ILLINOIS HISTORICAL ART PROJECT

CHAPTER 1

In 1896, the Chicago Tribune wrote that the cultivation of art in Chicago depended greatly upon the pioneering women artists, and some of the best in the city were the ladies.[1] The paper explained that in the late nineteenth-century commercial city, art had to be “courted, cajoled, treated.” As it was, those who possessed cultivation, artistic desire, and some leisure time were women, not men who were busy with competitive trade affairs. The reporter surmised it would take at least two generations more to turn Chicago into an art center even though there were many girl students at the Art Institute of Chicago. Artists were born of need, then cultivated, and could not be timid in the discouraging surroundings.

 

Pauline Dohn (later Rudolph) attempted to succeed as an artist in such an environment. The Graphic, however, attributed her passion for art to her nature, and not simply a result of the artistic fervor in the Chicago air at the end of the nineteenth century.[2]

 

Pauline, sometimes affectionately called Lena, was born in Chicago in 1866 to Adolf W. and Pauline Dohn. They lived in a wealthier part of town, the 19th ward. She was the older of two daughters; her sister Mary A. born in Illinois in 1869.[3] Coming from a creative home, Pauline revealed her artistic ability early in life and it was said of her in womanhood that she was “one of those exceptional women of whom no one ever breathed a disapproving word.”[4] Undoubtedly he realized Pauline possessed unusual artistic talent, and gave her drawing lessons at home.[5] Adolf, office manager of the Steinway Piano company, was a prominent figure in the Chicago musical circles and possessed unusual musical talent himself. He was the founder of the Apollo Club and its first conductor. According to the one source Mrs. Dohn made the home a hospitable place and the “favorite resort of the leading artists and musicians of the city.”[6] Pauline came from a home that valued and encouraged creativity.

 

“Small and delicately formed with drab blonde hair and clear deep [blue] eyes,”[7] she was also bright having graduated from high school at the age of fifteen.[8] Promptly thereafter in 1880 she began a thorough course of art training at the Chicago Academy of Fine Arts, later to be renamed in 1882 the Art Institute of Chicago.[9] Not unlike many aspiring young Chicago artists, she owed much to the head instructor Henry Fenton Spread (1844-1890),[10] studying with him for three years.[11] Upon finishing the term in June 1881, she won first prize (tuition for half a term) for outline studies from the antique.[12] She was listed in a catalogue as attending the 1882-1883 school year,[13] however Spread was not among the faculty for the school year 1883-1884,[14] nor 1884-1885,[15] and it appears that may have prompted Pauline to later seek instruction elsewhere.

 

In 1882 several women banded together to form the Bohemian Art Club; Pauline was the club’s first treasurer.[16] The club was founded in the studio of Marie Koupal Lusk (1862-1929), who was Bohemian by birth and after whose lineage the play on words was taken. It was renamed the Palette Club in 1888 because of its increased dignity and importance and a feeling the name “Bohemian” was misleading.[17] The group was strictly for female artists, men had their own groups. Membership required passing an examination and submittal of works to a committee to decide upon the artist’s merit.[18] They would discuss art often in the studio of Ida Burgess (c.1858-1934) and later created a series of annual exhibitions in 1883 that would continue through 1895. Most of the ladies were former students of the old Academy and some were teachers, so it is easy to understand why the Art Institute lent them space for the first exhibition.[19] Pauline exhibited in every show except thrice when she was traveling abroad.[20]

 

Involvement with the Bohemian Art Club brought her to the center of the art world in Chicago. By exhibiting with the club, her work began to capture the attention of newspaper critics, even if at first for only brief mentions. At the first annual exhibition she showed Blowing Bubbles (location unknown), a painting of a country boy seated on a table with a pipe and “rainbow-tinted” suds. A exclaimed the painting’s accessories were excellent while Dohn portrayed the figure with clearness and strength.[21]

 

She enrolled in the Pennsylvania Academy of the Fine Arts in 1884, and studied through 1886, with two very well known and popular academic painters Thomas Pollock Anshutz (1851-1912) and Thomas Eakins (1844-1916).[22] At the Academy, her training was not confined to sketching draped models, but included time in the dissecting room, a favorite place to learn of both her teachers; becoming “thoroughly familiarized” with the structure of the human body.[23] She was an indefatigable student reportedly studying the countryside for two years to better grasp nature in her painting. She considered that time and effort profitable in her “preparatory efforts.”[24] In between studies in Philadelphia, she remained active with her art club back home, showing Railway Terminus (location unknown), a scene across Lake Michigan, at the 1885 annual.[25] Her work was also accepted at the one of the most prestigious exhibition venues of the day, the Inter-State Industrial Exposition in 1886.[26] While held in Chicago on the lake front in the building of the same name, the annual exhibition had a national reach. She also showed at the St. Louis Art Museum that year.[27]

 

It was only natural for her to seek training abroad as she aspired, like most artists of her day, to a reputation through association with acknowledged masters. Hence after she returned to Chicago from the east coast, she departed for two years of study in Europe in 1887.[28]

 

Pauline preferred to study in Paris during the colder months and then apply her skills summering in Holland.[29] She studied in Paris at the Académie Julian with Gustave Clarence Radolphe Boulanger, and Jules-Joseph Lefèbvre.[30] Charles Lazar was particularly known for taking women students who were not admitted to the male only government run École des Beaux-Arts. She wrote of Lazar in an 1887 letter to her father explaining among other things, how Lasar aided her growth as a great portraitist by attending to details,

 

“He is the queerest little man you ever saw, so earnest and enthusiastic, although the King’s English is simply nowhere when lie gets hold of It; but he is a rough diamond and a sort of second Tommy Anshutz. for what he knows he does know... When I commenced my studies and was told to see everything by comparison, to draw character and know the whys and wherefores of everything, I used to go along the street studying nose, for instance….by-and-by I got so I could tell almost at a glance what were the characteristics of everybody that came along, and whenever I did not know why my attention had been arrested I would go back and walk past the person again until I had found out…”

 

She continued to speak of how Lasar “raked her over the coals” for the way she saw, mixed and applied color. He made her recognize that the way she learned to think and work was a process which would carry her craft forward.[31]

 

While in Europe, Pauline shared her excitement with friends and no doubt benefited from their support. In 1888 she and fellow Bohemian Art Club member Alice Kellogg [later Tyler] (1862-1900) had work accepted at the annual Paris Salon Société des Artistes Français. Alice recorded in a letter home that Pauline had also done “an oil head of a little Italian model” which was “very sincerely and faithfully painted and got No. 3 [honorable mention] —which is great considering that it is an oil—and so more of an attempt.”[32]

 

As a woman from a family of some means she took the opportunity to travel visiting England, Germany, and Italy.[33] According to one report, she worked hard during the winters in Paris, but was partial to northern Holland.[34] During the summer, she found the dikes and ditches artistic subject matter and caught the “misty charm” of its atmosphere through her outdoor painting.[35] Art Institute professor John Henry Vanderpoel (1857-1911) had also studied with Henry Fenton Spread and was in Paris at the same time as Pauline. Before returning home she traveled with Alice Kellogg and Vanderpoel through Holland.[36] The country was to inform her work the remainder of her career.

 

An intelligent woman, Pauline later reflected on this first foray to Europe and why her study experiences were so beneficial:

 

“Many American students go to Paris and make the terrible mistake of sticking so closely to their school work from morning to night and week to week that they have to go home with the most superficial idea of the Louvre, to say nothing of the fine modern pictures that are to be seen in the innumerable exhibitions, missing the very thing they go to Europe for.”[37]

 

She clearly drew meaning from what she observed. However, nothing in Europe really compared to her homeland and she never lost sight of her Midwestern roots. “I like Europe, but I like to do my work at home….There are such good opportunities here in Chicago and I like to study and paint my own land and my own people.[38] Alice Kellogg noted an important change in her close friend writing, “she was delightful, I never saw a girl blossom out more charmingly than she has…”[39]

 

Once back home in Chicago, she focused on studio work, and involvement with the newly re-named Palette Club, which held its sixth annual exhibition in 1888 in the galleries of the Chicago Society of Artists on Wabash Avenue.[40] Pauline’s work had reached such a degree of quality that the one newspaper made mention of it before other artists claiming her work was “not merely clever or by chance successful,” but that her hand was “remarkably firm” and her color sense “intuitive.” Recognized as having studied abroad for some time, the article went on to call the four works she exhibited as representing the “highest technique on the walls.” One portrait was a composition of “brilliancy and effectiveness” while in a another of a child’s head—a work selected for the 1888 Salon—conveyed “reserved strength” and “promises” of yet “greater performances” by Dohn in the future.[41]

 

The club evolved over the next few years, its numbers grew, the exhibitions gained in recognition, and its changed name lent an air of professionalism. A number of the members had been students at the Art Institute, many earning significant student honors. By 1895 one periodical state the organization was “famous throughout the country,” not only because it was the first group of organized women artists, but also because of the “strength of its work.”[42] While initially the club had met at private studios, by 1888, members were meeting on Saturdays at the Art Institute of Chicago, in order to examine and critique one another’s work.[43] On alternate Saturdays, the artists sketched and composed their pictures. During the summer months, many of the artists went on sketching excursions to places like Saint Joseph, Michigan and Ottawa, Illinois.[44] There surely existed a social air at the member gatherings and the public receptions, usually attended by large crowds, but the club’s main purpose was also serious. Pauline no doubt built friendships among the membership that included Lusk, Annie Weaver Jones (c.1862-after 1911) with whom she shared a studio and would later travel with through Wisconsin,[45] Enella Benedict (1858-1942),[46] and Ida Burgess.[47]. She undoubtedly received support from her talented colleagues.

 

When the Palette Club opened the spring season of 1889 with a show in the galleries of the Chicago Society of Artists, the pictures numbered 140.[48] The club’s president Mrs. Sarah Van Doren Shaw (1844-1918) received first notice by the Chicago Herald, but the critic identified Dohn’s Tete d’enfant (location unknown), a careful study shown at the 1888 Salon, as the “most pretentious” of efforts.[49] The critic also recognized her Portrait of a Lady as “well-posed and drawn” while her Sketch in Venice “caught the local tone of color.”[50] This Chicago newspaper was depicting the work by Pauline as consistently having a unique edge that many other artists seemed to lack.

 

At the 1890 annual show, among much decorative painting, her work of again caught the attention of the press. The Tribune called her portraiture “faithful work.”[51] Her portrait of a lady especially stood out as “the most ambitious work of the exhibition” and the “best sustained one.” The portrait possessed taste, refinement in arrangement, well-painted textures, and an overall attractiveness in a pictorial sense. The work evidently demanded “the place of honor” on the north wall.[52] Of her other composition, a mother and child, the press wrote Pauline had shown the same cleverness and in some respects was technically betters, but it was not as striking.[53] Pauline was part of the enthusiastic and energetic Palette Club, but The Graphic described her as having “enthusiasm enough in art for two or three ordinary individuals.”[54] Pauline also displayed her paintings at galleries, such as Stevens, and in her own studio.[55]

 

One of the Palette Club members, Annie Weaver Jones, was also one of Pauline’s closest friends. At one time they shared a studio at 24 Adams Street and held receptions at their “flower-decked dual studio” through which “passed a long train of society.” They would display a variety of work in oils, water colors, and sketches—often the results of their summer work.[56] At one reception on display was Pauline’s “charming canvas” of a country boy in full light without shadow was reminiscent of the impressionists without being imitative. Also shown was The Lady in Gray (location unknown), a work later shown at the Interstate Industrial Exposition in Chicago.[57] One of Pauline’s strongest works, A Letter from the Fatherland (location unknown) depicted lowly “German” life.[58] She originally sketched the scene while in while in Burlington, Wisconsin, a small town that retained much of the manner and custom of the old country. Described as a conception full of dignity and simplicity, the arrangement of low tones and light made the effect brilliant.[59] According to the Chicago Evening Post, Pauline painted it for exhibition at the National Academy of Design in New York. Supposedly, she had not shown the work other than at her studio, but when framers were packing it, a wealthy art connoisseur spotted it and paid Pauline $300 for it.[60] The piece was exhibited at the eighth annual Palette Club show, again to great praise. The Chicago Tribune described the work, as a young girl in a pink dress reading a letter to an attentively-listening old woman as “feelingly treated and possessing many excellent technical qualities,” and went on to say that she and Ida Haskell (1861-1932) dominated the show with the best works.[61] The Chicago Times called Fatherland “one of the gems of the exhibition,” as well as “natural and artistic in treatment.”[62] Alice Kellogg and Pauline were on the jury of admission for the exhibition.[63]

 

According to the Chicago press, Pauline accomplished what other artists did not. She not only “contributed many paintings” to exhibitions, like those sponsored by the Palette Club, but she demonstrated a truthfulness of character and “genuine inspiration.”[64] The press also considered Pauline’s work successful because she did not remain idle, but progressed by turning her attention more to color.[65] She exhibited many times with the Palette Club and her work came to define what its members attempted to do in elevating the standard of women’s art to that of men’s. In 1891, the Chicago Times claimed Pauline’s Washing Day in the South (location unknown) as “one of the most characteristic in the exhibition.”[66]

 

Then in the fall of 1891, the Art Institute held the fourth annual exhibition of American oil paintings. The collection had a number of strong pictures from American artists in Paris. Eastern painters were also well-represented, but the local artists were in the minority, as usual.[67] At that time, the Chicago Evening Post reported Pauline’s What the Storks Brought (location unknown), which she recently had completed, was the best she had “yet achieved.”[68] The painting showed a mother seated with the newborn child on her knee and two little girls peering closely. Other members of the press stated that if no other local artist had contributed a painting to exhibition, Pauline’s work would have “sustained the credit of Chicago artists” and the same critic considered it “beautiful in composition,” the drawing “admirable,” “full of the poetic.”[69] The painting would prove to bring Pauline much recognition as one of Chicago’s favored artists. The Chicago Evening Post proclaimed the work “beyond praise,” and the best she had yet produced in a career that was already filled with glory, strongly reminiscent of Josef Israels (1824-1911).[70]

 

Teaching soon became an important part of her career. Many artists sought positions at the School of the Art Institute as a way to supplement and stabilize their income. For the winter term beginning early in 1891 she was offered a post to teach drawing from the antique and conducting the Saturday classes. She replaced Lydia Purdy Hess (Lowrie) (1866-1936), who had left school for studies abroad. Pauline would teach at the school for the next twelve years. Arts for America later said she was “one of the favorite teachers at the Art Institute”[71]

 

Pauline received brief mentions for works at the ninth annual exhibition of the Palette Club in 1892. In one case a critic wrote that she stood “in pleasing prominence” among the sixty-three members of the club’s organization, that she had possessed “growing powerl” and had an innate ability, or drive, to lift her “standard a step higher.” The critic believed that Pauline had great talent and that she was still capable of doing even better things and there was an accepted belief among critics that a great future lay ahead for the young artist.[72] She was in fact the club’s president between 1892-93.[73] According to The Graphic, the Spring exhibition of the 1892 Palette Club had a well-balanced number of landscapes, figures, and flowers and applauded the club’s decision to not emphasize the size of work, attributing its success to “studious work” that was achieved by those “alive to the possibilities and opportunities of modern art.”[74]

 

Pauline relentlessly exhibited at almost every exhibition in the city for several years and perhaps became best known for her work What the Storks Brought. The work won her more than local distinction and she was not hesitant to re-exhibit it.[75] The Palette Club proved to be a successful avenue through which artists showed and sold their works.

 

The Chicago Evening Post reported she had just commenced work on a frieze entitled Industrial Art, for the women’s reception room of the Illinois Building at upcoming World’s Columbian Exposition.[76] Ida Burgess had been given charge of decoration Women’s Reception Room and Library of Illinois State Building, and Pauline was one of a number of female artists who assisted Burgess with twelve panels to be painted on canvas and then fitted to the walls after completion.[77] Nine of the panels were of figures illustrating women’s role in the arts and industries and three of the twelve were illustrated in the Inter Ocean and Chicago Tribune, including Pauline’s.[78] The fact that she was known to be a good colorist, but neither profuse nor grandiose in her use of color, may have resulted in her selection for the mural panel. She held her work together with a sense of design and was technically careful and conscientious. In the panel, the children were nude where the women spinning and designing were brightly clothed.[79] Critics also viewed Pauline’s work as having an underlying “intellectual motive.” Her fundamental idea of art was realism similar to that of Courbet, with “an unusual truthfulness of minutia” and “a fearless breadth of handling.”.[80] Presumably, Pauline was around for the opening of the fair as the Palette Club had an extensive exhibition their sponsored by the Women’s Exposition Board;[81] but she was reported to once again go abroad in June 1893.[82] Once again in Paris,[83] she studied with Gustave Courtois at the Academie Colarossi.[84] Her return was documented on September 18, 1894, at the age of twenty-eight, when she arrived from Antwerp, Belgium at Ellis Island.[85] Since she was abroad, she was on leave of absence for the Art Institute during the 1893-94 school year.[86] She returned for the 1894-95 school year to resume teaching a course in antique and composition.[87] Pauline continued to teach life and antique classes at the Art Institute until the end of the school year in 1902.[88]

 

 

[1]“Chicago Lady Artists,” Chicago Tribune, 7/4/1886, p.21.

[2]“Art and Artists,” The Graphic, Vol. 6, No. 18, 4/30/1892, p.326.

[3]1870 Census, Series M593, Roll 211, “Inhabitants in 19th Ward, in the County of Cook, State of Illinois,” 6/6/1870, Page No. 37, record 234, Lines 22-26. Pauline’s mother was born in New York in 1833. According to “A.W. Dohn, Apollo Club’s Old Director, Expires,” Chicago Daily Tribune, 2/27/1901, p.3, Adolf was born in 1836, having come to America in 1853 and Chicago in 1862.

[4]“A Tribute,” Winnetka Talk, 7/5/1934.

[5]“Firmness Of Truth: Chief Characteristic Of Miss Pauline Dohn’s Paintings,” Newspaper clipping, unknown publication, c.12/30/1898, IHAP Library. This and several other clippings came from the artist’s great niece, many undated or unspecified as to publication.

[6]Obit for Paulina Dohn, 1/15/1901, Chicago Tribune, p.8. Adolf Dohn organized the Mendelssohn Society, a chorus of male voices, and also started the Chicago Musical Union. Op. cit., Chicago Tribune, 2/27/1901, p.3.

[7]Op. cit., “Firmness Of Truth…,” c.12/30/1898.

[8]Op. cit., “Firmness Of Truth…,” c.12/30/1898. Op. cit., The Graphic, 4/30/1892, p.326 said she graduated at age thirteen.

[9]Op. cit., Winnetka Talk, 7/5/1934, and “With Chicago’s Artists: Splendid Exhibition Soon to be Given by the Palette Club,” Sunday Chicago Times, 3/6/1892, p.4. The Chicago Academy of Fine Arts School Circular, Art Institute of Chicago Archives, Ryerson Library.

[10]“Academy Of Fine Arts,” Chicago Tribune, 11/23/1879, p.8.

[11]Op. cit., “Firmness Of Truth…,” c.12/30/1898. She studied as well as with J. Roy Robertson (?-after 1891).

[12]Director William M.R. French School Records, Box 20, Folder 1880/81, handwritten notes. Art Institute of Chicago, Ryerson Library. “Students in Art,” Chicago Tribune, 6/29/1881, p.6.

[13]Prospectus and Catalogue of the Schools of the Chicago Academy of Fine Arts 1882-1883, “Names of Pupils,” (Chicago: Chicago Academy of Fine Arts, 1882), p.10, in AIC Scrapbooks, vol. 1.

[14]The Art Institute of Chicago: School Circular For The Season 1883-1884.

[15]The Art Institute of Chicago: School Circular For The Season 1884-1885.

[16]“Art And Artists,” Daily Inter Ocean, 12/23/1882, p.9.

[17]“A Lady Who Is Prominent Among Chicago Artists,” unknown newspaper [handwritten “Name of Paper Missing”], Art Institute of Chicago Scrapbooks, 1891, vol. 5, p.42; “Art and Artists,” Graphic, 2/20/1892, p.136; “The Palette Club: Old Friends Under a New Name Give a Pleasing Art Reception,” unknown newspaper, IHAP Library, 4/3/1889.

[18]Op. cit., “The Palette Club: Old Friends…,” newspaper unknown, 4/3/1889.

[19]See for example, Bohemian Art Club First Annual Exhibition, (Chicago: Bohemian Art Club, 4/3/1883). IHAP Library.

[20]The IHAP library has most of the original catalogs, copies of others, and newspaper clippings announcing the exhibitions.

[21]“Symphonies in Color,” Chicago Times, 4/8/1883, p.15. According to the catalogue, she set a price of $50.00 for Blowing Bubbles. She also showed Little Emigrant and Robin and Bluejay (both unlocated). Bohemian Art Club First Annual Exhibition, (Chicago: Bohemian Art Club, 4/3/1883).

[22]Op. cit., The Graphic, Vol. 6, 4/30/1892, p.326 and op. cit., Sunday Chicago Times, 3/6/1892, p.4. Cheryl Leibold, Archivist for the Pennsylvania Academy of Fine Arts, verified registration.

[23]Op. cit., “Firmness Of Truth…,” c.12/30/1898. Eakins was well known for his detailed study of cadavers for anatomically correct drawing.

[24]Op. cit., “Firmness Of Truth…,” c.12/30/1898.

[25]“For Art-Lovers, The Bohemian-Club Exhibition,” Chicago Tribune, 5/3/1885, p.28.

[26]Art Catalogue of the Inter-State Industrial Exposition Chicago, 14th Annual Exhibition, (Chicago: Inter-State Industrial Exposition Board, 9/1/1886), catalogue entry #13. Chicago History, Spring 1987, Vol. 16, No. 1 is used to illustrate the front cover.

[27]Records at the museum are incomplete. In various biographical entries she noted exhibiting there from 1886 to 1890; the last year is confirmed by the catalogue of the St. Louis Art Museum, Exhibition of Paintings by American Artists.

[28]Op. cit., “Firmness Of Truth…,” c.12/30/1898. Op. cit., The Graphic, 4/30/1892, p.326.

[29]“Women,” Chicago Journal, 12/30/1898, p.4, and Harriet Hayden Hayes, “Some Chicago Studios,” National Magazine, (Boston), Vol. 6, July 1897, p.355.

[30]Op. cit., The Graphic, 4/30/1892, p.326. While she speaks of studying at the Julian, no record has been found and her name does not appear in Catherine Fehrer, The Julian Academy Paris 1868-1939, (New York: Shepherd Gallery, Spring 1989). Op. cit., Hayes, National Magazine, (Boston), July 1897, p.355.

[31]Letter to A. W. Dohn, published in “Art,” Chicago Tribune, 1/1/1888, p.15.

[32]Letter from Alice Kellogg to family home in Chicago, #80, Tyler Papers, microfilm, frame 939, 4/3/1888, from Paris.

[33]She exhibited a painting entitled Sketch in Venice, with the Palette Club. “An Exhibit By Chicago Artists: Work Of The Palette Club,” Chicago Herald, 4/7/1889, IHAP Library. That she traveled to all three countries is recounted in op. cit., The Graphic, 4/30/1892, p.326.

[34]Op. cit., Chicago Journal, 12/30/1898, p.4.

[35]Op. cit., The Graphic, 4/30/1892, p.326. Op. cit., Chicago Journal, 12/30/1898, p.4.

[36]For further details on Vanderpoel see the essay on his life at www.illinoisart.org. Letter to Fay Little from Annette Stott, 11/3/1989, Little Archives, referencing letters of Alice Kellogg in Archives of American Art. Also, portrait of a child dated “Rijsoord ’88,” in Little collection.

[37]Op. cit., The Graphic, 4/30/1892, p.326.

[38]“Notes On Current Art,” Chicago Chronicle, 2/4/1901, p.7.

[39]Letter from Alice Kellogg to Kate Kellogg, #70, 2/19/1888. Tyler Papers, mircrofilm, frame 929, Ryerson Library, Art Institute of Chicago.

[40]“With the Palette Club: The Ladies Exhibit Artistic Work With the Brush,” Chicago Tribune, 4/3/1889, p.6.

[41]Op. cit., Chicago Tribune, 4/3/1889, p.6.

[42]The Arts, Vol. 6 , No. 4, December 1895,  p. 181. Other reviewers however were not as kind. One commented: “and though I hesitate to admit it is sadly in need of a little masculine vigor and vitality.” “Chicago Letter, “ The Critic, Vol. 24, 12/21/1895, p.433.

[43]Op. cit., Chicago Tribune, 4/3/1889, p.6.

[44]Op. cit., Chicago Tribune, 4/3/1889, p.6.

[45]“Vending Cheap Art,” Chicago Evening Post, 12/12/1890, p.3 and series of newspaper clippings, unknown sources, date inferred from several facts, Fall 1890, IHAP Library. “Art And Artists,” The Graphic, 5/2/1892, p.344. Her studio in 1897 was featured in op. cit., Hayes, National Magazine, July 1897, p.353. She traveled with fellow artist Annie Weaver Jones. “Art Notes,” The Graphic, 6/13/1891, p.383. “The Fine Arts,” Chicago Tribune, 10/4/1891, p.32.

[46]Benedict was a student and teacher at the Art Institute of Chicago and also associated with Jane Addams’ Hull House.

[47]Burgess was in charge of interior mural designs for the women’s building at the 1893 World’s Columbian Exposition held in Chicago. “By Rush And Chisel,” Chicago Tribune, 11/27/1892, p.33; “By Illinois Women,” Chicago Tribune, 4/16/1893, p.1; “Task For Fair Hand,” Chicago Tribune, 10/29/1892; “Art and Artists,” The Graphic, No. 14, 10/1/1892, p.239; “Notes Of Artists And Ateliers,” Chicago Evening Post, 4/14/1893, p.4; A. Blanche Nichols, “The Illinois Reception-Room,” Current Literature, Vol. XIV, No. 2, October 1893, p.179.

[48]“An Exhibit By Chicago Artists: Work Of The Palette Club,” Chicago Herald, 4/7/1889, p.27.

[49]Op. cit., Chicago Herald, 4/7/1889, p.27.

[50]Both paintings unlocated.

[51]“Showing the Pictures,” Chicago Tribune, 4/3/1890, p.3.

[52]THIS WAS WRONG

[53]THIS WAS WRONG

[54]Op. cit., The Graphic, 4/30/1892, p. 326.

[55]See for example, “Vending Cheap Art,” Chicago Evening Post, 12/12/1890, p.3.

[56]Series of newspaper clippings, unknown newspapers, date inferred from several facts, fall 1890, IHAP Library.

[57]Catalogue of the Paintings Exhibited by the Inter-State Industrial Exposition of Chicago. Eighteenth Annual Exhibition, (Chicago: Inter-State Industrial Exposition Board, 1890).

[58]It is more likely that this work was done in Holland, the word “vater” easily being confused with the two languages.

[59]Op. cit., series of newspaper clippings, fall 1890, IHAP Library.

[60]“Choice Art Studios,” Chicago Evening Post, 10/30/1890, p.7.

[61]“Pictures That Attract Attention,” 4/25/1891, p.1.

[62]“Art and Artists,” Chicago Times, 4/26/1891, p. 30.

[63] “Art and Artists,” Chicago Times, 4/26/1891, p. 30.

[64]“Work of the Women: Chicago Palette Club’s Display,” Sunday Chicago Herald, 4/26/1891, p.33.

[65]Op. cit., Sunday Chicago Herald, 4/26/1891, p.33.

[66]“Art and Artists,” Chicago Times, 5/3/1891, p.14.

[67]“Hung On the Walls, The Art Institute Exhibition,” Chicago Daily (Morning) News, 10/26/1891, p.3.

[68]“A. Dwight Beecher,” Chicago Evening Post, 10/9/1891, p.5.

[69]Op. cit., Chicago Daily (Morning) News, 10/26/1891, p.3.

[70]Op. cit., Chicago Evening Post, 10/9/1891, p.5.

[71]Blanche M. Howard, “Society of Western Artists,” Arts for America, Vol. 7, No. 7, March 1898, pp.406-407.

[72]Op. cit., Sunday Chicago Times, 3/6/1892, p.4.

[73]Maude Elliot, editor, Art and Handicraft in the Woman’s Building of the World’s Columbian Exposition. Report of the Illinois Woman’s Exposition Board. Section of the Fine Arts, (Paris & New York: Goupil & Co., 1893), p.47.

[74]“The Palette Club,” The Graphic, 4/30/1892, p.324.

[75]It was later shown at the National Academy of Design annual, “Two Salons of New York,” New York Times, 5/1/1892, p.17, and again at the Palette Club in December 1892. “In the Artists’ Atelier,” Chicago Times, 12/4/1892, p.5. “Reception of the Palette Club,” Chicago Tribune, 12/2/1892, p.3. The piece sold to a prominent patron, Mrs. Allerton, as reported in “Knows All Bout Art,” Chicago Times, 12/25/1892, p.5. In fact her successful Salon painting was shown again at the Palette Club. She had no hesitation re-exhibiting her successful pieces. “Notes Of Art And Artists,” Chicago Evening Post, 12/11/1892, p.13.

[76]“The Week Among The Artists,” Chicago Evening Post, 12/18/1892, p.13; “Task For Fair Hand,” Chicago Tribune, AIC Scrapbooks, Vol. 5, p.113; “By Illinois Women,” Chicago Tribune, 4/16/1893, p.39; “Notes Of Artists And Ateliers,” Chicago Evening Post, 4/14/1893, p.4.

[77]An installation photograph along with a list of the contributors is found in op. cit., Elliot, Art and Handicraft…, 1893, pp.136-137.

[78]“Among The Studios,” Sunday Inter Ocean, 4/23/1893, p.33. Op. cit., Chicago Tribune, 4/16/1893, p.1. See also, op. cit., Chicago Tribune, 10/29/1892; “Art and Artists,” The Graphic, No. 14, 10/1/1892, p.239. These panels were later transferred to the Friday Club Room at the Newberry Library, Chicago.

[79]“Women’s Work in the Fine Arts,” The Art Amateur, Vol. 29, No. 2, 1893, p.35.

[80]Op. cit., Sunday Chicago Times, 3/6/1892, p.4.

[81]The entire exhibition may be found in op. cit., Elliot, Art and Handicraft …,, 1893, pp.47-72.

[82]“The Fine Arts,” Chicago Tribune, 6/11/1893, p.27.

[83]“Americans Registered at Paris,” Chicago Tribune, 10/20/1893, p.5.

[84]“About Art and Artists,” Chicago Evening Post, 10/19/1894, p.7.

[85]Ellis Island web-site.

[86]The Art Institute of Chicago School of Drawing, Painting, Sculpture, Designing, Architecture, Circular of Instruction for 1893-94, (Chicago: Knight, Leonard & Co. Printers, 1893), p.5.

[87]The Art Institute of Chicago School of Drawing, Painting, Sculpture, Designing, Architecture, Circular of Instruction for 1894-95, p.7. Op. cit., Chicago Evening Post, 10/19/1894, p.7.

[88]Art Institute of Chicago Circular, 1895-96, p.5; 1896-97, p.6; 1897-98, p.7; 1898-99, p.7; 1899-1900, p.7; 1900-01, p.7; and 1901-02, p.9.