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Jul 19, 2018

Never a Dull Moment: The Art of Grace Spaulding John

Rosenberg Library
2310 Sealy Street in Galveston, Texas 
Harris Gallery, 4th Floor

Through July 20, 2018
Guest lecture by visual arts scholar RANDY TIBBITS to begin at 6:30 in the Fox Room

Grace Spaulding John was born in Battle Creek, Michigan in 1890. Her father was a newspaper editor and publisher, and the family lived in Vermont before settling in Beaumont, Texas during the early 1900s. After completing high school, John enrolled at the St. Louis School of Fine Art in 1909. Three years later, she began studies at the Art Institute of Chicago. John continued her studies, first at the Parsons School of Design in New York and later at the Pennsylvania Academy of Fine Arts. In 1923, she was among an elite group of eight young American artists who received fellowships to study at Laurelton Hall — the Long Island estate of Louis Comfort Tiffany.

Examples of Grace Spaulding John’s work can be found at the Museum of Fine Arts Houston, the Museum of Fine Arts Los Angeles, and the Smithsonian, among other institutions. Murals created by John can be found in Houston City Hall, Lanier Middle School in Houston, and Lakewood Yacht Club in Clear Lake. She continued to work until her death in Houston in 1972.

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 20, 2018

Never a Dull Moment: The Art of Grace Spaulding John

Rosenberg Library
2310 Sealy Street in Galveston, Texas 
Harris Gallery, 4th Floor

Through July 20, 2018
Guest lecture by visual arts scholar RANDY TIBBITS to begin at 6:30 in the Fox Room

Grace Spaulding John was born in Battle Creek, Michigan in 1890. Her father was a newspaper editor and publisher, and the family lived in Vermont before settling in Beaumont, Texas during the early 1900s. After completing high school, John enrolled at the St. Louis School of Fine Art in 1909. Three years later, she began studies at the Art Institute of Chicago. John continued her studies, first at the Parsons School of Design in New York and later at the Pennsylvania Academy of Fine Arts. In 1923, she was among an elite group of eight young American artists who received fellowships to study at Laurelton Hall — the Long Island estate of Louis Comfort Tiffany.

Examples of Grace Spaulding John’s work can be found at the Museum of Fine Arts Houston, the Museum of Fine Arts Los Angeles, and the Smithsonian, among other institutions. Murals created by John can be found in Houston City Hall, Lanier Middle School in Houston, and Lakewood Yacht Club in Clear Lake. She continued to work until her death in Houston in 1972.

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 21, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 22, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 23, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 24, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 25, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 26, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 27, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 28, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 29, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 30, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140

Jul 31, 2018

TWO WORLDS: THE REALITY OF ABSTRACTION

At the Old Jail Art Center, 201 South 2nd Street, Albany, TX, 76430
Two Worlds
 considers the a loaned work by American artist Norman Lewis (1909-1979) titled Untitled (Subway Station), 1945, and selections from the Old Jail Art Center’s permanent collection as the artists explore the balance between depicting reality and investigating non-objective creations through abstraction. Within the permanent collection selections to be included are works by mid-twentieth century Texas artists known as the Fort Worth Circle. 

At the same time Lewis was transitioning from Social Realism to abstraction in the 1940s Harlem New York, the Fort Worth Circle artists were also investigating the possibilities of abstraction. During this time, Lewis was abandoning realism as a means of expression due to his personal recognition of its ineffectiveness for social change. Instead he elected to create works that were “inherently aesthetic” in nature. Similarly, the Fort Worth Circle artists were embracing European modernism, rejecting (eschewing) the prevalent and popular Texas Regionalism and “bluebonnet school.” 

The Davis Collection, A Wildcatter’s Dream: Art, Oil and Wildflowers at the San Antonio Art League

Edgar B. Davis had a passion for oil, money, art and wildflowers. Without this eccentric wildcatter, the San Antonio art scene might never have blossomed in the first part of the 20th Century. Davis enticed artists from all over the country to paint Texas wildflowers, encouraged the stylistic move toward Southwestern Regionalism, and gave the job of organizing the competitions to the San Antonio Art League.
 
San Antonio Art League & Museum
130 King William St.,
San Antonio, TX 78204
saalm@saalm.org
(210) 223-1140