masthead for newsletter


In This Issue
Chair's Comments
Members Speak
Consider CASETA
Notes from your CASETA Staff
ETA Events
Save the Date
Join Our List
Join Our Mailing List
CASETA Membership
Membership Levels:
Individual: $50.00
Supporter: $100.00
Contributor: $250.00
Institutional: $250.00
Benefactor: $500.00
Patron: $1,000.00

Student/K-12 Teacher: $25.00
(Requires Verification)

Click Here to Join!

Contact Information
Board Chair

Newsletter Editor
Leslie Thompson

Interim Executive Director
Bill Reaves

CASETA Headquarters

PO Box 667487

Houston, TX 77266
Phone: 832.538.9297
Fax: 713.521.7504

10th Annual Symposium

*Mark your calendars NOW for the 10th CASETA Symposium to be held in downtown Fort Worth at the Texas Weslyan University Law School on April 27-29. 


Plan to attend this special Anniversary Celebration and what is certain to be CASETA's best conference yet. Learn from informative speakers, enjoy the fellowship and fun of like-minded Texas art aficionados and enhance your collection through acquisitions at the Texas Art Fair, featuring the most prominent dealers in the state. 


There's much more to come on this block-buster event SOON, but reserve your calendar NOW. You won't want to miss it!

February 2012



Stephen Alton
Stephen Alton, Board Chair

As we continue to celebrate CASETA's 10th anniversary, the Board has embraced this organizational milestone as an opportunity to reflect on past programs. While these deliberations have recalled many favorable observations about successful performances, the Board has recognized the many necessary improvements. Together, we are committed to providing better service for CASETA members and the community, striving for excellence all initiatives, including our upcoming 10th annual symposium.


To this end, we would like to request your assistance. What improvements would you like to see in CASETA's programs and services? As the board continues to reflect together on how we can make CASETA more viable and successful in its second decade of operations, we would welcome the thoughts and suggestions of CASETA members.  We thank you in advance for your time, and I promise that your ideas will find their way to the Board for their review and information.  We look forward to hearing from you. Please submit your comments to Leslie Thompson at


Texas Impressionism:

Branding with Brushstroke and Color, 1885-1935

Interview with Michael Grauer

EDITOR'S NOTE: Texas Impressionism: Branding with Brushstroke and Color, 1885-1935, will be on view at Panhanfle-Plains Historical Museum April 7 - September 3, 2012. The exhibition was curated by Michael Grauer.



-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.

Reaugh, Running Herd
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 protégés Rolla Taylor and Carl Hoppe.

Onderdonk, Bluebonnets
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.

Jenkins, Palo Duro
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
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.




Thank you!

We want to thank all of those who Considered CASETA in their annual year-end charitable giving. Through your donations, CASETA raised about $2000! We appreciate everyone's contribution.
All donations will promote the on-going projects and operations of your state's only association exclusively devoted to scholarship and education related to Texas' visual arts history. Thank you for supporting the cause of Early Texas Art!




Leslie Thompson
Leslie Thompson, Associate Executive Director

CASETA is a diverse organization comprised of various types of individuals: collectors, museum professionals, teachers, students, art enthusiasts. In this newsletter edition, I would like to spotlight Texas art collectors, who play a fundamental role in this organization.


Texas art collectors bring a wonderful energy to the activity of collecting. They assemble the best examples of Texas art, each work integral to the enhancement and cohesiveness of their collection. In that sense, collectors provide a great service to advancing early Texas art, as they continue to strengthen the history and evolution of our state's visual arts.


CASETA is the place where collector energies are harnessed, through educational outreach, annual symposia, archival projects, and more, all of which expand the bounds of Texas art collecting. Just as Texas art collectors benefit CASETA, CASETA contributes by serving as an educational resource for collecting, curatorial, and historical interests.


Furthermore, CASETA serves as a statewide venue for collegial networking for collectors. Through programs like the annual symposium, CASETA members and art collectors alike have an opportunity to interact and connect with one another. Celebrating its 10th year, CASETA continues to serve as an avenue for expanding the bar of Texas art collectors.


As CASETA moves into its second decade, the organization will continue to benefit from the energy and enthusiam of its collector members. Likewise, CASETA will continue to be one of the most valuable educational and research tools available to collectors of Early Texas art. Thanks to all of our collector members for your continued interest in and support of your Center for the Advancement and Study of Early Texas Art!"



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.


Artists include Tre Arenz, Louisiana Bendolph, Mary Lee Bendolph, Keith Carter, Jeffrey Dell, David Everett, Kelly Fearing, Michael Frary, Dianne Grammer, David Julian Leonard, William Lester, and Cesar Augusto Martinez.

Go West! Representations of the American Frontier

January 14, 2012 - September 23, 2012


Blanton Museum of Art

The University of Texas at Austin

200 East Congress

Austin, Texas


The Blanton Museum of Art at The University of Texas at Austin presents an exhibition exploring the pioneering American West as both a physical terrain and an idea deeply rooted in the American psyche. The exhibition features paintings, sculptures, and works on paper made in, and about, the American West by Henry Farny, Charles Russell, Maynard Dixon, and other artists from the Blanton's celebrated C.R. Smith Collection of Art of the American West, the largest installation of this collection in over a decade. Works of related content from the museum's holdings by Jerry Bywaters, Frederic Remington and others supplement the installation, along with borrowed works from the University's Harry Ransom Center and Briscoe Center for American History.


For more information: 


North Texas     

Advancing Tradition: 20 Years of Printmaking at Flatbed Press

January 21 - March 9, 2012


Martin Museum of Art

60 Baylor Avenue

Waco, Texas 76706


For more information:



Texas in the Twenties: Prints, Drawings, and Photographs from Lone Star Collections

March 4 - July 1, 2012



Dallas Museum of Art

1717 North Hardwood

Dallas, Texas, 75201


To complement the exhibition Youth and Beauty: Art of the American Twenties, the DMA presents Texas in the Twenties, and exhibition featuring images of Texas during the 1920s made by Texas artists. Gathering drawings, etchings, prints, and photographs loaned by local collections, the exhibition highlights scenes of Texas as well as the transitional time in Dallas history when it was on the verge of becoming one of our nation's largest and most vibrant cities. SHowcasing approximately thirty works by L.O. Griffith, Mary Anita Bonner, and Eugene Omar Goldbeck.



For more information:



West Texas

Bob Stuth-Wade: Landforms 

September 22, 2011 - February 18, 2012


The Grace Museum

102 Cypress Street

Abilene, Texas 79601


Bob Stuth-Wade could be classified as a more traditional landscape painter illuminating his paintings with a transcendent light and fairly glows with intensity. The power of place is magnified through his intense personal response to a specific place and time. Stuth-Wade strives to represent the essence of what draws him to a particular place. The artistic process involves camping on site, meditation and recording every changing nuance of light and shadow. His paintings of the Big Bend can also be read as an affirmation of the natural environment preserved and protected.


For more information: 


Faith & Family: Paintings by Sedrick Huckaby

February 10 - April 21, 2012


The Grace Museum

102 Cypress Street

Abilene, Texas 79601

Sedrick Huckaby's large-scale paintings draw inspiration from his family history and his African-American roots. Born in Fort Worth, Texas, Mr. Huckaby received his BFA from Boston University in 1997 and his MFA from Yale University in 1999. He has taught as a professor at Tarrant County College in Fort WOrth and currently is a professor of water media at the University of Texas in Arlington.


For more information:



Littlefield Murals

September 17, 2011 - February 19, 2012


Panhandle Plains Historical Museum

2503 4th Avenue

Canyon, Texas, 79015


In 1910, cattleman George W. Littlefield commissioned Chicago-and future Taos-artist E. Martin Hennings to paint six murals of his ranches on the South Plains and New Mexico for the lobby of the American National Bank in the Littlefield Building in downtown Austin, Texas.  When the bank and its assets sold in 1954, three of the six murals were acquired privately.  These three murals will be seen publicly for the first time in over 55 years when they are unveiled at PPHM along with related photographs and ephemera.  Exhibition sponsored by Katherine E. Albritton, Lillian W. Albritton and Alexander H. Albritton.






Southeast Texas

MODERNISM ON THE HIGH PLAINS: Featuring the Rediscovered Work of Robert and Troy Allen Lockard


February 10 - March 10, 2012


William Reaves Fine Art

2313 Brun Street

Houston, Texas 77019


William Reaves Fine Art introduces yet another treasure trove of early Texas modernism, in the exquisite cache of recently rediscovered paintings by Robert and Troy Allen Lockard. This West Texas husband-wife duo joined up at Texas Tech University in the midst of the Great Depression. Together they served as founding faculty members in Tech's departments of Architecture/Allied Arts and Applied Arts, respectively. Their artwork immediately introduced a sophisticated, avant-garde style to the flat-lands of Lubbock, placing them among the first-wave of artists to produce and exhibit abstract subject matter in this sector of the state. The stunning works featured in this exhibition were executed by the artists from 1937-1954.


In conjunction with the Lockard exhibition, William Reaves Fine Art also presents a survey of works by mid-century Texas greats from throughout the Lone Star state. This selection, including works by noted Texas artists David Adickes, Jack Boynton, Lamar Briggs, Don Edelman, Frank Freed, Henri Gadbois, Otis Huband, Lucas Johnson, Paul Maxwell, Leila McConnell, Herb Mears, Robert Morris, Kermit Oliver, Bill Reily, Charles Schorre, Richard Stout, McKie Trotter, and others, reflects the vitality and diversity of the mid-century art world in Texas, rife with color and artistic originality that is sure to strike accord with Houstonians and mid-century art aficionados.


For more information:


Bowling, Texas Landscape, 1936
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 for more information.




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 The first person to provide the correct answer will receive a free publication from CASETA.