CASETA has been the recipient of several prestigious grants over its lifetime,

which allows it to participate in numerous activities, such as the ones I just discussed. To date, CASETA has received over $200,000 from several prestigious organizations. This money has been used and re-granted for various publications, lectures, the symposia, and workshops throughout the state.

Stephen Alton, Board Chair

On behalf of the CASETA board, it is my pleasure to convey our appreciation (and our joy) to all who attended, and who helped to make possible, CASETA's 10th Anniversary Symposium in Fort Worth last month. It was clear that everyone fortunate enough to be present had a wonderful time engaging in our common passion for early Texas art. The proceedings went smoothly, our speakers were superb, and the art dealers brought great Texas material to adorn the walls of avid CASETA members. There are so many "thank-yous" to go around this year; in my remarks, I will try to tender a few well-deserved acknowledgements of the many folks who played a part in this year's great success.

First of all, we extend sincere thanks to the sponsors of this year's program, whose cash donations and in-kind sponsorships made the entire event possible. CASETA is indebted to these gracious benefactors for their on-going support of CASETA and early Texas Art. The individuals and organizations who gave generous contributions are listed below in our staff report, and all have our heartfelt appreciation for their kind support. I'd like to take this opportunity especially to acknowledge the important in-kind sponsorships offered by leading Fort Worth institutions, including my own institution, Texas Wesleyan University School of Law, as well as the Amon Carter Museum of American Art and the Sid Richardson Museum. These local organizations granted CASETA free access to their facilities and (in the case of the Carter and the Richardson) to their world-class fine-arts collections, which made the whole symposium experience a huge success. As a resident of Fort Worth, I am proud to say that all these institutions combined to roll out the red carpet for our CASETA guests. Thanks to these fine partners for their grand support.

I would also very much like to acknowledge the generous grant made to CASETA by the Sid Richardson Foundation to facilitate the symposium and to make attendance available to art teachers, faculty, and graduate students from the area. On behalf of the CASETA board, I extend our deepest gratitude to the Richardson Foundation board and to its president, Mr. Pete Geren, for their important support in this area.

To our wonderful slate of speakers, we offer both thanks and accolades for a most interesting and informative educational experience. Each presentation offered fresh information about Texas art, and each speaker rendered his or her talk with exceptional form and style. Our congratulations to all of our speakers for a job well done.

We also convey genuine thanks and appreciation to all of the art and book dealers who took part in the Texas Art Fair at our 10th annual symposium. On behalf of the CASETA board, it is important to acknowledge publicly how crucial dealer participation is (and always has been) to CASETA and to our symposium. Not only do booth fees contributed by these Texas art dealers help to underwrite the symposium, but the dealers' annual exhibition of great Texas art is one of the most popular attractions for the event-goers; moreover, the dealers' fine examples of early Texas art serve to bring lectures and presentations to life.   The individual dealers at this year's Texas Art Fair are referenced in the staff report below, and we send our sincere thanks to all.

The CASETA Board's Symposium Planning Committee, whose membership comprised of George Palmer and Mark Kever (co-chairs), along with Tam Kiehnhoff, Amy Fulkerson, and Marla Ziegler, warrants special thanks, as well, for planning and guiding this year's excellent event. And last, but certainly not least, among all these accolades go to this year's interim management team led principally by Ms. Leslie Thompson (with able assistance from Mr. Bill Reaves). Ms. Thompson and her colleagues worked tirelessly to assure a successful event for CASETA, and we deeply appreciate her fine and competent administrative touches and her cheerful and sunny disposition in the midst of so much activity.

The MOST important thank-you, however, must be reserved for the 145 CASETA members who registered to attend our 10th annual symposium. Simply put, there would be no symposium without the passionate and enthusiastic collectors, scholars, curators, artists, and historians who gather each year for this event. To all our wonderful, loyal members, and especially to all who were able to attend this year's symposium, we extend our deepest regards and thanks to you. Please know that with your active support and enthusiasm, CASETA will continue to prosper in the decades to come. Thank you for your presence at this year's event, as well as your ongoing support throughout CASETA's first ten years. Perhaps there is no better time to remind all of us who relish the majestic and sweeping art history of this state that we should remember to CONSIDER CASETA with our time and our gifts related to early Texas art.

Once again, many thanks to all for a magnificent and inspiring event this year in Fort Worth. Can't wait till next year in San Antonio!

The Lost Colony:

Texas Regionalist Paintings

Rediscovering an Artistic Past

By Mary Bones 

The Big Bend country is the most paintable place I have ever worked.

Mrs. Ruth Lovelady, 1940 Art Colony student

 

Ninety years ago a Department of Drawing was established at Sul Ross Normal College. Within a short span of thirty years, Sul Ross evolved to become a State Teachers College and the Department of Drawing would transform into a full fledged Department of Art that offered courses for those students seeking their public school teaching certificates and for those who wanted to pursue a career as professional artists. These early years of the Art Department at Sul Ross have become an overlooked story in the history of the university. Few know about the early artists who taught in the Art Department. Even less are aware that for over fifteen years, the school hosted an extremely successful summer Art Colony, with some of the best Texas artists conducting the classes.

 

Xavier Gonzalez, Alpine, Texas, Watercolor and Gouache, 1942, 22 X 30 inches, Collection of Judy and Stephen Alton

Sul Ross Normal College opened its doors in the summer of 1920 and by the following summer a Department of Drawing was established. In 1922, San Antonio native Beatrice Emiline Matthaei would teach five courses in both art history and drawing. Matthaei taught at Sul Ross for a single year, until Mabel Vandiver replaced her due to illness. Matthhaei continued her teaching career after leaving Sul Ross for over fifty years in the Houston public school system.

 

Vandiver and her students produced numerous works of art to beautify the school including batiks, screens and drawings. These first exhibits were held in the Girls' Rest Room, a room set aside for the female students to study, visit and rest. After leaving Sul Ross, Vandiver eventually taught at and became the head of the Art Department at Fort Hays State University from 1933 to 1954.

 

In 1925, Anna Elizabeth Keener replaced Vandiver. Keener commented that "In her opinion the Davis Mountains of Texas provide as promising material for the artist as any she has found." She introduced a course that emphasized en plein air, or outdoor painting. During the time that Keener was at Sul Ross, special courses in art were offered that could lead to a certificate, diploma or degree and the Department of Drawing became the Art Department. Keener would later recall that President Horace W. Morelock would often appear in her Art Room on Friday afternoons and ask, "Where do you and your students want to go this weekend?" Once a destination had been chosen, Morelock's only requirement was, "Take Rudolph Mellard, to drive the car, know the country and speak Spanish." Keener continued teaching in schools in New Mexico.

 

From 1926 through 1932, Houstonian Elizabeth Estella Keefer

Mabel Vandiver, Davis Mountains, Watercolor, 1922,  19 X 19 inches, Fort Hays State University, Hays, Kansas

would head the Art Department. While at Sul Ross, she worked closely with the students in producing the school's yearbook, The Brand, in particular with the future Chicago lithographer James Swann. She, like the instructors before her, continued to produce "living" masterpieces and to decorate the campus. Keener refined her skills as an etcher and invented a technique to produce color etchings. She was allowed access to the northern New Mexico reservations and became known as the "Etcher of Indians."

 

By 1932, Keefer had married Texas historian Mody Boatwright and they moved to Austin. She was replaced by Julius Woeltz of San Antonio and that summer he implemented an Art Colony. Woeltz chose his former teacher and friend, Xavier Gonzalez to conduct the Art Colony for the first summer session.

 

This initial Art Colony would set the template for all to come. Teaching emphasis was on composition, landscape, figure and design. Coursework for students emphasized the art and techniques of outdoor painting with trips into the Davis Mountains, the Big Bend country and the surrounding areas. The course included private instruction and criticism. At the conclusion of the six weeks Art Colony, a certificate indicating the quality and quantity of work done by the student was awarded to those who successfully completed their work. The certificate was signed by the instructor and the President of the College.

 

For the next four years Gonzalez and Woeltz taught one summer session of the Art Colony each. In 1933 Gonzalez talked his friend Paul Ninas of New Orleans, into leading an Art Colony session. Ninas would note that his students "are realizing that there can be new shadows under the sun and only five hours painting in the afternoon seems not enough." Ninas later became known as the "Dean of New Orleans artists."

 

Woeltz resigned from Sul Ross in 1936 and Sarah Miltia Hill of Eldorado, Texas, became the head of the Art Department and

Julius Woeltz, Kokernot Lodge, Oil, ca. 1930s, 36 X 48 inches,  Museum of the Big Bend

continued in this capacity until her retirement in 1961. After leaving Sul Ross, Woeltz taught at the University of Texas, Austin from 1942 through 1953. According to Woeltz's sister Evelyn Reveley, "I just remember how happy Julius and Xavier were with every summer class. They always found students with promising talent, which made the art classes a joy to teach."

 

Gonzalez led the Art Colony through 1939 when he and his wife, a former student and artist in her own right, Ethel Edwards moved to New York City. There they established a summer art school at Wellfleet, Cape Cod, Massachusetts. During his 1937 Art Colony, he and his students formed the Rio Grande Group of artists and painters. The goal of the group was "to give students the opportunity to exhibit their work in museums and galleries in different parts of the country, and to foster the arts in the Southwest." During the 1939 summer session Coreen Mary Spellman of Dallas worked with Hill teaching the regular art courses. Spellman taught at her alma mater, Texas Women's University from 1925 until her retirement in 1974.

 

Hill continued the tradition of a summer Art Colony begun by Woeltz. For the 1940 and 1941 Art Colony, Harry Anthony De Young was selected. When asked to speak at the Fort Davis Men's Mile High Club supper on how to judge a picture, he offered this advice, "A picture is good if you like it. That's a good rule to go by."

 

In 1943, Beatrice Cuming of New London, Connecticut, conducted the colony. When asked why she was in Alpine she replied, "she was not really sure, but that in the East, everyone thinks that the Southwest is a very special place, that every painter should go there."

 

William Lester, Two Chimneys,  Oil on Board, ca. 1955,  24 X 30 inches, Collection of Nancy and Otis T. Welch

Otis Dozier conducted the 1947 Art Colony and William Lester from the University of Texas at Austin helmed the 1949-1950 sessions. The Big Bend country was a natural for Lester, as according to Art Digest, "Lester's world is one of brilliant, pulsing color afire with life and sun."

 

It is unclear why the Art Colony ceased to exist after 1950. Intermittently thereafter starting in 1955, three week workshops were held in lieu of the colony. Students could still receive either undergraduate or graduate course credit as was offered in prior Art Colonies. However, the six week sessions that included the important field trips quickly became a thing of the past.

 

It is amazing that a fledgling department in a newly created normal school advanced as rapidly as it did. Equally outstanding is the creation of the summer Art Colony that proved to be a successful eighteen year program at Sul Ross. And what made these two so successful were the incredible men and women artists who chose to come to such a remote region to teach and the students who wished to learn from them.

Leslie Thompson, Associate Executive Director

Celebrating its first successful decade of service, the Center for the Advancement and Study of Early Texas Art - CASETA - conducted its 10th annual symposium, along with accompanying Texas Art Fair, on April 27-29 in Fort Worth. Perhaps it was the ten-year milestone or maybe it was simply the stellar lineup of speakers and dealers, but everything seemed to come together to make this year's Symposium one of the best ever, igniting new chords of enthusiasm among conference attendees and garnering near-record attendance for the event.

Since its inception, one of CASETA's stated objectives has been that of increasing scholarship and educational opportunities related to the state's art history. This year's program seemed to fulfill these expectations to a tee! Participants were treated to six informative lectures, presented by a strong lineup of prominent Texas art scholars and educational leaders. The general consensus among veteran CASETA participants was that this was the strongest set of presentations yet, each speaker providing important new information and each delivering their content in an extremely engaging manner.

The Speakers

Andrew Walker, Director of the Amon Carter Museum of American Art inaugurated the symposium by welcoming attendees to his newly adopted home town of Fort Worth - his presence at the Carter not only turning out to be an excellent choice for that city, but also adding an enthusiastic and respected new voice to the larger cause of Texas art as well! He offered an engaging keynote address that centered on the theme of Collecting for Social Purpose, and used the collecting legacy of American regionalist Joe Jones as backdrop for a compelling discussion on the need for American art museums to maintain commitment to the local art scene through exhibition and collection efforts. To the thrill of all present Walker shared his own vision of integrating significant Texas works into the permanent collection of the Amon Carter Museum over time-a wonderful way to stir up a symposium full of Early Texas Art enthusiasts.

Dr. Jack Davis, Dean Emeritus of the College of Visual Arts at The University of North Texas shared his superb new scholarship delving into the women artists of the Texas Centennial Exhibition, an event still recognized as one of the most important art exhibitions ever held on Texas soil.   His focus on early women artists was well-received and offered a perfect segue for enlightening presentations on Dallas sculptress, Allie Tennant presented by Austin College Professor and former State Historian, Light Cummins; as well as an outstanding overview of pioneering female modernist, Dorothy Hood offered by Curator Deborah Fullerton of the Art Museum of South Texas in Corpus Christi.

Collector and historian J.P. Bryan took participants to the far West edge of the state to describe the remarkable artistic and literary achievements of a triumvirate of El Paso giants - Jose Cisneros, Carl Hertzog and Tom Lea. In his presentation entitled, Iron Sharpens Iron, Bryan drew attention to the significance of the artist's eye and brush as critical elements in the fine art of bookmaking. His talk shed light on the technical and artistic genius evident among each of the subject artists, and underscored qualitative innovations and aesthetic synergism achieved in design and publication of fine Texas books through the lifelong collaborations of these gifted Texans.

Bryan's West Texas subject matter was complemented by the remarks of Mary Bones, Curator of Art at the Museum of the Big Bend. In her presentation on The Lost Colony, Ms. Bones rendered a well-researched historical overview of the important summer artist's colonies supported by Sul Ross State University over a forty year span. These long-running summer camps, the only such artist colonies sustained by a Texas university, were lead by some of the state's most prominent artist/instructors and served to bring many fine artists to the Big Bend to paint that section of Texas.

The Texas Art Fair

The Texas Art Fair was yet another splendid success and, as always, a popular gathering point for symposium attendees. CASETA's annual art fair represents the state's largest gathering of Texas art dealers each year, and provides Symposium guests with an excellent exhibition of early Texas art. The Fair is an excellent adjunct and serves to bring lectures alive by presenting actual examples of works by subject artists and, of course, offers Texas collectors in the crowd a great chance for acquisitions.

Seven art dealers presented a strong fare of Texas materials at this year's show. Dealers included:

Beuhler Fine Art (San Antonio)                  

Charles Morin's Vintage Texas Paintings (San Antonio)

David Dike Fine Art (Dallas)                                   

Cliff Logan Art & Antiques (Austin)         

Rainone Galleries (Arlington)

Heritage Auctions (Dallas)                           

William Reaves Fine Art (Houston)

Participating dealers reported strong interest in the works shown, with moderate to strong sales at virtually all booths. The show contained great examples of Texas art and artists from throughout the state, including notable works by Tom Lea, Porfirio Salinas, Robert Wood, Ella Mewhinney, Frank Reaugh, Ancel Nunn, Seth Floyd Crews, David Brownlow and Seymour Fogel.

Special Symposium Events

Again this year, the Symposium offered opportunities for members to attend special events held in conjunction with the conference. This year attendees were afforded an "insider's view" of two exceptional art museums within the city-The Sid Richardson Museum and The Amon Carter Museum of American Art.  

The Richardson Museum opened its doors to CASETA members on Saturday evening, hosting an exclusive reception and tour of the museum's collection of American Western Art. Attendees had time for a close-up view the museum's exceptional collection of Remington and Russell paintings (as well as other Western masters) collected by legendary oilman, Sid W. Richardson, during his lifetime. Museum staff also shared their findings to date on a staff research endeavor conducted especially on behalf of CASETA- examining the Texas experiences of Frederic Remington. With gracious hospitality, the museum offered CASETA members a wonderful evening, not only engaging fine examples of American Western art at its best, but also considering the collecting legacy of one of the state's earliest art collectors. From his vantage point as the sitter in the museum's fabulous Peter Hurd portrait, even Mr. Richardson seemed to smile a little bigger and nod approvingly to the CASETA crowd!

On Sunday afternoon, the Amon Carter Museum hosted the CASETA crowd for a guided tour of their Charles Russell watercolor exhibition, as well as a back-room view of selected additions to the museum's Texas holdings. Director Andrew Walker and Curator Becky Lawton lead contingents of CASETA-goers through an intimate and informative look at these exquisite works. The Carter is perhaps the state's finest repository of early American art and one of the jewels in the city's constellation of fine art museums. CASETA's afternoon event there was a wonderful finale for a highly successful symposium.

CASETA Awards for Advancement of Early Texas Art

As a part of the Symposium, CASETA presented its annual awards for excellence, acknowledging individuals and institutions who made outstanding contributions toward the preservation and advancement of early Texas art during the preceding year.

This year's recipients included David Dike, who received CASETA's Lifetime Achievement Award. Dike, a Dallas gallerist, was among the earliest art dealers in the state to specialize in Texas subject matter. Through his business and civic activities, Dike has been instrumental in building fine collections of Texas art and actively promoting a resurgence of interest in early Texas works. Through his gallery, David Dike Fine Art was the first to offer an annual Texas-specific art auction-a galvanizing and highly-anticipated part of the Texas scene now for over twenty-five years. He was a founding member of CASETA, and has generously supported the organization through direct gifts and in-kind support since its inception. CASETA was pleased to honor his many contributions to the organization, as well as his efforts to advance the cause of Early Texas Art.

CASETA also recognizes exhibitions and publications which expand the scholarship and literature base on early Texas art. This year, both exhibition and publication awards were simultaneously designated to the blockbuster project on Texas artist Alexandre Hogue. The Outstanding Exhibition Award went to Curators Susie Kalil and Deborah Fullerton, as well as the Art Museum of South Texas (as originating museum for the traveling exhibition) for the groundbreaking exhibition entitled Alexandre Hogue: An American Visionary. The Grace Museum of Abilene and the Fort Worth Museum of Science and History also received awards as traveling sites for this important exhibition.

CASETA's Outstanding Publication Award was also presented to Susie Kalil (author) and to the Texas A&M University Press (publisher) of Alexandre Hogue: An American Visionary, the book bearing the same title as the exhibition, which served as accompanying catalogue for the event. In addition to her prowess as master curator, Kalil is among the state's most gifted arts writers. Kalil's close relationship with Hogue combined with her thorough research enabled her to offer poignant and insightful observations with regard to the artist and his work. Kalil's book now constitutes the authoritative work on Alexandre Hogue, and makes the case for this Texas artist's inclusion among the greats of American twentieth-century art. The Texas A&M Press, of course, is also no stranger to the field, the publishing house having been at the forefront of publishing in the area of Texas art since the days of founding director Frank Wardlaw and the endowed funding of Joe and Betty Moore establishing their fabulous series on Texas art in the 1970s. The A&M Press, as well as the Moores (now deceased), have been previously honored by CASETA for their many contributions to scholarship in the field. Alexandre Hogue: An American Visionary is a continuation of this rich publishing legacy.

CASETA awards were also given for exemplary member service inside and outside the organization. The award for Distinguished Service Within the Organization going to George Palmer, Vice Chairman of CASETA board and co-chair of the Symposium Planning Committee. Palmer, a well-known collector and co-founder of TACO (Texas Art Collectors Organization), was acknowledged for exemplary efforts in shaping the Symposium program and for his fund-raising initiatives on behalf of the organization. The award for Distinguished Service Outside the Organization went to Fort Worth's Scott Barker. He was acknowledged for on-going work with the local collectors group, Collectors of Fort Worth Art, as well as his recent work with the Dallas Museum of Fine Arts to document and recreate a special exhibition of art mounted in Fort Worth conjunction with the last visit of President John F. Kennedy. Barker had previously received the CASETA research award, making him the first individual to receive multiple acknowledgements by the organization.

A Word About Our Sponsors

CASETA's annual Symposium represents the organization's major fund raising venue, and over the past ten years the organization has been fortunate to receive the financial support of individuals, corporations and institutions who contribute as sponsors of the event. This year was no exception, and it is important to acknowledge these individuals and organizations for their generous underwriting of the Tenth Annual Symposium. Sponsors include:

Heritage Auctions

David Dike Fine Art

Cynthia and Bill Gayden

Bobbie and John Nau

Geralyn and Mark Kever

Beverly and George Palmer

Juli and Sam Stevens

TACO (Texas Art Collectors Organization)

Hillary and Robert Summers

Alice and Charlie Adams

Mary and Bill Cheek

Judy and Stephen Alton

Jason Schoen

Linda and Bill Reaves

Tom and Tam Kiehnhoff

HETAG (Houston Earlier Texas Art Group)

In-Kind Sponsors:

Texas Wesleyan School of Law

Sid Richardson Museum

Amon Carter Museum of American Art

Special acknowledgment is due the Sid W. Richardson Foundation. The venerable Fort Worth foundation not only gave CASETA unprecedented access to the Richardson art collection for special event purposes, but also provided generous grant support to CASETA to underwrite symposium registration and annual membership dues for art and history teachers, university faculty and graduate students (in art and Texas history) in the DFW metroplex area. This is an award that will no doubt help CASETA compound its educational mission in the years to come.

To all sponsors, past and present, CASETA acknowledges our deepest appreciation, and our debt of gratitude for your support of the advancement of early Texas Art. We thank you all.

Get Ready Now for Next Year in San Antonio

CASETA's board has already begun plans for next year's symposium, and has established San Antonio as next year's conference destination. Stay tuned for dates and location coming very soon!

Southeast Texas

The Texas Aesthetic V: The Fifth Annual Exhibition of Contemporary Texas Regionalism  

May 11 - July 28, 2012

William Reaves Fine Art

2313 Brun Street

Houston, Texas 77019

Join us this summer at William Reaves Fine Art for Texas Aesthetic V - the fifth installment of the gallery's annual exhibition of contemporary Texas regionalism. This year's show features art by 14 of the gallery's Contemporary Texas Regionalists group plus 3 guest artists, from across the state. Participating artists represent the best of contemporary Texas painters and printmakers. Collectively, they present a rich and diverse array of styles to capture the vibrant landscape of the Lone Star State and large than life Texas culture Texans love.   

For more information: www.reavesart.com