-Why Texas Impressionism? Why did you want to do this show?

Honestly, I wanted to do a show on Texas Impressionism because I am a "homer."  As a transplanted Texan, I am fiercely loyal to my adopted state.  Consequently, the "slobbering love affair" with California Impressionism over the years simply got my competitive juices flowing, particularly as an American art historian, with an emphasis on the American Southwest.  Then I learned that an art museum in Georgia did an exhibition on Impressionism in the American West and did not include a single work by a Texan.  My blood was/is boiling over from that slight and complete misrepresentation of Texas's place in art of the American West.  Moreover, there is a tendency on the part of ETA collectors to be terribly myopic, i.e. if it ain't Lone Star Regionalism or Julian Onderdonk or a Frank Reaugh with a cow in it, it ain't no good.  Bull feathers!  Or if it don't depict a Texas scene, it ain't ETA!  Hogwash!  So, here is the short answer:  Texas Impressionism because Texas contributed greatly to the spread of Impressionism from France to the rest of the world, and especially to American Impressionism; there is a particular kind of Impressionism practiced by Texas artists, whether they were painting in Floydada or France.  Texas art is bigger than the limits of our state.

Frank Reaugh, Untitled (Running Herd), c.1910, pastel on paper, 5x8 11/16 in., Collection of the Panhandle-Plains Historical Museum

-How did the ideas/parameters of the exhibition develop and shape as you began putting together your material?

With the help of the leading scholar on American Impressionism, William H. Gerdts, Ph.D., CUNY retired, I put together a set of criteria to follow.  But these rules had to be somewhat fluid.  Plus, with the birth of Lone Star Regionalism in about 1930, there was still some overlap, hence the cut off year of 1935.

-How is the show organized? (Subject matter, artists, region, etc.)

The installation of the exhibition at each venue will be up to the staffs at each site.  However, I see the show as divided/organized by subject matter; i.e. haystacks, water lilies, workers, fields of flowers.

-How do Texas Impressionists fit within the larger context of American Impressionism?

We had Texas Impressionists working in France in the 1880s through the early 1900s.  Plus, we had them working and/or living at Impressionist colonies such as Old Lyme, CT.  Many Texas artists contributed Impressionist works to national art exhibitions AND to at least two World's Fairs.

-Who do you see as some of the key figures in the Texas Impressionist movement?

Emma Richardson Cherry, Houston artist, Murray Bewley in Fort Worth, and Frank Reaugh are far more important to the spread of Impressionism in Texas than Julian Onderdonk.  Also Jose Arpa, who brings Spanish Impressionism to Texas, and his prot�g�s Rolla Taylor and Carl Hoppe.

Julian Onderdonk, A Field of Blue Bonnets, Late Afternoon Sunlight, 1919-20, oil on canvas, 16x20 in., Collection of the Panhandle-Plains Historical Museum

-Did these artists have any opportunities to exhibit in Texas during their lifetime? If so, what was the general response from Texans?

All the artists included in the exhibition exhibited in Texas during their lifetimes.  Many exhibited or entered paintings in the San Antonio Competitives or the State Fair of Texas exhibitions.  Texans tended to be very supportive of these efforts. 

Frank Reaugh and Julian Onderdonk probably enjoyed the most national attention.  Reaugh, for example, exhibited at the World's Columbian Exposition (Chicago World's Fair) in 1893, National Academy of Design and the Pennsylvania Academy of the Fine Arts in 1896, the Art Institute of Chicago in 1903 (and after), the Louisiana Purchase Exposition (St. Louis World's Fair) in 1904, and frequently in the Midwest.   He also belonged to the Society of Western Artists that exhibited in the Midwest.

-Does Texas Impressionism have a distinct style? If so, what is it?

Generally speaking, AMERICAN Impressionism never quite goes as far with the dissolution of form that the French version does/did.  In Texas, the same approach holds true.  Because Texas has five distinct geographic zones, there is a great deal of variety in potential subject matter for Impressionist painters than, say, California where the Impressionist movement is largely eucalyptus, poppies, and missions.  With all due respect.  Plus, we have cowboys.

-Do you see noticeable differences in Impressionist works from Texas artists working in say North Texas versus artists painting in San Antonio or South Texas?

Because Texans in general love to travel, Texas Impressionists moved around a lot looking for new subjects.  Moreover, the Hill Country and West Texas seem to have been the biggest magnets for these artists.

John Eliot Jenkins, Palo Duro Canyon, West Texas, 1934, oil on canvas, 21x30 in., Collection of the Panhandle-Plains Historical Museum

-How did Texas Impressionism, as presented in this exhibition, develop over time?

Impressionist paintings are first shown in Texas around 1896 at the Texas Coast Fair at Dickinson.  However, artists such as Frank Reaugh, Dawson Dawson-Watson, and especially Emma Richardson Cherry saw French Impressionist paintings in their native habitat.  All three became conduits for this new style to Texas, along with Julian Onderdonk a little later.

-How important were artist colonies and art schools in the development of Texas Impressionists?

The art colony movement coincides with the beginnings of the practice of impressionist painting in the U. S. in the 1890s.  However, art colonies in Texas - in the truest sense - really don't start springing up until the 1920s at places such as Christoval.  Reaugh of course had a kind of traveling art colony with his West Texas sketching trips beginning about 1910 or so.

-With this exhibition, what stereotypes about Texas artists and Impressionists are you trying to dispel?

Wildflowers are integral to the understanding of Impressionist painting in Texas, just as eucalyptus and poppies are to California, and poppies, water lilies, and haystacks were to French Impressionism.  However, in those non-Texas places, wildflower landscapes are not pejorative designations.

-What "impressions" do you want your viewers to take away from this exhibition?

That we don't need to lower our eyes to any Impressionist movement anywhere and that Texas, was/is a significant part of the wide, wide world of art. 

-After the PPHM, what other venues will audiences have an opportunity to view the exhibition?

The other venues are:  The Grace Museum, Abilene, Sept. 22, 2012 - January 13, 2013; Tyler Museum of Art, Feb. 8, 2013 - May 6, 2013; The Witte Museum, San Antonio, June 15 - Sept. 8, 2013; Art Museum of Southeast Texas, Beaumont, Sept. 27, 2013 - Jan. 5, 2014.

Why I Am A Member of CASETA

Jeff Sone, Dallas

Jeff Sone

Several years ago I was enjoying adult beverages with some French colleagues. I had worked with the senior lawyer of the group several times over a number of years, and I knew him to be well educated and worldly. But, it was the end of the day, and I was trying to keep things light for the group. In response to a question about why something was the way it was in Dallas, I told a humorous story from Texas history (perhaps exaggerating for the benefit of the foreigners). The senior lawyer's reply was serious, though, and caught me off guard. "And that is why" he explained to the group, "Texas will always do better than the other countries . . ." He went on to talk about his perception that the culture in Texas somehow encourages eccentricity, creativity and self reliance and thus self discovery.

 

Now, set aside the part about the other countries. The point about a distinctive culture is the fun part. And that is why CASETA is important. There are artists from every state of the Union. But Texas artists are unusual, if not unique, in identifying themselves as of a particular State. The identification is not about style, school or tradition. It is rather about being part of a culture that the artist sees as fundamental to himself or herself. As a result, we have a rich and varied history of artists calling themselves Texans, working in every imaginable medium. CASETA brings that together for all of us, allowing each us access to speakers, scholarship and stories about the remarkable artistic tradition of Texas. I know of nothing like it. Some other day we will debate about what that "Early" word means or should mean. In the meantime, enjoy the upcoming symposium, and come see part of why Texas will always do better than the other countries.

Central Texas 

Laguna Gloria: Art and Nature

Austin Museum of Art

823 Congress Avenue at 9th Street

Austin, Texas

Throughout the history of art, nature has remained a leading influence on artists. The 12 artists featured in the exhibition examine this connection in a variety of ways. The installation of paintings, prints, sculpture, and photographs draws on work from the Austin Museum of Art's permanent collection, and makes a variety of connections to nature and the beautiful setting of the museum's 12-acre, historic site, Laguna Gloria.

Charles Bowling, Texas Landscape, 1936, oil on board, Collection of the Grace Museum, 1947.08.01

10th Annual Symposium

April 27 - 29, 2012

Fort Worth

Texas Wesleyan University, School of Law

1515 Commerce Street

Fort Worth, Texas 76102

*Registration materials to follow. Visit www.caseta.org for more information.

FEBRUARY TRIVIA QUESTION

Which early Texas artist was the first woman hired to teach in the art department at University of Texas, Austin?

Respond to the editor at leslie@caseta.org. The first person to provide the correct answer will receive a free publication from CASETA.