ILLINOIS HISTORICAL ART PROJECT

ENDNOTES:

[1]In his biographical data sheet at the Ryerson Library, Art Institute of Chicago he listed 1881 as a birth year which conflicts with his Death Record from the State of Illinois. His son, West, recalls Rudolph died at the age of 94. Mack Gilman of Gilman Galleries in Chicago stated his birth year as 1881 in a one man retrospective, May 3, 1974 as do several other accounts.

[2]Clarence J. Bulliet, “Artists of Chicago Past and Present,” No. 11 in a series, Rudolph Weisenborn, Chicago Daily News, Art and Antiques Section, 5/4/1935, p.1. “In 1922 ...he married me, a dumb female Jewess who spent about $25 a week on books and prints by Maxfield Parrish.”

[3]“Biographical Data on Artist,” typescript by Rudolph Weisenborn, Ryerson Library Archives, Art Institute of Chicago, 1940. He funded his tuition by janitorial work.

[4]Op. cit., Chicago Daily News, 5/4/1935, p.1.

[5]The work is illustrated in Heather Becker, Art for the People, (San Francisco: Chronicle Books, 2002), p.96.

[6]This title taken from A Guide to Chicago’s Murals, (Chicago: University of Chicago Press, 2001), p.407.

[7]Philip Kinsley, “Fair Gives New Opportunity To The Mural Arts,” Chicago Tribune, 7/9/1933, p.12. Op. cit., Chicago Daily News, 5/4/1935, p.1 and Mack Gilman, Rudolph Weisenborn (1882-1974) Retrospective exhibition, (Chicago: Gilman Galleries, 1974). The work was illustrated in the New York Times, 7/ 26?/1933, it was for the General Exhibits building, see the New York Public Library artist file W209/E6-W210/A2.

[8]George J. Mavigliano and Richard A. Lawson, The Federal Art Project in Illinois 1935-1943, (Carbondale, IL: Southern Illinois University Press, 1990), p.137. He most likely worked under the mural division as well given his work in 1937 and 1939 in the Crane and Nettlehorst schools.

[9]The work is illustrated in A Guide to Chicago’s Murals, (Chicago: University of Chicago Press, 2001), p.269, and Heather Becker, Art for the People, (San Francisco: Chronicle Books, 2002), pp.33, 43, 95, 165, and discussed on pp.164-165.

[10]John & Molly Thwaites, “Seeing the Shows in Chicago,” Magazine of Art, Vol. 30, No .9, September 1937, pp.577-578. “Two New sets in Chicago of mural panels by Rudolph Weisenborn are probably the best mural paintings Midwestern projects have given us yet.” The article goes on to describe the murals in detail. The murals were subsequently removed, see: “Another W. P. A. Mural Disappears,” Art Digest, Vol. 17, 9/1/1943, p.17, and today are unlocated.

[11]Eleanor Jewett, “Art and Artists,” Chicago Tribune, 6/18/1922 in Art Institute of Chicago scrapbooks, vol. 43. Classes were held Monday, Tuesday and Friday evenings.

[12]Mack Gilman, Rudolph Weisenborn 1882-1974 Retrospective, (Chicago: Gilman Galleries, 1974). The Student record of Margaret Kate Hall Selleck confirms he was there at least through 1931: “Wants to paint ‘modern’ will meet Weisenborn and perhaps paint with him Sundays,” 11/8/1931. He was there as early as 1920, see: “News of the Art World,” Chicago Evening Post, 8/10/1920. He offered a Sunday class in which he hoped to attract a group of younger successful artists who would share their ideas with each other. “Such a union [of artists], it is hoped, will eventually cradle a really significant and progressive art movement.” See: “Seeks to Scotch Success Stigma by Sunday Class,” The Chicago Evening Post Magazine of the Art World, 12/17/1929, p.4. Eleanor Jewett, “News of Art and Artists,” Chicago Tribune, 7/13/1930, p.G3. Listed as faculty in “Chicago Academy to Enter 27th Summer,” Chicago Evening Post, 6/30/1931, Art Section, p.6. Listed as faculty member in “Practical Background for Commercial Art,” Chicago Evening Post, 9/6/1932, Art Section, p.6. “Added to Faculty,” Chicago Daily News, 9/2/1933, Art and Artists section, p.9. “Weisenborn’s Class Starts,” Chicago Daily News, 10/14/1933, Art and Artists section, p.7. C. J. Bulliet, “Around the Galleries: ” Chicago Daily News, 4/18/1936, Art, Antiques and The Artists section, p.4R. C. J. Bulliet, “Chicago Academy Opens 35th Season,” Chicago Daily News, 10/10/1936, Art, Antiques and The Artists section, p.4R.

[13]It was announced he re-joined the faculty to teach a Saturday class in C. J. Bulliet, “Around the Galleries: Weisenborn’s Class,” Chicago Daily News, 12/25/1938, Art and Music Section, p.24.

[14]“Weisenborn’s Class,” Chicago Daily News, 10/5/1935, Art, Antiques and The Artists section, p.4: “Rudolph Weisenborn is conducting a life drawing and painting class Sundays from 10 a.m. to 3 p.m. in his studio, 1007 Rush Street.” A notice appears again in C. J. Bulliet, “Around the Galleries: Weisenborn’s Sunday Class,” Chicago Daily News, 9/12/1936, Art, Antiques and the Artists Section, p.4R. Edith Weigle, “Mexico Put on Canvas by Local Artist,” Chicago Tribune, 10/5/1947, p.G4.

[15]Rudolph Weisenborn, A Retrospective, (Chicago: Rosenstone Art Gallery, Bernard Horwich Center, 1965). Weisenborn, however, exhibited a self-portrait from Denver dated to 1915 and indicating he was still resident there then. C. J. Bulliet, “Around the Galleries: Weisenborn Retrospective,” Chicago Daily News, 2/5/1938, Art and Music section, p.24.

[16]His move into new quarters in 1923 was announced in Eleanor Jewett, “Art And Artists,” Chicago Tribune, 3/4/1923, p.D9.

[17]During the winter months, he lived in Chicago where in his studio he taught and painted - 674 Irving Park Road. The other months he lived at 418 Canyon Road in Santa Fe, NM.

[18]Marilyn Robb, “Art news from Chicago. Provincetown abstract,” Art News, Vol. 49, No. 7, November 1950, p.52.

[19]John R. Lane and Susan C. Larsen, editors, Abstract Painting and Sculpture in America 1927-1944, (Pittsburgh: Museum of Art, Carnegie Institute, 1984), p.36.

[20]“Progressive Artists Unite,” Art Digest, 2/15/1947, p.11. This organization later merged into the Artists’ Equity in 1950.

[21]C. J. Bulliet, “Artless Comment,” Chicago Daily News, 8/1/1936, Art, Antiques and The Artists section, p.4R. “Bulletin,” Artists Union of Chicago, No. 1, 2/1/1936, Archives of American Art, John Storrs Archives, Box 12, Folder 5-6, Miscellaneous Bulletins 1912-1966.

[22]Eleanor Jewett, “Gurley Memorial Collection on View at Art Institute,” Chicago Tribune, 9/3/1922, p.D8. Art critic C. J. Bulliet felt his departure from the group was the contributing factor to the demise of the importance of No-Jury shows. However, the Art Institute of Chicago began admitting “modern” paintings into juried shows in the late 1920s which surely accounted for the better part of the demise. His caricature appeared in Ben Hecht’s Chicago Literary Times, October 1924 as illustrated by Chicago artist Emil Armin with the quip: “Rudolph Weisenborn is called the chief pooh-bah or Trotsky of the insurgents…” His J. A. Dubow was illustrated in the third part of a three part article discussing independent societies in Chicago in The Chicago Evening Post Magazine of the Art World, 8/17/1926, p.3. His resignation was announced in “Weisenborn Quits as President of No-Jury,” The Chicago Evening Post Magazine of the Art World, 12/14/1926, p.1. There may have been some disagreement about direction of the group as he was pushing for a Gallery of Living Artists in Chicago and not everyone agreed with the use of funds from the No-Jury Ball. Mention is made of the fund-raising for the gallery in “Art Centers Make Ready for ‘No Jury’ Ball,” Chicago Daily Journal, 10/3/1924, p.4.

[23]Untitled newspaper article, Emil Armin Papers, Archives of American Art, Microfilm 1991 25, no. 3770, available in the Ryerson Library, Art Institute of Chicago.

[24]His design for the gallery, located in the back of his apartment/studio, appeared in The Chicago Evening Post Magazine of the Art World, 11/22/1927, p.3.

[25]Lena M. McCauley, “Jury Scored for ‘Shattering Faith’,” The Chicago Evening Post Magazine of the Art World, 10/30/1928, pp.1, 3, 11. The prize was awarded his Chicago. Eleanor Jewett, “Modernists Rule American Show: A Few Chicagoans,” Chicago Tribune, 10/28/1928, p.G6.

[26]“Ninety and Nine Open First Show in New Gallery in Pure Oil Building,” Chicago Evening Post, 12/8/1931, Art Section, p.12.

[27]Engaging With The Present: The Contribution of the American Jewish Artists Club to Modern Art in Chicago 1928-2004, (Chicago: Spertus Museum, 2004), p.15.

[28]Engaging With The Present: The Contribution of the American Jewish Artists Club to Modern Art in Chicago 1928-2004, (Chicago: Spertus Museum, 2004), p.51.

[29]He exhibited a portrait of art critic Sam Putnam. A similar work, portrait of John Grierson, was illustrated in The Chicago Evening Post Magazine of the Art World, 6/9/1925, p.5.

[30]Albert Ten Eyck Gardner, “Art For the Public,” Magazine of Art, Vol. 31, September 1938, pp.526-533. His work was illustrated in the article. C. J. Bulliet, “Around the Galleries: Weisenborn’s Bizarre Melodrama,” Chicago Daily News, 7/30/1938, Art and Music Section, p.15. His Diorama was illustrated in the same section, 8/13/1938, p.15.

[31]Title confirmed from Art Institute records. “Chicago Project,” Time Magazine, Vol. 32, 8/8/1936, p.34. He showed a plaster “diorama” entitled Reclamation of Eroded Farm Land.

[32]“Weisenborn Pictures Big Attraction at Art Exhibit; Chance for Local Art Lovers to Study ‘New Art’ Movement,” Cedar Rapids Republican, 4/16/1921, p.6. “Grant Wood Gives Talk on Art Today,” Cedar Rapids Evening Gazette, 4/14/1921, p.15.

[33]His Interior, illustrated in The Chicago Evening Post Magazine of the Art World, 11/16/1926, p.4, was called by critic Samuel Putnam “the most outstanding picture in this show,” in his article “Our Independents Invade Cabarets, on the same page.

[34]Eleanor Jewett, “Radical and Conservative Go Hand in Hand,” Chicago Tribune, 12/2/1928, p.I6. His work is featured by the columnist.

[35]Critic C. J. Bulliet commented: “Philosophical, too, is Rudolph Weisenborn’s ‘Convex Space’ – a conglomerate of female nudes, modern machinery and the strong male who dominates the machine – perhaps the nudes too.” “New Spirit Ignored for Nude, Still Life,” The Chicago Evening Post Magazine of the Art World, 3/10/1931, p.10.

[36]His work was illustrated in Edith Weigle, “Modern Art For You, The Jury,” Chicago Tribune, 2/17/1957, p.F24.

[37]The tour was to include works by about twenty modern Chicago artists and would be shown in London, Paris, Warsaw and Vienna, see: “Our Moderns Go Abroad,” in “News of the Art World,” supplement, Chicago Evening Post, 7/29/1924.

[38]“Many Attend Art Exhibit Opening; Paintings by Chicago Artists Are Displayed at the Coliseum,” Evansville Journal, 5/1/1922.

[39]C. J. Bulliet, in “Artless Comment,” “Sixteen Significant Chicago Painters, Chicago Daily News, 5/20/1933, Art and Artists section, p.17. His Chicago was chosen for this show by Bulliet.

[40]“Antiques, Auctions, Decoration,” Chicago Daily News, 4/15/1933, Art and Artists section, p.12, and “Mural ‘Ideas’ for Exposition,” Chicago Daily News, 4/22/1933, Art and Artists section, p.17.

[41]His portrait Ruth Baron, was illustrated in The Chicago Evening Post Magazine of the Art World, 6/21/1927, p.2. His portrait Llewellyn Jones, was illustrated in the 7/12 issue, p.2. His Max Haleff, was illustrated in the 7/26 issue, p.8.

[42]C. J. Bulliet, “What’ll We Do With It: An Inquiry Into the Future of Modern Art,” The Chicagoan, February 1932, p.43.

[43]Clarence J. Bulliet, “Ninety and Nine Open First Show in New Gallery in Pure Oil Building,” Chicago Evening Post Magazine of the Art World, 12/8/1931, p.12.

[43a]“ ‘No-Jury’ Artists Exhibit in Chicago,” American Art News, Vol. XX, No. 39, 8/19/1922, p.3.

[44]The exhibition was held between 4/9 and 4/21/1917.

[45]His Portrait, was illustrated in Evelyn Marie Stuart, “Annual Exhibition - Palette and Chisel Club,” Fine Arts Journal, Vol. 36, April 1918, p.4.

[46]He founded this exhibition with artist Ramon Shiva and Raymond Jonson. It was the beginning of a long series of Independent [of the Art Institute of Chicago] art exhibitions in which he would be central to founding.

[47]Advertisement in: Lena M. McCauley, “News Of The Art World,” supplement, Chicago Evening Post, 4/17/1917, p.9: “is known to Chicago art patrons as an artist of decorative ability. His work is done entirely in aquarelle and is of imaginative design.”

[48]“Current Art Shows,” Chicago Examiner, 4/27/1918, p.8.

[49]Lena M. McCauley, “Worth Seeing,” “News of the Art World,” supplement, Chicago Evening Post, 4/4/1922.

[50]“The Latest News,” in “News of the Art World,” supplement, Chicago Evening Post, 6/13/1922. A list of his works is included in the article. See also: Marguerite B. Williams, “Art Notes,” Chicago News, 6/21/1922. Eleanor Jewett, “Art And Artists,” Chicago Tribune, 6/25/1922, p.F10.

[51]“Rudolph Weisenborn,” The Chicago Evening Post Magazine of the Art World, 3/2/1926, p.6. One of the works was illustrated in the 3/9/1926 issue, p.16. His portrait of Chicago artist James Cady Ewell was illustrated in the 3/16/1926 issue, p.12.

[52]“Exhibit by Weisenborn,” The Chicago Evening Post Magazine of the Art World, 6/15/1926, p.6. It was announced in the 6/22 issue, p.6, the company obtained his portrait of Clarence Darrow for permanent exhibition in honor of his 70th birthday.

[53]His Structural Steel, was illustrated in The Chicago Evening Post Magazine of the Art World, 9/20/1927, p.6.

[54]“Show by Weisenborn,” The Chicago Evening Post Magazine of the Art World, 11/1/1927, p.5. “Playhouse Will Open Exhibition Room,” Chicago Daily News, 8/31/1927, in the Art Institute of Chicago scrapbooks, vol. 53, p.145.

[55]Organized as an outlet fro your talent in art, literature and drama, the Cube was located on Chicago’s South Side by the University of Chicago. “Exhibit by Weisenborn,” The Chicago Evening Post Magazine of the Art World, 2/14/1928, p.5.

[56]“Weisenborn at Woman’s Aid,” The Chicago Evening Post Magazine of the Art World, 11/18/1930, p.12. Inez Cunningham, “Weisenborn Showing at the Woman’s Aid,” The Chicago Evening Post Magazine of the Art World, 12/2/1930, p.12.

[57]C. J. Bulliet, “Weisenborn Caught in Swirl of Emotion,” The Chicago Evening Post Magazine of the Art World, 3/4/1930, p.4. The criticism is rather extensive. His Interior, was illustrated in the 3/11/1930 issue, p.4. Eleanor Jewett was scathing in her criticism in “Gerald A. Frank Wins $500 Award from the Municipal Art League,” Chicago Tribune, 3/6/1930, p.17.,

[58]“Academy Faculty Shows,” Chicago Evening Post, 7/26/1932, Art Section, p.6; “Paintings by Weisenborn,” in the 8/23 issue, p.6, and C. J. Bulliet, “Weisenborn in Little Show at Chicago Academy,” in the 8/30 issue, p.6. His portrait of a prone nude was in the 9/6 issue, p.6.

[59]C. J. Bulliet, “Around the Galleries: Weisenborn Still Experimenting,” Chicago Daily News, 4/13/1935, Art, Antiques and The Artists section, p.9.

[60]C. J. Bulliet, “Around the Galleries: ” Chicago Daily News, 4/18/1936, Art, Antiques and The Artists section, p.4R.

[61]C. J. Bulliet, “Around the Galleries: Abercrombie, Weisenborn,” Chicago Daily News, 4/3/1937, Art, Antiques and The Artists section, p.4R, and “Abercrombie, Weisenborn,” 4/3/1937, p.4R. His Abstract Portrait of Dr. Shapiro is illustrated in the Chicago Daily News, 4/24/1937,

[62]C. J. Bulliet, “Around the Galleries: Weisenborn Retrospective,” Chicago Daily News, 1/29/1938, 2/5/1938, Art and Music section, p.25 and p.24. His Wacker Drive is illustrated in the same section, 2/12/1938, p.25. Karl Gasslander, “The Art Portfolio,” Evanston News Index, 2/10/1938.

[63]The show is briefly, negatively reviewed in “Weisenborn of Chicago,” Art Digest, 2/1/1947, p.20. Levitt served as his gallery outlet at the time.

[64] “Weisenborn, Pioneer,” Art Digest, Vol. 22, 5/15/1948, p.11.

[65]Op. cit., Art News, November 1950, p.52. The opening was also announced in Art Digest, Vol. 25, 11/15/1950, p.34.

[66]C. J. Bulliet, “Art in Chicago: Season for Veterans,” Art Digest, Vol. 24, 4/15/1950, p.26 and Magazine of Art, Vol. 43, March 1950, p.118.

[67]C. J. Bulliet, “Art in Chicago,” Art Digest, Vol. 26, 12/15/1951, p.14.

[68]Art Digest, Vol. 25, 3/1/1951, p.34.

[69]Art Digest, Vol. 28, 11/1/1953, p.35.

[70]Samuel Putnam, “Neo-Arlimusc Idea,” Magazine of the Art World, Chicago Evening Post, December 21, 1926.