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Agnes Weinrich

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Agnes Weinrich
Agnes Weinrich, 1998
Born
Agnes Weinrich

(1873-07-16)July 16, 1873
Des Moines County, Iowa
DiedApril 17, 1946(1946-04-17) (aged 72)
Provincetown, Massachusetts
Resting placeTrinity Cemetery, Mount Union, Iowa
NationalityAmerican
EducationArt Students League, Art Institute of Chicago, and Charles Hawthorne in Provincetown
Known forModern art
MovementCubism, Abstract art

Agnes Weinrich (1873–1946) was a life-long proponent of modernist art and an active participant in the modern art communities of Provincetown and New York. Although she traveled widely in Europe and spent extended periods studying in Paris and Berlin, it was in Provincetown and New York that she received most of her art training and it was in those two places where she lived and worked most of her life. Weinrich's easel work included oil paintings, watercolors, and pastels. She also made block prints, lithographs, and etchings and drew using pencil and crayon. Reviewing a retrospective exhibition held in 1998, a critic wrote, "Working in white line woodcut, oil on canvas, and pencil, Weinrich developed a style of lively colors and forms which have the splashy feeling of modernism without losing a basic sense of structure."[1]

Early years

Agnes Weinrich was born in 1873 on a prosperous farm in southeast Iowa. Her father and mother were German immigrants and German was the language spoken at home.[2] Following her mother's death in 1879, she was raised by her father, Christian Weinrich.[3] After he retired in 1894, he moved his household, including Agnes and two siblings, to nearby Burlington, Iowa.[2] There, Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[4] In May 1898, Weinrich and her sister traveled to Germany with their aunt, a German-born music teacher named Rose Werthmueller.[5] When Werthmueller returned home, they stayed on, living in Berlin with German relatives.[6]

While in Germany, Weinrich's sister, Helen (then called Lena), took advanced classes in violin and piano while Agnes studied art.[2] A year after their arrival, their father died leaving them an inheritance that proved to be sufficient to sustain them for the rest of their lives.[2] In 1904, the sisters returned to the United States and settled for two years in Springfield, Illinois, where Helen taught piano in public schools and Agnes painted in a rented studio.[7] In May 1905, Agnes won prizes in an exhibition held by the Illinois State Fair for the drawings and oil paintings she showed.[8] Later that year, the two moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[2]

In 1909, Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter.[2] They then traveled to Rome, Florence, and Venice before returning to Chicago in October 1910.[9] In 1913, they traveled to Europe for the third, and last time. They spent a year in Paris, where they made friends with American artists and musicians in the local art scene. According to Weinrich's principal biographer, the work Agnes produced at this time was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[2]

On her return from Europe in 1914, Weinrich continued to study art. She and Helen stayed during the warm months of the year in Provincetown, Massachusetts and during the colder ones in New York City.[10] In Provincetown she became a member of the Provincetown Printers art colony and attended classes at Charles Hawthorne's Cape Cod School of Art. In New York, she studied at the Art Students League.[2]

Image No. 1, Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches.

In 1914, Hawthorne and other artists established the Provincetown Art Association and held the first of many juried exhibitions the following year.[11] Weinrich contributed nine pictures to this show, all of them said to be representational and somewhat conservative in style.[2]

A pencil sketch Weinrich made about 1915 shows a figure, probably one of the Portuguese women of Provincetown.[2] This drawing is shown here (see Image No. 1). Weinrich was a meticulous draftsperson and this drawing is typical of the work she did in the academic style before settling in Provincetown.[12][13] She also produced works that were then considered to be impressionist. When in 1917 she showed paintings at the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism".[14]

Knaths credits two Burlington women for his success. One of these is his wife, the former Helen Weinrich, and her sister, Agnes Weinrich, who died six years ago. When the Knaths visited Burlington a year ago he told how he determined to follow the new contemporary style after watching Agnes Weinrich work in the abstract manner of painting. this was his first introduction to modern art. -- "Knaths' Show Opens Today", by George Shane (Des Moines 1998, May 19, 1955.[15]

Broken Fence by Agnes Weinrich, a white line woodblock made on or before 1917; at left: Image No. 2, the picture she made as source for the print; Image No. 3, at right: a print pulled from the woodblock.

In 1916, Weinrich joined a group of printmakers that had begun using the white line technique pioneered by Provincetown artist B.J.O. Nordfeldt.[16] At this time, she and the others in the group, including Blanche Lazzell, Ethel Mars, Ada Gilmore and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[17] In August the following year, she showed two white line prints at the annual exhibition of the Provincetown Art Association.[18] A critic for the New York Times said the two prints had an "accomplished design" with "the look of woodblock printing, but with more variety of color and tone than usually is given by the block."[19] One of the two prints, "Broken Fence", is shown here, see Image No. 3, along with the picture she made in preparing the print (Image No. 2).

Trees and Houses
Image No. 4, Agnes Weinrich, Untitled (Trees and Houses), about 1920, white line blockprint, 12 x 10 3/4 inches, University of Iowa Stanley Museum of Art
Trees at L'Estaque
Image No. 5, Georges Braque, Trees at L'Estaque, 1908, oil on canvas, 31 5/8 x 23 11/16 inches, National Gallery of Denmark

Another white line print produced at this time drew the attention of Weinrich's principal biographer, Louise Noun. Writing in 1996, Noun noted a similarity between an untitled print that is informally called "Trees and Houses" and Georges Braque's oil painting called "Big Trees at L'Estaque". The two are shown here, Image Nos. 4 and 5. Of "Trees and Houses", Noun wrote, "The rounded shapes of the foliage along with the curved trunks of the trees contrast with the angular houses in the center to make a pleasing composition. Although abstract, the artist has used local color: green for foliage and greens and browns for land patches, black for tree trunks, tans for house siding. It calls to mind Braque's 1908 landscape oil Big Trees at L'Estaque."[2]

By 1919 or 1920, while still spending the cold months in Manhattan and the warm ones in Provincetown, Weinrich and her sister came to consider the latter their formal place of residence.[2] By that time, they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919.[20] Noun points out that Weinrich and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[2] In 1922, Knaths married Helen and moved into the house that the sisters had rented.[21] He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share.[2] Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home[22]

Weinrich was somewhat in advance of Knaths in adopting a modernist style.[15] She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States, she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. In Provincetown, one source says she and three other artists—Blanche Lazzell, Lucy L'Engle and Ada Gilmore, "were at the center of the maelstrom that accompanied the rise of Modernism".[23] This loosely-knit group influenced one another as their personal styles evolved.[2] In addition to these three women, the group included Maude Squire, William Zorach, Oliver Chaffee, and Ambrose Webster. One source says that most of these artists had read and discussed the influential Cubist writings of Albert Gleizes and Gino Severini.[23] Writing in 1921, a critic wrote, "Whether they intend it or not, these cubists and their fellow radicals are gradually proving by their work that their function is most legitimately concerned with revivifying applied design and with making it significant of the nervous individuality and independence of the times in which we live." This critic characterized the artists as "radicals" having "vigor" and "eager, straining imagination".[24]

Mid-career

Image No. 1, Jean Metzinger, 1911, Le goûter (Tea Time), oil on canvas, 30 x 27 1/2 inches
Image No. 7, Agnes Weinrich, 1920, Woman with Flowers, oil on canvas, 34 × 30 1/4 inches
Image No. 8, Agnes Weinrich, "The Blue Pitcher, between 1921 and 1926, oil on canvas, 22 3/8 x 17 7/8 inches

After 1920, some of Weinrich's paintings show a strong influence of the theoretical writings of two cubists, Albert Gleizes and Jean Metzinger.[23] For instance, her painting, "Woman With Flowers" of 1920 (shown here, Image No. 6) is strikingly similar to Metzinger's 1911 painting called "Le goûter (Tea Time)" (shown here, Image No. 7). "Le goûter" was discussed in books and journals of the time, including the book Gleizes's and Metzinger's influential book Du "Cubisme" (1912).[25][26]

Other paintings, particularly her still-lifes and flower studies, show less cubist influence. One of these, informally called "Blue Pitcher", is shown here, Image No. 8. When it was shown in Provincetown in 1927, a critic for the New York Times wrote that like her other flower paintings it was "strong as a closed fist", adding, "It is complete, no fault in it. every inch thought out and interesting."[27]

(9) Image No. 9, Agnes Weinrich, Untitled (Flowers and Vase), about 1920, gouache, 14 x 10 inches
File:AgnesWeinrichOldHousesUndatedDrawing.jpg
(10) Image No. 10, Agnes Weinrich, Old Houses, undated, pencil on paper, 13 3/4 x 17 inches
(11) Image No. 11, Agnes Weinrich, Untitled (Collage), about 1923, mixed media, 11 x 7 inches
(12) Image No. 12, Agnes Weinrich, Night City, about 1946, oil on canvas, 24 x 16 inches

During the 1920s, Weinrich continued to paint oil on canvas and board; watercolor, pencil, pastel, and crayon on paper; collage; and prints.[3] For her subjects, she continued to choose still lifes, flower settings, landscapes, figures, and geometric abstracts whose subjects are not readily discernible. Examples shown here include a gouache of about 1920 (Image No. 9), a drawing that cannot be dated (Image No. 10), a collage of about 1923 (Image No. 11), and one of her last works, a cubist oil painting called "Night City" (Image No. 12).

In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach.[28] The group's membership was initially limited to thirty painters and sculptors all of whom had the right to participate in the group's exhibitions, each getting the same space.[29] One commenter notes that the group provided a platform for its members to distinguish themselves from the "genteel" and traditionalist art that women artists were at that time expected to show.[28]

In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the more conservative artists who had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association mounted two separate annual exhibitions, the one conservative in orientation and the other experimental.[30][31] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[32]

In 1930 Weinrich put together a group show for modernists at the G.R.D. Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, and others.[33]

Last years

Weinrich turned 60 on July 16, 1933. For the rest of her life, she continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment.{{refn|group=note|See for example the varieties of media and subjects Weinrich showed in the Provincetown exhibitions held in 1935,[34]

Weinrich died in Provincetown on April 17, 1946, at the age of 73. Her obituary in the Burlington Hawk Eye gave heart ailment as the cause of death.[35]

Critical reception

Critics gave favorable attention to Weinrich's work during the early years of her career. When she showed at New York's Water Color Club in 1917, a critic for the New York Times said her work was "accomplished in design".[36] A year later, reviewing an exhibition at the Penguin Gallery in Boston, a Christian Science Monitor critic said she infused the cubist formula with "something like emotion".[37] In 1919, American Art News called works shown at New York's Touchstone Gallery "clever and entertaining".[38] This attention continued during the 1920s with notices in the metropolitan dailies and the art press. Critics were not always pleased with what they saw, but occasionally balanced their critiques with praise. In 1921, a New York Times reviewer poked fun at a landscape that he or she likened to an earthquake[39] but in 1927, as noted above, another Times critic gave her flower paintings extravagant praise.[27] In a balanced review of a two-person show held in 1929, a Times critic said her landscapes had "quiet charm" but her cubist abstracts were "distressingly doctrinaire".[40]

During the last fifteen years of her life, the art press increased its coverage of Weinrich's exhibitions and its critical appraisals of her work. On reviewer said, "her delicacy and good taste are evident, but curiously the best details in her pictures are the least abstract."[41] Another said, "[Her] drawings some in black and white, some in colors shown at the Public Library are feminine ... There is a bit of Braque, a bit of Matisse, a bit of Knaths. all put into a frail, feminine melting pot".[42] A third wrote: "Miss Weinrich's prints and paintings do serve as most excellent examples of the trend of art, away from tradition and toward the realization of new ideals ... Presumably, to her, pattern is of paramount importance, but pattern can be and always has been attained through competent design and those elements on which all art is based-balance, rhythm, emphasis correctly placed."[12] Regarding her last solo exhibition in 1946, a critic praised Weinrich's "exceptional pencil technique in her meticulous rendering" of two flower subjects.[13]

During this last period in her career, she received one unqualified rave review. A critic for the Christian Science Monitor wrote in 1938 that in her still-lifes she matched the "strength and brilliance" of Braque and Rouault" This critic saw in her watercolors, drawings, and pastels an "opulence of color" and "brisk, luminous, determined handling."[43] The critic added,

She is definitely in harmony with the Parisian spirit, indifferent to imitation, and yet motivated by the outward qualities of the things she paints. To gain clarity, cohesion, [and] contrast, she permits the form to dissolve somewhat, to relax or tighten as the scheme demands; she may prefer to distort or to suppress a shape, or to heighten with thick outline. It is the design which conveys vitality by handling color, contrast, outline with independence and audacity.[43]

Following her death, critics were more likely to describe her style rather than evaluate it. An exception was a 1977 review of a retrospective exhibition held in Des Moines, Iowa. In it, the author said her cubist paintings were derivative and merely decorative but "When she doesn't adhere to the tenets of Cubism, her work explores and moves in an interesting direction." The author saw these non-cubist paintings as more personal, "allowing her own predilections to emerge."[44]

Her principal biographer emphasized the difficulties faced by Weinrich and other women artists in her time in an environment where men attracted more critical attention and sold more works of art.<noun/> In 1926, writing in the Evening Post, Margaret Breuning addressed this subject in reviewing an exhibition held by the New York Society of Women Artists. She wrote, "Woman [as artist] has not had a very long period of unclipped wings in which to practice flying, but even so, she is making good progress in her flight to the stars, where, after all, many of her patronizing critics have not yet arrived either."[45] Noun and another writer noted, however, that Weinrich was privileged in at least one respect. Her inherited income made it unnecessary for her to earn a living and gave her the freedom to make whatever art she wished.[1]

Exhibitions

Weinrich participated in many group exhibitions held by nonprofit organizations such as the Provincetown Art Association and the New York Society of Women Artists. News sources report three solo exhibitions during her life: in 1936 at the Harley Perkins Gallery in Boston,[43] in 1938 at the public library in Washington D.C.,[42] and in 1946, at the Woljeska Gallery in Boston,[13]

This is a selective list of group exhibitions in which she participated during her life. Its main source is Louise Noun's article on Weinrich in Woman's Art Journal,[2] supplemented by contemporary news accounts in American Art News, The New York Times, the Brooklyn Daily Eagle, the New York Evening Post, The Philadelphia Inquirer, and The Christian Science Monitor.

  • 1915 onward: Provincetown Art Association
  • 1917: Pennsylvania Academy of Fine Arts, Philadelphia
  • 1917-23: Society of Independent Artists, New York
  • 1919: Touchstone Gallery, New York
  • 1919: Art Institute of Chicago
  • 1920: Boston Arts Club
  • 1926 onward: New York Society of Women Artists
  • 1928: Grace Horn Gallery, Boston
  • 1929: Pennsylvania Academy of Fine Arts, Philadelphia
  • 1932: Boston Public Library
  • 1938: Boston Society of Independent Artists
  • 1939: Corcoran Gallery Biennial, Washington, D.C.
  • 1939: Witherstine Gallery, Boston
  • 1939: Institute of Modern Art, Boston
  • 1945: Woljeska Gallery, Brooklyn, New York

Notes

References

  1. ^ a b "Agnes Weinrich's Obscure Happiness". The Register. Barnstable, Massachusetts. 1998-08-27. p. SB3.
  2. ^ a b c d e f g h i j k l m n o p Noun, Louise R. (Autumn 1995 – Winter 1996). "Agnes Weinrich". Woman's Art Journal. 16 (2): 10–15. doi:10.2307/1358569. JSTOR 1358569.
  3. ^ a b "Old Citizen Dies". Burlington Hawk Eye. Burlington, Iowa. 1899-04-14. p. 13.
  4. ^ "Music Students Graduate". Inter Ocean. Chicago, Illinois. 1897-06-17. p. 4.
  5. ^ "Personal Mentions". Burlington Evening Gazette. Burlington, Iowa. 1898-05-07. p. 3.
  6. ^ "Woman's Realm". Burlington Evening Gazette. Burlington, Iowa. 1898-11-12. p. 5.
  7. ^ Polk's Springfield City Directory, 1904-05. Springfield, Illinois: R. L. Polk & Co. 1904.
  8. ^ Transactions of the Department of Agriculture of the State of Illinois with Reports from County Agricultural Societies for the Year. Illinois Department of Agriculture. 1905. p. 239.
  9. ^ "Lena Weinrich". The Statue of Liberty - Ellis Island Foundation, Inc. Retrieved 2022-10-08.
  10. ^ "Gems of Art on View in Provincetown". Boston Sunday Post. Boston, Massachusetts. 1916-07-02. p. 30.
  11. ^ Ross Moffett (1964). Art in narrow streets: the first thirty-three years of the Provincetown Art Association. Kendall Print. Co.
  12. ^ a b "Paintings and Prints by Agnes Weinrich at the Public Library". Evening Star. Washington, D.C. 1938-02-20. p. F5.
  13. ^ a b c "Madame Woljeska's Gallery". Brooklyn Daily Eagle. Brooklyn, New York. 1946-03-24. p. 31.
  14. ^ "In the World of Art". Brooklyn Daily Eagle. New York, NY. 1917-10-21. p. 8. Agnes Weinrich shows a strong note of impressionism in "Two Girls," "A House in Provincetown," "Village Street," and several landscapes.
  15. ^ a b George Shane (1955-05-19). "Knaths' Show Opens Today". Des Moines Register. Des Moines, Iowa. p. 7.
  16. ^ "Fine White Lines". Barnstable Patriot. Barnstable, Massachusetts. 2015-10-02.
  17. ^ "100 Years of Art in Provincetown". Julie Heller Gallery. Retrieved 2022-10-13.
  18. ^ Provincetown Art Association, Third Annual Exhibition, July 4 to September 1, 1917 (PDF). The Association. 1917.
  19. ^ "Art; Water Color Club's Current Exhibition". The New York Times. New York, NY. 1917-11-04. p. 69.
  20. ^ "Karl Knaths". Smithsonian American Art Museum. Retrieved 2022-10-11.
  21. ^ Rose, Jean Block (ed.). The Eye of the Collector: The Jewish Vision of Sigmund R. Balka [Exhibition Catalog]. New York: Hebrew Union College-Jewish Institute of Religion Museum. p. 186. Retrieved 2014-06-21.
  22. ^ Benson, Gertrude (1952-04-30). "Karl Knaths Hails Order in Art Works" (PDF). The Philadelphia Inquirer. p. 24. Retrieved 2014-05-28.
  23. ^ a b c Kingsley, April (1988). "Women Artists and the Frontiers of Modernism". Provincetown Arts: 68–71.
  24. ^ "Provincetown, Port of Art and Letters". Provincetown Arts. 5 (4): 64. December 1921.
  25. ^ Charles Edward Eaton (2001). The Man from Buena Vista: Selected Nonfiction, 1944-2000. Associated University Presses. p. 106. ISBN 978-0-8453-4878-9.
  26. ^ Albert Gleizes; Jean Metzinger (1913). Cubism. T.F. Unwin.
  27. ^ a b "Modern Artists Show Work at Provincetown". The New York Times. New York, NY. 1927-07-10. p. X9.
  28. ^ a b "NY Society of Women". Julie Helle Gallery. Retrieved 2022-10-12.
  29. ^ "Women Artists Form a New Group". The New York Times. New York, NY. 1925-05-03. p. X11.
  30. ^ "History | Provincetown Art Association and Museum". Retrieved 2014-06-26. True to its mission, the organization represented both sides of the artistic argument, mounting separate "Modern" and "Regular" summer exhibitions between 1927 and 1937. Still, the conciliation reached in 1937 was only partial; instead of separate exhibitions, separate juries installed concurrent exhibitions on opposite gallery walls, with a coin-flip deciding that the modernists' work hung on the left.
  31. ^ McCarthy, Christine (2011). "The Provincetown Art Association and Museum". Tides of Provincetown, reproduced from the New Britain Museum of American Art. Retrieved 2014-06-21.
  32. ^ Bakker, James R. (2011). "Charles Webster Hawthorne Founds the Cape Cod School of Art". Tides of Provincetown, reproduced from the New Britain Museum of American Art. Archived from the original on 2015-01-13. Retrieved 2014-06-21.
  33. ^ "William L'Engle (1884-1957) and Lucy L'Engle (1889-1978): Chronolgy". D. Wigmore Fine Art. Archived from the original on 2014-12-31. Retrieved 2014-06-24.
  34. ^ Provincetown Art Association, Twenty-First Annual Exhibition, August 4 to September 2, 1935 (PDF). Provincetown Art Association. 1935.
  35. ^ "Agnes Weinrich Dies in the East". Burlington Hawk Eye. Burlington, Iowa. 1946-04-17. p. 2.
  36. ^ Philadelphia Water Color Club (1917). Annual Water Color and Miniature Exhibitions Catalogue. p. 46.
  37. ^ "Cezanne and Freedom in Art". Christian Science Monitor. Boston, Massachusetts. 1918-04-15.
  38. ^ "Four Provincetown Painters". American Art News. 17 (14): 2. January 1919.
  39. ^ "Independents Hang Cubists High". The New York Times. New York, NY. 1921-02-24. p. 12.
  40. ^ "Women's Society Holds New Show". The New York Times. New York, NY. 1929-02-02. p. 29.
  41. ^ "Boston Art Notes; Society of Contemporary Art". Christian Science Monitor. Boston, Massachusetts. 1930-12-31.
  42. ^ a b "Semi-Abstract Drawings Exhibited, Work of Agnes Weinrich, at Library: Artist Paints in Oil, Water Colors and in Crayons. One-Color Process Used in Making Her Woodcuts". Washington Post. Washington, D.C. 1938-02-20. p. TT5.
  43. ^ a b c "Art Work of Former Burlington Resident Given High Praise". Burlington Hawk Eye. Burlington, Iowa. 1936-12-02. p. 6. Art work of Miss Agnes Weinrich of Provincetown, Mass., former Burlingtonian, was given fine recognition in column headed 'What's Going On In The Arts' in a recent edition of the Christian Science Monitor, Boston, Mass.
  44. ^ Lenore Metrick (1977-12-07). "Midwest 'Modernist'; Des Moines Art Center Exhibits Works of Agnes Weinrich". Des Moines Register. Des Moines, Iowa. p. 39.
  45. ^ Breuning, Margaret (1926-04-24). "About Artists and Their Work". The New York Evening Post. New York, NY. p. 9.

Other sources

Further reading

  • Agnes Weinrich, 1873-1946, by Louise R Noun and Deborah Leveton (a catalog accompanying an exhibition held at the Des Moines Art Center; Art Guild of Burlington; and Provincetown Art Association & Museum, 30 p., ill., ports., 26 cm. (Des Moines, Iowa, Des Moines Art Center, 1997).
  • "Agnes Weinrich," by Louise R. Noun, Woman's Art Journal, Autumn 1995-Winter 1996 (Rutgers University, Rutgers, N.J., 1996)
  • Art in Narrow Streets, by Ross Moffett, (Provincetown, Pilgrim Memorial Association, 1989).
  • Iowa artists of the first hundred years, by Zenobia Brumbaugh Ness and Louise Orwig (Des Moines, Iowa, Wallace-Homestead Co., 1939)
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