huf, Vines exhibited only rarely. Muralist Tom Brudenell, who lived in Jocotepec at the time, recalled that Vines was an older artist and “a long-time painter in oils”, who used his sound technique to produce commercial ‘pot boilers,’ shown by Marilyn Hodge in the Galería 8 de Julio in Guadalajara.

Reviewing another Vines exhibit in July 1968, where the artist showed “arabesque style” paintings and silkscreens, including “Wailing Wall”, “Birds in a Bush” and “Jocotepec Dancers,” Allyn Hunt wrote that Vines had studied at Pratt, in Boston, and with west coast artists Sueo Serisawa and Rico Lebrun.

If you can add to this all-too-brief account of Joe Vines, supply any biographical details, or have examples of his work, please get in touch!

Sources

  • Guadalajara Reporter 27 April 1968; 25 May 1968; 13 July 1968

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

Jun 042020
 

German-Mexican artist Hans Otto Butterlin (born Cologne, Germany, 26 December 1900) was only six years of age when the family emigrated from Europe to Mexico, living first in Mexico City and then Guadalajara.

During the Mexican Revolution, Otto and his younger brother, Friedrich, were sent back to live with relatives in Germany. Otto attended high school (Gymnasium) in Siegburg, but left school in about 1916 (mid-way through World War I) to join the German military as a one-year volunteer. After military service, Otto entered the University of Bonn in 1919 to study chemistry. The following year he continued his studies at Marburg University, before transferring to the University of Munich, where he was able to develop his passion for art.

Otto studied briefly at the prestigious Academy of Fine Arts in Munich in 1920 before moving to Berlin, where he was a member of the group of artists mentored by George Grosz, an influential artist and art educator, best known for his caricatures of Berlin life in the 1920s.

Otto returned to Mexico at the end of 1921 and began a career as an industrial chemist, working at several sugar mills in Jalisco, Sinaloa and the US. In about 1934, Otto moved to Mexico City, and joined the Mexican subsidiary of the German chemical company Bayer AG. While living in Mexico City, Otto was able to indulge his creative passion—painting—which led to him becoming close friends with a number of prominent Mexico City artists.

Otto Butterlin. Untitled, undated. Reproduced by kind permission of Monica Señoret.

Otto Butterlin. Untitled, undated. Reproduced by kind permission of Monique Señoret.

Otto and his family made their home in Mexico City in a second floor studio built by Mexican architect-artist Juan O’Gorman in the San Ángel Inn area, next door to the studio-home of Frida Kahlo and Diego Rivera. This connection to such dedicated and talented artists undoubtedly fueled Otto’s desire to take his own art more seriously.

In Mexico City, Otto developed his skills in engraving and the production of woodblocks. He also taught art. From 1944 to 1949, Otto taught courses on the materials and techniques of painting at the San Carlos National Academy of Fine Arts, where his students included José Chávez Morado, Luis Nishizawa, Ricardo Martínez and Gunther Gerzso. He also taught techniques of restoration and conservation at the National School of Anthropology and History (Escuela Nacional de Antropología e Historia, ENAH).

Otto Butterlin. Untitled, undated. Reproduced by kind permission of Monica Señoret.

Otto Butterlin. Untitled, undated. Reproduced by kind permission of Monique Señoret.

The first major article drawing public attention to Otto’s art appeared in 1939 on the eve of World War II in Mexican Life, where Albert Helman outlined Otto’s background and critiqued his portraits of indigenous women. Helman rightly concluded that Otto had “become a Mexican not only in nationality but also in his way of thinking and feeling,” and was “the one painter among us to mainly preoccupy himself with the depiction of Mexican folk-types and to pursue in such a depiction a deeper, a psychological as well as physical characterization of the native Indian face.”

Otto held three major solo shows in Mexico City—at the Galería de Arte Mexicano in November 1942, November 1946 and January 1951— all of which were widely praised by critics. A review of the first show called it a “transcendent exhibition” by an artist who had assimilated “all the magical expressionist thrust of modern German art…. makes his own colors, like any conscientious European, and then applies them, with feverish creative passion and haste, on his splendid canvases.” (Mada Ontañón in Hoy). An anonymous reviewer of the third show told readers that “The specialized technique of Butterlin, a king of impressionism with a tremendous strength… is absolutely unmistakable.”

Otto Butterlin. Untitled, 1930. Reproduced by kind permission of Tom Thompson; photo by Xill Fessenden.

Otto Butterlin. Untitled, 1930. Reproduced by kind permission of Tom Thompson; photo by Xill Fessenden.

Otto and his family lived in Mexico City until the mid-1940s when they moved to Ajijic on Lake Chapala. At that time Ajijic had no art supplies, no galleries, limited electricity, and only one phone line; it was as easy to reach by boat as by road.

Otto died in Ajijic on 2 April 1956, at the age of 55.

Otto’s legacy

Binational and bicultural, Otto Butterlin had a significant influence on Mexican art in the mid-20th century. Yet his life and work have been largely ignored by art historians. German by birth, he became Mexican by choice. Though he lived most of his adult life in Mexico, Mexican writers have ignored his achievements because he was not native-born; Germans have forgotten him because Butterlin, after training as an artist in Germany, left that country in his mid-twenties and never returned.

Otto’s significant contributions to the development of modern Mexican art have been undervalued. For example, his series of powerful portraits—several of them intimate—of indigenous girls and women reveal how Otto was at the forefront of the post-Revolution art movement, one that was finally concerning itself with the nation’s indigenous peoples, landscapes and cultural traditions. This movement, which spawned new artistic techniques and styles, while often linking back to ancient pre-Columbian motifs and designs, also revived modern muralism, which made Mexico world famous as a cradle of artistic creativity.

Otto Butterlin showed a generation of Mexican artists how old-world artistic styles could be applied to new-world subject matter, and how a deep knowledge of chemical processes, paints and materials enhanced an artist’s ability to portray ideas and emotions. Otto’s own art focused more on feelings and emotions than on calculated representational portrayals. His influence helped nudge Mexican art away from realism and towards abstract expressionism.

Otto was generous and perceptive, more interested in art for art’s sake than for remuneration, profit or fame. He worked alongside—and his work was admired by—the greatest artists of his time. Artist, chemist and much more besides, Otto Butterlin left Mexico an extraordinary artistic legacy, one to be treasured, admired and enjoyed.

Acknowledgment

  • My sincere thanks to Otto Butterlin’s granddaughter, Monique Señoret, for her hospitality and for giving me the opportunity to see her extensive private collection of his original works.

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.

 Posted by at 5:25 am  Tagged with:
May 212020
 

Eleanor Margarite Glover, who became an acclaimed portrait painter, and lived in Ajijic 1961-1963, was born on 1 October 1919 in Big Horn, Wyoming, to a Methodist minister, shortly before the family moved to Compton, Los Angeles, California. Eleanor was the second of five children in the family.

Her father nicknamed her “Tink” at an early age because she was always tinkering with things. Her son Loy recalls that his mother, “had an uncontrollable compulsion to touch things she found interesting. She and I were actually asked to leave the Norton Simon Museum in Pasadena once because she couldn’t keep her hands off the Rodin.”

Tink Strother in her Ajijic studio, ca 1962

Tink Strother in her Ajijic studio, ca 1962

After graduating from Compton Junior College, Strother spent two years studying commercial art at Frank Wiggins Trade School.

She married Vane Strother in June 1942, shortly before he was posted overseas. In his absence, Strother worked as a draftsman for Douglas Aircraft. She began to add cheery, fun illustrations to the envelopes she used to mail letters to her husband. Her envelope art was first sketched in pencil, then carefully covered with ink or watercolor.

Wartime envelope decorated by Tink Strother

Wartime envelope decorated by Tink Strother

The New Yorker eventually ran a story about similar envelopes, coincidentally at the same time as a selection of Strother’s own wartime envelopes went on display in a highly successful exhibit at the Santa Paula Society of the Arts. When asked why she had started decorating envelopes, Strother replied, “Just to entertain the guys overseas fighting in the war; I put pretty girls on most of them, some movie stars. We were young and had just gotten married”

At the end of the war, Strother, a fiery, talkative red-head with a larger than life personality, started working as a commercial artist. She took the advice of a gallery owner and enrolled in portraiture classes at Orange Coast College.

Strother first visited Ajijic in 1960, by which time her marriage was in trouble. The following June she left her husband in California and settled with her two children in the lakeside village, renting what her son remembers as, “an incredible place with a guest house,  gardens and fountains, the kitchen was a separate building with a cook, a maid and a gardener for $110 a month.” The children stayed only a year, but Strother remained in Ajijic for the next two years, returning to California in 1964.

In 1962, an exhibition of Tink Strother’s paintings was held at the Alfredo Santos gallery in Guadalajara. (Other artists showing in that exhibition included Carlos López Ruíz, Ernesto Butterlin, Filipino artist Romeo Tabuena, American artist Peter Matosian,  French artist Diane Lane Root, and Mexican artists Jorge González Camarena and A. Galvez Suarez.)

In Ajijic, Tink worked as a portrait artist and taught art. Her son remembers that she,

always had a gaggle of ladies around her (and some serious art students) with their easels trudging around the fields doing landscapes in their sun hats, or in the studio learning portraiture,

While in Ajijic, she met a Colombian artist Carlos López Ruíz (1912-1972). Their relationship continued and he accompanied her to California, where they opened a joint studio and gallery, first in Pico Rivera and then in Whittier. Strother also taught adult education art courses. Her son Loy frequently watched her teach, and describes her as a “a virtuoso teacher of painting”. He recalls her particular “party piece”:

“Tink did many demonstrations of portrait painting to classes and groups”, in which “she would take the same subject she had just done a portrait of, and draw him/her as a baby, and then age the portrait in stages to the age of about 90. People would gasp and say my God that is exactly what she looked like at that age!… And Tink talking nonstop the entire time explaining every move.”

Tink Strother was also an enthusiastic fund-raiser and offered her services as a sketch artist and caricaturist to hundreds of charity events. She would draw rapid charcoal sketches at $15 a head, sign them “Tink”, and donate all the proceeds to the charity. Loy Strother watched in awe:

“She attracted a crowd very time. It was like watching a magic act as Tink produced perfect likenesses with a few masterful strokes holding nothing in her hand but a chunk of charcoal. It would appear as if she was just waving her hand at the easel and an ethereal likeness of the subject would seem to emerge from the blank white paper.”

strother-tinkWhile portrait painting was her great love, Strother also did copper enamel jewelry, sculpture, serigraphs and graphic designs.

When her relationship with Carlos broke down (in about 1968), Strother moved to Europe where she continued to enjoy moderate success, completing a prolific number of fine portraits, living mostly in Rome, Italy.

In 1976 (several years after Carlos’ death) Strother returned to California and became deeply involved in the Santa Paula Society of the Arts and an art columnist for the Santa Paula Times. Strother lived the last few years of her life with her daughter in Barcelona, Spain, and died there on 1 January 2007.

Peggy Kelly, who wrote Strother’s obituary for the Santa Paula News praised her portraits, saying that they reflected “not only the physical likeness of the subject but also their personality and soul.”

Note This post was first published 24 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.

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.

 Posted by at 5:40 am  Tagged with:
Mar 262020
 

German artist Peter Woltze is primarily known as a watercolorist who specialized in street scenes and architectural studies. He lived in the U.S. for many years at the end of the 19th century and his beautiful painting of Chapala, dated 1899, is among the earliest watercolors known of the region.

Friedrich Karl Peter Berthold Woltze was born in Halberstadt, Germany, on 1 April 1860, the son of portrait painter Berthold Woltze (1829-1896) and his wife, Anna. Peter Woltze studied in Weimar, Karlsruhe, Munich, Venice and Rome.

At the age of 26, he left Germany on 29 August 1886 for the U.S., where he lived for most of the next 14 years. His decision to emigrate may have been at the encouragement or invitation of Austrian artist August Löhr (1843-1919) or German artist Friedrich Wilhelm Heine (1845–1921) who had partnered to establish the American Panorama Company (APC) in Milwaukee, Wisconsin, two years earlier. They commissioned as many as twenty German artists to work on large panoramic paintings for the APC. Löhr later moved to Mexico, where he painted Lake Chapala in about 1905.

Woltze certainly worked with the APC and the timing of his decision to cross the Atlantic to Milwaukee appears to confirm that he knew he would find employment there. During his years in Milwaukee, Woltze studied art with Heine (who set up the Heine School of Art in 1888) and contributed to several German language publications.

Peter Woltze. 1899. Chapala. (Credit: Auktionshaus Angerland, Germany)

Peter Woltze. 1899. Chapala. (Credit: Auktionshaus Angerland, Germany)

The permanent collection of the Milwaukee Art Museum has several Woltze paintings, including one of his few known portraits. In style, Woltze, influenced by the Grand-Ducal Saxon Art School in Weimar, moved away from classical composition towards more natural “genre” paintings based on an appreciation of nature. Among the other prominent artists of this School was Max Beckmann, who also moved to the U.S., where he taught creative American artist Barbara Zacheisz Elstob, who painted in Ajijic in the early 1950s.

Woltze became a member of the influential Salmagundi Club of New York, which holds regular art exhibitions and has amassed its own permanent collection, which includes a work by Gerald Collins Gleeson (1915-1986) who also painted in Chapala. Alan Horton Crane (1901-1969), also a member of the Salmagundi Club, visited Chapala in 1949 to produce some striking lithographs.

In addition to painting scenes in the Milwaukee region, Woltze also spent time in New Orleans and the south, where he painted numerous street and genre scenes.

Woltze visited Chapala in 1899, only a year after the opening of the town’s first international hotel, the Hotel Arzapalo. (Chicago-based artist Richard Smith Robbins (1863-1908) had visited Chapala the year before.) Woltze’s lovely watercolor of Chapala, sold at auction in Germany in 2019, is unusual in that it does not show the lake but focuses on the essential elements of rural life.

In 1900, Woltze returned to live in Germany, settling initially in Frankfurt am Main. Three years later, on 27 March 1903, he married Helene Meurer in Weimar in central Germany. The couple moved to Weimar in 1907, the same year Woltze published a portfolio of watercolor views of the city’s historic buildings.

Peter and Helene Woltze visited the U.S. in October 1909. Four years later, his wife returned to New York to mount an exhibition of almost 100 of her husband’s superb watercolors at the Waldorf-Astoria. A news report of the time emphasized the quality of the works on display, which were all “painted on English water color paper in English-made colors.”

Peter Woltze died in Weimar on 4 April 1925, at the age of 65. Examples of his Milwaukee paintings have occasionally appeared in group shows, such as Wisconsin Artists 1855 Until Today (1963); A Century Plus of Wisconsin Watercolors (1976); Collecting the Art of Wisconsin – The Early Years (1996) and An Unfolding Story… Panorama Painting In Milwaukee (2008).

Sources

  • The Brooklyn Daily Eagle, 6 December 1913, 7.
  • William Gerdts. 1990. Art Across America. Abbeville Pr, vol. 2: 333.
  • John A. Mahé, Rosanne McCaffrey (eds). 1987. Encyclopaedia of New Orleans Artists, 1718-1918, p 418.
  • Museum of Wisconsin Art. 2007. “Peter Woltze” (biography).
  • Estill C Pennington (Contributor), James C Kelly (Contributor). 1985. The South on Paper: Line, Color and Light. Saraland Pr/Robert M Hicklin Jr Inc.
  • The Post-Crescent (Appleton, Wisconsin) 29 January 1967, 22.

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.

 Posted by at 5:39 am  Tagged with:
Feb 272020
 

Artists Michael Baxte (1900-1972) and his wife, Violette Mège (1889-1968), lived in Mexico City for decades and visited Ajijic several times during the 1940s.

Baxte and his wife were near neighbors in Mexico City of Helen Kirtland and her family. After her marriage ended, Kirtland moved to Ajijic with her three young children and founded Telares Ajijic. Her only daughter, Katie Goodridge Ingram, author of According to Soledad, a memoir about her childhood in Mexico City and Ajijic, has clear memories of Baxte and Mège visiting Ajijic over the winters of 1945 and 1946, where they shared a “cottage” owned by Louis Stephens, a mutual Mexico City friend.

Michael Baxte. ca 1950. Lake Chapala. (Mexican Life, June 1952)

Michael Baxte. ca 1950. Lake Chapala. (Mexican Life, June 1952)

Michael Posner Baxte was born in Staroselje, Belarus. His family emigrated by parts to the US at the start of the 20th century. Michael and his mother joined his older brothers there in 1907. Michael later went to stay with an uncle, an accomplished violinist who lived in Mississippi. Recognizing his musical talents, the uncle sent Michael to violin classes in New Orleans. Michael then took master classes in Paris and later Berlin, where he was a student of the famed Hungarian violinist Joseph Joaquim.

After Europe, Baxte settled in New York City in 1914 to compose, perform and teach. His musical compositions were performed at the Tokyo Imperial Theater, and he was a prominent member of the American Jewish community.

It was in New York that he fell in love with painter Violette Mège. The couple briefly visited Mège’s homeland of Algeria before settling in Manhattan, New York, where they married in 1920.

Inspired by his wife, Baxte began to paint. Mège was his only teacher, and he was her only student. Her classes and encouragement paid off a decade later when Baxte was chosen as one of the two winners in the Dudensing National Competition for American Painters. Baxte also exhibited with the Society of Independent Artists, Salons of America and at the Whitney Museum of American Art.

Michael Baxte. ca 1950. Village in Jalisco. (Mexican Life, June 1952)

Michael Baxte. ca 1950. Village in Jalisco. (Mexican Life, June 1952)

Lloyd Goodrich, a New York Times critic, wrote in 1929 that “Mr. Baxte… is an artist of considerable subtlety, not too strong perhaps, and sometimes a little uncertain, but always sensitive and interesting. One feels in each of his pictures an absorption in his subject and an individual manner of looking at it. He has a very attractive color sense, warm, sensuous, and unexpected, which seems natural and unforced.”

For the next decade, Mège devoted herself to teaching her husband to paint and helping him refine his techniques. According to a 1930 newspaper account, she rarely painted during this time.

During the 1930s, the couple lived in Paris, France, where Baxte exhibited his artwork at the government-sponsored Salon d’ Automme.

They left France when the second world war began and, by 1941, had moved to Mexico, where Mège and her husband had a home (later owned by Rufino Tamayo) in Coyoacán. They traveled to various parts of Mexico and many of Baxte’s paintings are of landscapes and people in Michoacán and elsewhere in western Mexico. For example the December 1942 issue of Mexican Life included images by Baxte entitled “Village in Michoacan”, “First communion (portrait)”, “Portrait of an Indian girl”, and “Pueblos Street”.

Michael Baxte. Portrait of a lady.

Michael Baxte. Redhead in plaid. (Auctioned by Treadway Tooney in 2015)

In 1946, Baxte’s oil painting “Paisaje de Tenancingo” was included in a major exhibition of paintings of flowers at Mexico’s 5th National Floriculture Exhibition and 4th Flower Show (“Salón de la Flor”). Also showing on that occasion was Otto Butterlin, who had moved that year with his family from Mexico City to Ajijic.

Another article in Mexican Life, in 1952, when Baxte was showing at Galeria de Arte Mexicano, included images entitled “Uruapan”, “Charo”, “Village in Jalisco”, “Valley of Mexico”, “Oaxaca landscape” and “Lake Chapala”. His paintings have been described as modernist-leaning landscapes and portraits.

In 1954, Baxte and Mège both had paintings included in an exhibition of 20 non-Mexican artists from 12 regions of Mexico at the Salón de la Plástica Mexicana in Mexico City. The El Nacional’s art critic was less than generous in his appreciation of the couple’s work, writing that though “the works of Mège and her husband display some well-observed Mexican aspects,” neither “had a strong sense of color.”

None of this deterred Baxte from describing himself as an “artist of international renown when announcing, via a display ad in Mexican Life,  “the opening of his new studios at Calzada Mexico-Tacuba No 16 (corner of Melchor Ocampo) where he will be pleased to accept a limited number of endowed pupils for guidance and technical reconstruction.”

In 1957, Baxte had a solo show, mainly of landscape paintings, at the Salon of International Friendship of Mexico City’s Palacio de Bellas Artes.

Baxte died in Mexico City in 1972.

Acknowledgment

  • My thanks to Katie Goodridge Ingram for sharing with me her memories of the artist.

Sources

  • American Art News. 1916. “Paris Letter.” American Art News, Vol. 14, #33 (10 May 1916).
  • Battle Creek Enquirer (Michigan). 1930. Battle Creek Enquirer, 4 May 1930, 26.
  • Michael Baxte. 1942. “Mostly about myself.” Mexican Life, vol 18, Dec 1942, 27-30.
  • Michael Baxte. 1942. “Violette Mége.” Mexican Life, v 18 (October 1942).
  • Dorothy Dayton. 1929. “Musician Wins Painting Prize,” The New York Sun, 9 January 1929.
  • Howard Devree. 1941. “A Reviewer’s Notebook,” The New York Times, 30 March 1941.
  • The Evening World (New York), 2 December 1918, 11.
  • Lloyd Goodrich. 1929. “Reviewer’s Notebook,” The New York Times, 5 May 1929.
  • The International Studio: an Illustrated Magazine of Fine and Applied Art. 1918. (November 1917-February 1918).
  • Andrew Langston. 1952. “Michael Baxte”, Mexican Life, June 1952, 27-30.
  • Mexican Life. Feb 1954, 43. (Advert)
  • P. Fernandez Marquez. 1954. “La Exposicón de Artistas Huéspedes.” El Nacional,
    1954; Suplemento Dominical, 6.
  • Guillermo Rivas. 1957. “Michael Baxte.” Mexican Life, Vol 33 #3 (March 1957), 30-32.

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 132020
 

Artists Violette Mège (1889-1968) and her husband, Michael Baxte (1900-1972), lived in Mexico City for decades and visited Ajijic several times during the 1940s.

Mège and her husband were near neighbors in Mexico City of Helen Kirtland and her family. After her marriage ended, Kirtland moved to Ajijic with her three young children and founded Telares Ajijic. Her only daughter, Katie Goodridge Ingram, author of According to Soledad, a memoir about her childhood in Mexico City and Ajijic, has clear memories of Mège and Baxte visiting Ajijic over the winters of 1945 and 1946, where they shared a “cottage” owned by Louis Stephens, a mutual Mexico City friend.

Violette Mege. Lavandera de Ajijic (El Nacional, 1954)

Violette Mege. Lavandera de Ajijic (El Nacional, 1954)

Violette Clarisse Mège (or variants Mege and Mége) was born in Algeria in 1889. When she became the first woman to win a prestigious Beaux Art competition in Algeria in 1914, the organizers only awarded her the scholarship after the French government intervened on her behalf.

Mège had work exhibited in a group show in Paris in 1916 at the Latin Quarter Association. After winning the Beaux Art scholarship for a second time, she decided to broaden her horizons and used the prize money to travel to New York with her younger sister, Emma, in 1916.

Her New York trip proved to be a pivotal moment in her life. She fell in love with Michael Posner Baxte, an up-and-coming violinist and composer. The couple briefly visited Mège’s homeland before settling in Manhattan, New York, where they married in 1920.

Mège held a solo show of her paintings at The Touchstone galleries in New York in 1917. A critic described this as “an exhibition of singular attraction by a very bold student of color, Violet Mege, an Algerian who paints her native land, showing rich color effects where light is not toned by shadow, her shadows being almost negligible in values. Her figure work is good, especially in the portrait of a woman and a violinist.” The violinist was, presumably, Michael Baxte.

Violette Mege. Still life. (Auctioned by Black Rock Galleries in 2013)

Violette Mège. Still life. (Auctioned by Black Rock Galleries in 2013)

Her work was also praised in a group show the following year at the Macdowell Club: “The spirit of the manners and customs, as well as the costumes of the strange people pictured by her is quaintly and withal pleasingly worked out. Sometimes her work halts before it should, but is particularly noteworthy in its freshness and excellent coloring. Miss Mege is not always so good in her rendering of flowers.”

Mège had paintings of Algeria and of a Cypress tree in New York included in the Third Annual Exhibition of The Society of Independent Artists at the Waldorf Astoria in New York in 1919.

Inspired by his wife, Baxte began to paint. Mège was his only teacher, and he was her only student. Her classes and encouragement paid off a decade later when Baxte was chosen as one of the two winners in the Dudensing National Competition for American Painters.

For the next decade, Mège devoted herself to teaching her husband to paint and helping him refine his techniques. According to a 1930 newspaper account, she rarely painted during this time, and it was only after her husband’s work was widely acclaimed that she “she picked up her palette and brushes where she had laid them down on marriage.”

In 1930 she held a solo exhibit at the Delphic Studios in Battle Creek, Michigan.

The couple lived in France during the 1930s. They left when the second world war began and, by 1941, had moved to Mexico, where Mège exhibited her paintings at “Decoración Gallieres” the following year. Mège and her husband had a home (later owned by Rufino Tamayo) in Coyoacán and traveled to various parts of Mexico. Many of their paintings show landscapes and people in Michoacán and western Mexico.

As in the case of her painting “Lavandera de Ajijic”, exhibited in Mexico City in 1954 and reproduced in El Nacional, Mège often signed paintings using only her surname. This painting was shown, alongside work of her husband, in an exhibition of 20 non-Mexican artists from 12 regions of Mexico at the Salón de la Plástica Mexicana in Mexico City. The El Nacional’s art critic was less than generous in his appreciation of the couple’s work, writing that though “the works of Mège and her husband display some well-observed Mexican aspects,” neither “had a strong sense of color.”

Mège died in Mexico City on 11 May 1968 at the age of 69.

Acknowledgment

My thanks to Katie Goodridge Ingram for sharing her memories of the artist with me.

Sources

  • American Art News. 1916. “Paris Letter.” American Art News, Vol. 14, #33 (10 May 1916).
  • Battle Creek Enquirer (Michigan). 1930. Battle Creek Enquirer 4 May 1930, 26.
  • Michael Baxte. 1942. “Violette Mége.” Mexican Life, v 18 (October 1942).
  • P. Fernandez Marquez. 1954. “La Exposicón de Artistas Huéspedes.” El Nacional,
    1954; Suplemento Dominical, 6.
  • The International Studio: an Illustrated Magazine of Fine and Applied Art. 1918. (November 1917-February 1918).
  • The Evening World (New York), 2 December 1918, 11.

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.

Jan 302020
 

Acclaimed expressionist artist Abby Rubinstein (née Addis) and her second husband, Jules, also an accomplished artist, lived in Ajijic from 1966 to 1976.

Abby S Addis was born in Brooklyn, New York, on 6 August 1928.

In 1945, at age 15, Abby was accepted on a scholarship into the Brooklyn Museum Art School, where famous Mexican artist Rufino Tamayo was one of her tutors, alongside Joseph Presser, George Pippin, Frances Chris and John Bindrum.

Abby taught nursery school and married young. She had two children with her first husband, Arthur G. Kunkin, a colorful character who later (in Los Angeles) became the publisher of the hippie-oriented underground newspaper The Free Press. The couple had left New York in 1950 for Los Angeles, where Abby studied briefly with muralist Leonard Herbert at the Otis Art Institute and became director of Westwood Temple’s daily nursery.

Abby Rubinstein. Untitled. Reproduced by kind permission of Ricardo Santana.

Abby Rubinstein. Untitled. Reproduced by kind permission of Ricardo Santana.

More than a decade later, and after the end of her first marriage, Abby married Jules Rubinstein in Los Angeles. Shortly after marrying, the newly-wed couple moved to Ajijic.

During their years in Ajijic, both Abby and Jules developed reputations as fine artists, attracting a steady stream of international visitors and art collectors to their home and studios.

Abby Rubinstein. ca 1970. The Just Man. Reproduced by kind permission of the artist

Abby Rubinstein. ca 1970. The Just Man. Reproduced by kind permission of the artist

In 1967, not long after moving to Ajijic, some of Abby’s oil paintings were on show at an Open Studio of the “Harrington Collection” in Guadalajara.

During the Mexico City Olympics in 1968 the Rubinsteins served on the city of Guadalajara cultural team and held an inaugural joint exhibition of paintings at the Galeria Municipal (Chapultepec and España). The exhibit opened on 3 June 1968 and was sponsored by the Olympic Cultural Committee as part of their International Festival of the Arts. In nine days over 3000 people came to view this exhibition.

Abby Rubinstein. ca 1970. The Torah. Reproduced by kind permission of the artist

Abby Rubinstein. ca 1970. The Torah. Reproduced by kind permission of the artist

The following year, two of Abby’s oils were chosen for inclusion in the Semana Cultural Americana – American Artists’ Exhibit, which opened at the Instituto Cultural Mexicano Norteamericano de Jalisco, A.C. (Tolsa #300) in late June. The juried group show featured 94 pieces by 42 US artists from Guadalajara, the Lake area and San Miguel de Allende. The four-man jury was comprised of Francisco Rodriguez Caracalla, Director of Escuela de Artes Plásticas, and three art critics; José Luis Meza Inda, Fernando Larroca, and Victor Hugo Lomeli.

In 1972, the Rubinsteins held another joint exhibition, of about 15 paintings each, at the Instituto Cultural Mexicano Norteamericano de Jalisco (Mexican-North American Cultural Institute). A reviewer (probably Allyn Hunt) asserted in the Colony (Guadalajara) Reporter that, “Abby has made a quietly profound and eloquent statement about the world we live in and those that people it,” while Jules’ works are “expressionism… with a feeling of allegorical mysticism.”

According to her resume, Abby showed several oil paintings and drawings in an exhibit at the Escuela de Artesanias (Handicrafts School) in Ajijic in 1975. If anyone can supply more information about this show, and the names of other artists involved, please get in touch.

Abby Rubinstein. 2016. Chef's School. Reproduced by kind permission of the artist

Abby Rubinstein. 2016. Chef’s School. Reproduced by kind permission of the artist

After they left Ajijic in 1976, the couple lived for a year in Israel, where Abby lectured on Expressionist art and its philosophy, before re-crossing the Atlantic to settle in Visalia, California.

Abby and her husband held a special exhibition at Riverside Municipal Museum in 1981. Entitled “Rubinstein and Rubinstein: Myth and Religion in American Expressionism,” the show featured 31 paintings from their personal collection.

Abby studied at the University of San Francisco and gained her bachelor’s degree in Public Administration and Art in 1983 and her Masters degree in Fine Arts two years later.

Her solo exhibitions, of oil paintings unless otherwise indicated, include: Brooklyn Museum, New York (drawings and watercolors, 1948); Mariana Von Allesh Gallery, Manhattan (1949); University of Guadalajara Gallery (1967); Misrachi Gallery, Mexico City (1969); Beth Giora, Jerusalem, Israel (1976); Visalia Convention Center, California (oils, watercolors and pastels, 1993); Lawrence Collins Fine Art Gallery, Visalia (2000); Adamo Gallery, Las Vegas (2002); Addi Gallery, Lahaina, Maui, Hawaii (2004); EaselHeads Gallery, Visalia (2004–2009).

Abby Rubinstein. 2019. The Street Singer. Reproduced by kind permission of the artist.

Abby Rubinstein. 2019. The Street Singer. Reproduced by kind permission of the artist.

In addition to the various group shows in Mexico, Abby’s paintings and drawings have been chosen for shows in Santa Monica Library, California (1966); Swanson Food Co., Minneapolis (1974); Korenbrut Studio, Mexico City (1975); Temple Beth Israel, Fresno, California (1978) and Bowman Gallery, Visalia (1980).

A 2017 newspaper article labeled her work ‘humanist expressionism,’ explaining that when she started a painting, the artist began by looking for “movement, color or atmosphere that corresponds with my innermost emotions,” before “bending it and developing it until it speaks for me and meets others with whom it can have a conversation.”

The article quoted Abby’s belief that

a true work of art transcends time barriers and finds an indefinable element that touches a main spring of intuitive response within a viewer and affects a very intimate meeting. It’s that intimate meeting that I seek when I paint.”

Abby still lives in Visalia and continues to paint and exhibit. As she explained by email:

“I believe that a search for intimacy in my paintings is what distinguishes them as mine. Frequently, people refer to the color in my work, but I think that the colors that I use are only components in the construction of the idea. To begin with I seek the soul of the subject. Then without ever losing sight of this, I bring together my emotion and consciousness in the development of the painting until it satisfies me.”

As the great sculptor Saul Bazerman answered, when asked how he knew when he was finished with a piece, “When it is full and I am empty.”

Abby Rubinsteins’s paintings are in numerous private collections in several countries. Please visit her website for more details and many more images of her superb work.

Acknowledgment

  • My thanks to Abby Rubinstein for her help via email in compiling this profile and to Katie Goodridge Ingram and Peter Huf for sharing with me their memories of Abby Rubinstein. Sincere thanks, too, to Ricardo Santana for showing me the untitled work by Abby Rubinstein in his private collection.

Sources

  • Colony (Guadalajara) Reporter: 15 June 1968; 6 Feb 1971; 3 Apr 1971; 18 March 1972; CR 21 Feb 1976;
  • Los Angeles Times: 26 Aug 1962, 282; 5 April 1967, 2; LAT 6 Dec 1968, 2; 29 Aug 1970, 6.
  • San Bernardino County Sun, 19 June 1981, 48.
  • The Sun-Gazette. March 22, 2017. “Renowned artist shows ‘humanist expressionism’ at Exeter gallery.”
  • Edward J Sylvester. 1975. “So you’d like to retire in Mexico?” Tucson Daily Citizen, 13 Sep 1975, 9-11.
  • Visalia Times-Delta: “Painter Abby Rubinstein reflects on her long career, art.”

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.

 Posted by at 5:32 am  Tagged with:
Jan 162020
 

Noted expressionist artist Jules Rubinstein and his wife Abby, also an accomplished artist, lived in Ajijic from 1966 to 1976.

Born in New York on 9 June 1908, Jules was the son of a Talmudic scholar who, according to a 1975 article in the Tucson Daily Citizen, gave him an empty suitcase on his 14th birthday, and told him, “You are a man now…. I give you the world. Do with it whatever you will.”

“Jules went to sea and spent the next 14 years as a sailor, seven in the South China Sea merchant lanes. He came back a carpenter, worked in construction on New York’s Lincoln Tunnel and the Empire State Building. Came back a painter. New York, L.A., Ajijic.”

Shortly before moving to Ajijic, Jules had married Abby Addis (37) on 9 April 1966 in Los Angeles. The couple first met in an art supply store; two weeks later, Jules presented Abby with “Meeting” (below), his depiction of their encounter.

Jules Rubinstein. 1965. Meeting. Reproduced by kind permission of Abby Rubinstein

Jules Rubinstein. 1965. Meeting. Reproduced by kind permission of Abby Rubinstein

During the Mexico City Olympics in 1968 the Rubinsteins served on the city of Guadalajara cultural team and held an inaugural joint exhibition of paintings at the Galeria Municipal (Chapultepec and España). The exhibit opened on 3 June 1968 and was sponsored by the Olympic Cultural Committee as part of their International Festival of the Arts. In nine days over 3000 people viewed this exhibition.

Jules Rubinstein. Untitled. Reproduced by kind permission of Katie Goodridge Ingram.

Jules Rubinstein. Untitled. Reproduced by kind permission of Katie Goodridge Ingram

The following year, three of Jules’ oils were chosen for inclusion in the Semana Cultural Americana – American Artists’ Exhibit, which opened at the Instituto Cultural Mexicano Norteamericano de Jalisco, A.C. (Tolsa #300) in late June. The juried group show featured 94 pieces by 42 US artists from Guadalajara, the Lake Chapala area and San Miguel de Allende. The four-man jury was comprised of Francisco Rodriguez Caracalla, Director of Escuela de Artes Plásticas, and three art critics; José Luis Meza Inda, Fernando Larroca, and Victor Hugo Lomeli.

Jules Rubinstein is mentioned in the Colony Reporter in February 1971 as presenting a poem at a Sunday evening of music and poetry held at the home of Aileen Melby, a poet and children’s author, and her husband, Arthur. Jim Marthai and Katie Ingram also read poems at that informal soirée.

Jules Rubinstein. ca 1960 Fifteen Heads. Reproduced by kind permission of Abby Rubinstein

Jules Rubinstein. ca 1960 Fifteen Heads. Reproduced by kind permission of Abby Rubinstein

In 1972, the Rubinsteins held another joint exhibition, of about 15 paintings each, at the Instituto Cultural Mexicano Norteamericano de Jalisco (Mexican-North American Cultural Institute). A reviewer (probably Allyn Hunt) asserted in the Colony (Guadalajara) Reporter that, “Abby has made a quietly profound and eloquent statement about the world we live in and those that people it,” while Jules’ works are “expressionism… with a feeling of allegorical mysticism.”

Interviewed by a journalist in 1975 for a lengthy piece about American retirees in Mexico, Jules, then 68 years of age, was described as having “iron gray hair, iron gray mustache curled at the corners; a deep booming voice” and an intense dislike of bureaucrats.

Peter Huf, who lived with his wife, Eunice Hunt, in Ajijic at that time and knew the Rubinsteins well, reflected that “Jules was a very mystical and vital painter, many of his works I think were at home in the Jewish tradition mixed with this magic influence of Mexico around us.” Huf also recalled that Jules often talked about “his old friend Bill back in New York”, a reference to the great Willem de Kooning, with whom Jules “had shared some great times and many discussions about art.” (Kooning also had links to two other artists inspired by Lake Chapala: Stanley Sourelis and Black American artist Arthur Monroe.) In the 1930s, Jules had also been great friends with Yasuo Kuniyoshi , Max Weber and Saul Baizerman.

After they left Ajijic in 1976, the Rubinsteins lived for a year in Israel before settling in Visalia, California.

Jules and his wife held a special exhibition at Riverside Municipal Museum in 1981. Entitled “Rubinstein and Rubinstein: Myth and Religion in American Expressionism,” the show featured 31 paintings from their personal collection.

Jules Rubinstein died, at the age of 81, on 18 January 1990 in Visalia, California.

An expressionist triptych on board work entitled “Sabath Candles” by Jules Rubinstein exceeded its estimate at auction at Freeman’s in 2002.

Acknowledgments

My thanks to Abby Rubinstein, Katie Goodridge Ingram and Peter Huf for sharing their memories of Jules Rubinstein with me.

Sources

  • Colony (Guadalajara) Reporter: 15 June 1968; 6 Feb 1971; 3 Apr 1971;
  • San Bernardino County Sun, 19 June 1981, 48.
  • Edward J Sylvester. 1975. “So you’d like to retire in Mexico?” Tucson Daily Citizen, 13 Sep 1975, 9-11.
  • Visalia Times-Delta: “Painter Abby Rubinstein reflects on her long career, art”

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.

 Posted by at 5:32 am  Tagged with:
Dec 052019
 

At the beginning of his art career, Michael Boyd and his wife, Verlaine (a writer and poet), lived for several months in Ajijic.

Boyd was born in Waterloo, Iowa, on 27 November 1936 and died in Ithaca, New York, at the age of 78, on 29 September 2015. He and his wife moved to Ajijic shortly after he graduated with an honors degree in art from the University of Northern Iowa in 1959. Staying in Ajijic does not appear to have directly influenced his painting style, though living in relative solitude at Lake Chapala may have helped him decide to pursue simplicity in his paintings rather than over-elaboration.

Michael Boyd. Untitled.

Michael Boyd. Untitled.

From Ajijic, the couple moved to New York City and joined the city’s vibrant downtown artists’ community, where Boyd worked in graphic design, honed his skills as a jazz pianist and began producing abstract impressionist paintings.

In 1968 Boyd accepted a position on the faculty at Cornell University in Ithaca, New York. Thereafter, he divided his time between Ithaca and New York, where he maintained a loft studio. At Cornell he taught courses in basic design in the Department of Design and Environmental Analysis in the College of Human Ecology. Boyd held a tenured professorship at Cornell from 1970 until his retirement in 1995.

Michael Boyd. 1995. Hood. Collection: UNI

Michael Boyd. 1995. Hood. Part of the Waterloo Series. Collection: UNI

Alongside his academic work, Boyd continued to paint. He became fascinated by the idea of minimalism, distilling paintings down to their core structure. His intense focus on form and color was much admired by critics and collectors. His first major solo exhibition was at the the Max Hutchinson Gallery in New York, where he held several one-person shows in the 1970s. Boyd had more than 40 solo exhibitions in his lifetime, including shows in Zurich and Milan.

Examples of his art can be found in the permanent collections of such prestigious institutions as the Baltimore Museum of Art, the Santa Barbara Museum of Art, The David Rockefeller Collection at Chase Manhattan Bank, The Albright Knox Gallery in Buffalo, and The Chrysler Museum of Art in Norfolk, Virginia.

Michael Boyd. Exhibit at Eric Firestone Loft, 2017.

Michael Boyd. Exhibit at Eric Firestone Loft, 2017.

In 2017 the Eric Firestone Loft in New York held an exhibition of Boyd’s works from a particularly creative time in his life, 1970-1972. Entitled That’s How the Light Gets In the show was enthusiastically reviewed. Charles Riley II, for example, wrote that, “A visit to the stunning Michael Boyd show at Eric Firestone Gallery Loft in New York might make visitors wish they had been pupils in the artist’s design class at Cornell…. The collective impact of these brilliantly hued abstract works, all produced during a marvelous creative jag from 1970 through 1972, is both contemplative and joyful.”

I would love to learn more about Michael Boyd’s stay in Ajijic in 1959-60. Please contact me if you can supply more details.

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.

 Posted by at 5:48 am  Tagged with:
Nov 212019
 

Francisco González Rubalcaba y Cabo wrote and illustrated a short book about Lake Chapala in the 1880s. His charming naïf illustrations may not be fine art but are some of the earliest paintings known of the lake. What is more, Rubalcaba did not paint only the village of Chapala (as so many other artists have done), he also painted several places that have rarely, if ever, been painted since! These include La Palma, La Angostura and Agua Caliente, all on the southern shore.

González Rubalcaba’s book – Geografía del territorio del lago de Chapala – was published in a facsimile edition in 2002 by ITESM in Guadalajara. The text is dated 29 May 1880 but the map in the manuscript was completed in Guadalajara and is dated 28 April 1882.

Francisco González Ruvalcaba. Chapala. c 1882.

Francisco González Ruvalcaba. Chapala. c 1882.

The color illustrations in the book were drawn in tinta china (India ink) with a wash of watercolor added.The image above shows far more buildings (and larger buildings) along the shoreline beneath Cerro de San Miguel in Chapala than most historians have claimed existed there at the time. Was this wishful thinking on  González Rubalcaba’s part or was he really depicting what he saw?

I have long argued that the commonly-repeated date of 1895 for the start of holiday homes in Chapala is demonstrably inaccurate, and this drawing serves to bolster my conviction. For more details, see chapter 37 of my Lake Chapala Through the Ages: an anthology of travellers’ tales.

Francisco González Ruvalcaba. Vista General, Chapala. c 1882.

Francisco González Ruvalcaba. General view of the lake at night from Chapala. c 1882.

This unusual nocturnal view of the lake, as seen from the village of Chapala, is especially interesting. It includes a typical square-sailed canoa, an island (presumably Isla de Mezcala, given its relief) and, in the distance, a steamship. Elsewhere in the book, González Ruvalcaba includes a drawing of the steamship Chapala approaching a port.

Virtually nothing is known about Francisco González Ruvalcaba. He is presumed to have been a lawyer. In 1853, as “juez de letras” (professional judge) in Sayula, he published a complaint “made by the Supreme Government of the State of Jalisco against the jefe politico of that place [Sayula], D. Claudio Gutiérrez, for the many excesses he had committed…”

If you know any more details about this interesting author-artist, please get in touch!

Source

  • Francisco González Ruvalcaba. 1882. Geografía del territorio del lago de Chapala. (edited by Ricardo Elizondo). Published in 2002 by ITESM, Guadalajara.

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 312019
 

Stanley George Sourelis, who was born in Chicago on 26 June 1925 and died in Dallas on 27 December 2006, was a chemical engineer and versatile artist who lived his final years in Ajijic. He was constantly experimenting. In his early artistic career he painted portraits, abstract oils and produced hundreds of charcoal drawings. During his time at Lake Chapala he used his scientific skills to become an expert practitioner of encaustic art.

Curiously, Sourelis’s artistic claim-to-fame as a co-founder of the landmark Wells Street Gallery in Chicago in the late 1950s has been almost forgotten. The Wells Street Gallery was THE avant-garde gallery in Chicago during its short spell in that city (from 1957 to 1959) before it relocated to New York, the then-hub of the U.S. modern art movement. Sourelis was far more than simply a financial backer of the gallery, as rather disparagingly described in most accounts; he also had a major artistic contribution to the gallery’s success.

Sourelis, the son of Greek immigrants, grew up in Chicago; he learned English only after starting kindergarten. His first name, originally Stelios, was changed to Stanley purely for convenience, as was quite common at the time.

A portrait by Stanley Sourelis.

A portrait by Stanley Sourelis. Credit: Dian Sourelis.

Sourelis was unemployed prior to serving in the U.S. military from 17 April 1944 to 7 May 1946. After the war, he studied chemical engineering in his native city at the Illinois Institute of Technology. He was awarded his bachelor’s degree by that institution in June 1948.

As a chemical engineer, he helped install factories producing chemicals and foodstuffs for a variety of corporations, including Unilever, Cargill and Aarhus, a career that took him to several U.S. cities, Toronto in Canada, and to Guatemala and Mexico.

Stanley Sourelis. 1958. Untitled abstract. Credit: Toomey & Co.

Stanley Sourelis. 1958. Untitled abstract. Reproduced by kind permission of Dian Sourelis.

According to an article published when the vanguard Wells Street Gallery opened in 1957, Sourelis’ interest in painting began in the 1950s and what had “begun as a diversion” had become “a burning enthusiasm”. Several of his abstract paintings were in the group show that marked the gallery’s opening, along with works by 15 other painters. Examples of Sourelis’ paintings were also included in a group show at the gallery the following year, shortly before it celebrated its first anniversary with an exhibition of works, loaned from private collections in Chicago, of abstract expressionist art by such greats as Franz Kline, David Smith, Jackson Pollock, Ashile Gorky, Mark Rothko and Willem de Kooning. In November 1958, the two co-founders of the gallery – Sourelis and Robert Natkin – held a joint show at the gallery.

In its short time in Chicago, the Wells Street Gallery boosted the careers of several other promising artists including Richard Bogart, Ernest Dieringer, Judith Dolnick, Ronald Slowinski, Naomi Tatum, Gerald van de Wiele, Donald Vlack, sculptor John Chamberlain and photographer Aaron Siskind.

The story of the Wells Street Gallery, and its humble beginnings, was the subject of an exhibition in New York in 2010, entitled “The Wells Street Gallery Revisited: Then and Now.”

Stanley Sourelis. 1958. Untitled abstract. Credit: Toomey & Co.

Stanley Sourelis. 1958. Untitled abstract. Reproduced by kind permission of Dian Sourelis.

In 1963, Sourelis had the distinction of having one of his works selected for inclusion in the 66th Annual Exhibition by Artists of Chicago and Vicinity. It is unclear if his oil painting – “Changing Joy Nab”, priced in the catalog at $900 – actually sold or not. By coincidence, Harry Mintz, another artist with close connections to the Lake Chapala area, also had a work in that show.

During his time in Ajijic, Sourelis used his advanced knowledge of chemical processes to explore the possibilities offered by encaustic art. Sourelis himself explained in a short article how:

“Encaustic painting, also known as hot wax painting, involves using heated beeswax to which resins and colored pigments are added. This results in a paste-like medium which is applied to a surface such as prepared wood or canvas….

Electric hot plates, irons, heat lamps and even flame torches are used to fuse the encaustic mixture to the canvas and to allow the surface to be manipulated….

Encaustic is a demanding organic medium which engages the artist in a process of controlled accidents with unpredictable results that can be selectively enhanced. It is a medium that provides a seductive skin that is unusually malleable and changeable.
It can evoke sensations and emotions of transformation, religious ritual, history and the passage of time in the hands of an accomplished artist.”

An example of Stanley Sourelis' encaustic art.

An example of Stanley Sourelis’ encaustic art. Credit: Dian Sourelis.

While the precise years he spent in Ajijic are unclear, Stanley Sourelis was still exhibiting there the year he died. His work was included in a group show in Ajijic in 2006, held in the offices of Actinver (then A. W. Lloyd). The artists in this show also included Antonio Cárdenas, Efrén González, Gerry Krause, Julie Mignard, Daniel Noll, Diane Pearl, Cynthia Roberts and Ana Tolere.

Sourelis married five times. His third wife was noted painter and sculptor Barbara Chavous (1936-2008). The couple met in New York and married in the 1960s. Prior to the marriage (her second), Barbara had been teaching in the New York City Public School System. The newly-weds left the Big Apple to establish their home in her native city – Columbus, Ohio – where Barbara mentored artists, served as artist-in-residence at several colleges and universities and became recognized as “Columbus’ artistic mother.”

Best known for her Jazz Totems (tall layered-wood pieces often using found objects), her work has won numerous awards and can be seen at several locations in Columbus including Bicentennial Park, Kwanzaa Playground and Main Library. She attributed the sense of color that characterizes her work to the influence of Stanley Sourelis. The artistic couple were mentors to numerous Columbus artists – Queen Brooks, Terry Logan, Pheoris West, Candy Watkins, Stephen Canneto, Walt Neal and Sandy Aska, among others.

Stanley Sourelis’s fifth wife was Sheryl Ann Stokes Sourelis (1944-2001). Born in Carlsbad, New Mexico and raised in southern California, Sheryl had moved to Guadalajara in her teens to live with her father and stepmother. After finishing her education in Guadalajara she studied art in Europe, including classes at the Sorbonne. Examples of her paintings were included in a 1974 group show in La Galeria del Lago in Ajijic, alongside works by the multi-talented artist and guitarist Gustavo Sendis and his mother, Alicia Sendis. That show opened in March 1974.

Sheryl Sourelis was a talented impressionist artist; cards featuring her lively Mexican village scenes and landscapes, marketed in Ajijic and Puerto Vallarta, sold well. Sheryl also worked in real estate and at one time had a bakery in Puerto Vallarta. She lived year-round in Ajijic from about 1996 until her death in 2001. She was a great supporter of local charities and had major parts in two Lakeside Little Theatre productions: “The Little Foxes” (October 1999) and “Shadowbox” (October 2001).

Stanley Sourelis’ daughter, Dian Sourelis, based in Chicago, has also become an exceptionally accomplished artist and has inherited her father’s passion for encaustic art.

Acknowledgment

My thanks to Lorraine Farrow, owner of the delightful Galeria Sol Mexicano in Ajijic, for first bringing to my attention Stanley Sourelis’ long-time connection with Ajijic, and to Dian Sourelis for kindly sharing memories of her father’s life and photos of his work with me.

Sources

  • Arnett Howard. 2012. “Barbara Chavous: Arts Mother.” Columbus Bicentennial, 1 March 2012.
  • Chicago Tribune, 19 September 1958, 27; 28 Nov 1958, 38.
  • Guadalajara Reporter, 16 March 1974.
  • Mexconnect.com Forum post, 2006, by David McLaughlin.
  • Stanley Sourelis. “An Almost Lost Art Form Makes a Return. Waxing Poetic.”
    Reprinted by Eileen Bergen, 2014, in “Encaustic Art”,
  • Edith Weigle. 1957. “Here’s hope for the unknown of the avante garde”. Chicago Tribune, 29 September 1957, 168.

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.

 Posted by at 6:02 am  Tagged with:
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