Type | Arts university |
---|---|
Active | 1926 | –1946
Founders | Olin H. Travis, Kathryne Hail Travis |
Director | Olin H. Travis 1926-1941 |
Students | Approx. 200 |
Location | , |
The Dallas Art Institute (1926-1946) was the first art school to offer instruction in a variety of fields in the southern United States. It was founded in 1926 by artists Olin H. Travis and Kathryne Hail Travis and operated until it was closed by the Dallas Museum of Art trustees in 1946.
The Dallas Art Institute was founded in 1926 in downtown Dallas, Texas. The founders, artists Olin Travis and his wife Kathryne Hail Travis, had just returned to Olin's hometown of Dallas after receiving arts educations at the School of the Art Institute of Chicago. Inspired by what they learned there, they were eager to encourage the local art scene by founding the first institution to offer a variety of arts courses in the south. [1] Travis served as director of the Art Institute from its founding in 1926 until 1941. [2]
In 1930, the Dallas Art Institute secured non-profit status in moving to the grounds of the Civic Federation of Dallas, and thus needed to organize a board of trustees to govern the school. According to the terms of their charter the number of trustees must never exceed 20 or drop below 10, with the inaugural board consisting of 13 people, including noted illustrator Margaret Scruggs-Carruth. [3] At this time, architect Thomas D. Broad was chosen to act as the school's first executive director to facilitate communications between the board and the Art Institute. [4]
Though it began on the second floor of a building on main street, the Dallas Art Institute would move several times before its closure in 1946. Their most influential location was at the Civic Federation of Dallas on Maple Avenue, a move the institute made in 1931. Their new building on the corner of Alice Street and Maple Avenue placed them between Southwest School of Fine Arts and the Klepper Sketch Club, right in the center of an arts colony downtown. [4] The local Dallas Artists' League began meeting weekly on Alice Street during the Great Depression, advertising "cheap meals for depression-stricken artists" when job opportunities for local artists became virtually nonexistent. In 1932, in coordination with other businesses, artists, and organizations nearby, the Art Institute participated in the first Alice Street Arts Carnival. [5] Continuing until the start of World War II, the Alice Street Art Carnivals provided more than 70 local artists (and DAI students) with a venue to sell their work to the public for never more than $5. [6]
Following a surge in enrollment in 1935, the school needed larger facilities and moved again, this time to a residence remodeled for the purpose on McKinley Avenue. The school made its third move in 1938, this time to the school wing of a brand new building on the campus of the Dallas Museum of Art. [7] They operated here for three years, until the museum's board of trustees voted to cancel the Art Institute's contract in 1941, in favor of founding their own art school. [1] The Dallas Art Institute was thus forced to move a fourth and final time, to a building several blocks from their first location on Main Street. It was during this move that Olin Travis left the school he had founded to work elsewhere, with the Dallas Art Institute closing for the final time five years later in 1946. [4]
At its inception in 1926, the Dallas Art Institute offered courses in painting (landscape, still life, and portraiture), life drawing, sculpture, art history, costume design, illustration, composition, fashion, and commercial art. The school was divided into several departments: commercial art led by Charles McCann, costume design led by Howard Shoup, general theory, history, and Saturday courses led by Leona McGill, etching and drawing led by Reveau Bassett, and painting led by Kathryne and Olin Travis. [3]
The school operated with 8 faculty members and a steady 200 students for several years until enrollment numbers dropped dramatically during the Great Depression. Attendance picked up again in 1931 when a fresh group of artists was hired to teach an additional selection of courses, including Allie Tennant, Alexandre Hogue, Thomas M. Stell Jr., and former student Jerry Bywaters. The expanded course selection included offerings like outdoor sketching, watercolor, stage design, and ceramics. They also began several art lecture series that were open to the greater Dallas community and increased the number of exhibition opportunities available to students in hopes of expanding the public's knowledge and appreciation of art. Their efforts were successful, as the school was able to expand in 1934 to offer both a three-year certification option and a four-year diploma program. [4]
In 1927, the Travises opened the Travis Ozark Summer Art School as an affiliate of DAI in Franklin County near Ozark, Arkansas (Kathryne's hometown) to offer summer classes in the mountains. For several summers, a handful of faculty and approximately 50 students spent the months of June and July living and working in the school's 15 crudely furnished cabins. Before it was rented by the Travises, the property had housed a long-abandoned sawmill, so they were able to secure the land for a very inexpensive rate. [8]
Holding summer school in the Ozarks was a prime choice for landscape painters, as the property was surrounded on all sides by miles of government forest preserve. [9] It was during a trip to the summer art school that Olin H. Travis was introduced to a young Everett Spruce. He was encouraged to share his sketchbook with the director, who responded by immediately offering him a scholarship to the Dallas Art Institute. Spruce is now regarded as one of the most influential artists to emerge from the Dallas Art Institute, best known for his landscape paintings of Texas and the Ozarks. [10]
The Summer Art School was open to both DAI students and residents of Arkansas and neighboring southern states, operating officially for 3 summers until 1930 when Kathryne left the DAI. Some records suggest that members of the faculty returned to hold classes informally as late as 1935, when a fire destroyed many of Olin Travis' paintings as well as the Travis' summer home in the Ozarks. [8]
The Dallas Museum of Art (DMA) is an art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In the 1970s, the museum moved from its previous location in Fair Park to the Arts District. The new building was designed by Edward Larrabee Barnes and John MY Lee Associates, the 2007 winner of the American Institute of Architects Gold Medal. The construction of the building spanned in stages over a decade.
Nishikawa Sukenobu, often called simply "Sukenobu", was a Japanese printmaker from Kyoto. He was unusual for an ukiyo-e artist, as he was based in the imperial capital of Kyoto. He did prints of actors, but gained note for his works concerning women. His Hyakunin joro shinasadame, in two volumes published in 1723, depicted women of all classes, from the empress to prostitutes, and received favorable results.
Charles Franklin Reaugh, known as Frank Reaugh, was an American artist, photographer, inventor, patron of the arts, and teacher, who was called the "Dean of Texas Painters". Born and raised in Illinois, he moved as a youth with his family to Texas. There he developed an art career devoted to portraying Texas Longhorns, and the animals and landscapes of the vast regions of the Great Plains and the American Southwest. He worked in both pastels and oil paints and was a prolific artist, producing more than 7,000 known works. He was active in the Society of Western Artists.
Linda Ridgway is an American artist in Dallas, TX known for sculpting and printmaking works. Her focus is on themes of femininity, tradition, and heritage. Ridgway is known for her bronze wall reliefs.
Alexandre Hogue was an American artist active from the 1930s through the 1980s. He was a realist painter associated with the Dallas Nine; the majority of his works focus on Southwestern United States and South Central United States landscapes during the Dust Bowl.
Ed Moses was an American artist based in Los Angeles and a central figure of postwar West Coast art.
Florence McClung was an American painter, printmaker, and art teacher. She was the daughter of Charles W. and Minerva (McCoy) White and was born in St. Louis, Missouri. She moved to Dallas, Texas, as a child with her family in 1899 and lived there until her death. She later was associated with the Dallas Nine, an influential group of Dallas-based artists.
Arthur William Brown (1881–1966) was a Canadian commercial artist, most known for his work as an illustrator for the Saturday Evening Post, American Magazine, and Redbook.
Williamson Gerald Bywaters (1906–1989), known as Jerry Bywaters, was an American artist, university professor, museum director, art critic and a historian of the Texas region. Based in Dallas, Bywaters worked to elevate the quality of Texas art, attracting national attention.
Merritt Mauzey (1897-1973) was an American lithographer and noted children’s book author and illustrator in the mid-20th century. Associated closely with the Dallas Nine group of artists, Mauzey was a self-taught artist known for his depictions of rural life and the cotton industry in his native Texas.
Bertha Mae Landers (1911–1996) was an American painter and printmaker.
Verda Ligon (1902–1970) was an American painter and printmaker.
Octavio Medellín (1907–1999) was a Mexican American sculptor and teacher, best known for the Mexican-influenced sculptures that he created in Texas in the first half of his career. In the 1950s, 1960s, and 1970s, his art became more abstract.
Coreen Mary Spellman (1905–1978) was an American printmaker, painter, and teacher active in Texas from the 1920s until her death in 1978.
Janet E. Turner (1914–1988) was an American artist known for her printmaking.
The Dallas Nine was a group of Dallas, Texas artists active between 1928 and 1945.
Everett Franklin Spruce was a painter, museum professional, and arts educator based in Texas. He was widely recognized as one of the earliest regional visual artists to have embraced modernism in his interpretations of the Southwestern aesthetic. As a member of the Dallas Nine, he contributed to developing a stylistic lexicon that captured realistic and unidealized perspectives of the region, shifting away from the “Old South” view of Texas. Regional nature dominated his oeuvre, and a wide array of artistic movements, music, and literature influenced his renderings of it.
Daniel Gale Turnbull Jr., was an American ceramicist, painter, etcher, and art director active from the 1920s until the 1950s. He is best known for his work as art director and designer at Vernon Kilns beginning in 1936.
Margaret Ann Scruggs-Carruth (1892–1988) was a Texan etcher, printmaker, illustrator and educator. She was primarily active in the first half of the 20th century, illustrating one of the first botanical guides for native Texas plants in 1932.
Olin Herman Travis (1888–1975) was an American painter and arts educator active for much of the 20th-century. He spent most of his life working in Texas, though he and his first wife Kathryne Hail Travis routinely traveled to Arkansas. In addition to his paintings, Travis is largely known for several public murals in Dallas and for working with Kathryne to co-found the Dallas Art Institute (DAI) – the first major art institution in the south to offer artistic instruction in a variety of fields.