BORN: February 23, 1896 Smorgon, Russia
DIED: February 10, 1977, Chicago
MARRIED: August 15, 1939, Mona Turner of Chicago (deceased 1982)
1907-1911 Vilna Art School, Ivan Trutnev
1914 Kellom School, Omaha, Nebraska
1914-1915 Omaha, evenings with J. Laurie Wallace
1918-1919 Francesco Daddi
ART RELATED EMPLOYMENT
c.1915 House painter, Omaha
1933 Mural, Mining, General Exhibitions Building, Pavilion No. 2, A Century of Progress, Chicago
1934-1939 Public Works Administration, Federal Art Project, easel and mural divisions
1935 Mural Chicago, Cook County Nurses Home
1936 Federal Section of Fine Art mural, Old Settlers, Fairfield, IL Post Office
1937 Federal Section of Fine Art mural, Mining in Illinois, Eldorado, IL Post Office
1938 Federal Section of Fine Art mural, Champ Clark Bridge, Pittsfield, IL Post Office
1945 Hiram Walker advertisement
1946 Niagara Alkali Company advertisement
1935 Saturday art classes, Park Lane Hotel kindergarten
1935 Cora Bliss Taylor Summer Art School, Saugatuck, MI
1913 New York City
1940 Appleton, Wisconsin
1947 Gatlinburg, Tennessee
1949 Wyoming (summer)
1954 Ketchum, Idaho (summer)
1955 Calais, Maine (summer)
1956 Ketchum (summer)
1957, 1962 New Brunswick, Canada (summer)
1964-1966 Nova Scotia, Canada (summer)
American Jewish Arts Club
Artists’ Union, Chicago Chapter (executive committee/founder)
Chicago Galleries Association
Philadelphia Watercolor Club
1915-1916 (13), 1916-1917 (45), 1917-1918 (25) Honorable Mentions, School of the Art Institute of Chicago
1917 Faculty Honorable Mention, portrait painting, life study, general excellence in painting, School of the Art Institute of Chicago
1918 Class Honorable Mention, portrait oil painting, School of the Art Institute of Chicago
1925, 1926 First Prize, Exhibition of Jewish Artists, Temple Beth El, Detroit
1927 Marshall Fuller Holmes Prize, Art Institute, Chicago & Vicinity
1928 M. V. Kohnstamm Prize, Art Institute of Chicago, American Annual
1930 Mrs. John C. Shaffer Prize, Art Institute, Chicago & Vicinity
1931 Third Prize, Chicago Jewish Artists, College of Jewish Studies 
1935 Winner, Federal competition, mural for Fairfield, Illinois Post Office
1936 Clyde M. Carr Landscape Prize, Art Institute, Chicago & Vicinity
1936 Honorable Mention, Scarab Club, Detroit, International Exhibition of Oil Paintings
1936 Prize, Jewish Artists of Chicago & Vicinity, Covenant Club, Chicago
1939 First Purchase Prize, Monticello College, Godfrey, Illinois
1939 Honorable Mention, National Lithography annual, Oklahoma Art Center
1941 Prize, Jewish Artists of Chicago & Vicinity, Covenant Club, Chicago
1942 First Prize, National Lithography annual, Oklahoma Art Center
1945 Honorable Mention, Corpus Christi Art Foundation
1945 Mr. & Mrs. Jule F. Brower Prize, Art Institute, Chicago & Vicinity
1952 Municipal Art League Prize, Art Institute, Chicago & Vicinity
1959 First Watercolor Prize, Union League Club of Chicago
1963 Mr. & Mrs. Jule F. Brower Prize, Art Institute, Chicago & Vicinity
SELECTED JURIES SERVED
Jewish Education Building, Chicago under auspices of American Jewish Artists Club, Annual Exhibition by Jewish Artists of Chicago and Vicinity 1955, 1961
A Century of Progress, Chicago 1933, 1934
A Century of Progress, Chicago, exhibition of prints 1933
Albright-Knox Art Gallery, Great Lakes Exhibition 1938
Albright-Knox Art Gallery, International Watercolor Annual 1936
All-Illinois Society of Fine Art annual 1926
American Jewish Arts Club, Stevens Hotel 1942
American Watercolor Society annual 1937
Art Institute of Chicago, 100 Years 100 Artists 1979
Art Institute of Chicago, American Annual 1924,1925-1929, 1935-1937, 1939-1943, 1945
Art Institute of Chicago, American Watercolors 1924-1929, 1931, 1934-1944, 1946, 1949
Art Institute, Chicago & Vicinity 1918-1935, 1936-1950, 1952, 1955
Art Institute of Chicago, Encyclopedia Britannica Collection 1945
Art Institute of Chicago, Exhibition of Paintings and Sculpture by Artists Who Received Prizes In the Chicago Exhibitions for 1930, 1931, 1932, 7/21/1932
Art Institute of Chicago, Federal Art Project 1938
Art Institute of Chicago, Half Century of American Art 1939
Art Institute of Chicago, International Exhibition of Contemporary Prints 1934
Art Institute of Chicago, Work by 17 Chicago Artists, [work from the W.P.A.] 1936
Artists Equity Association, Chicago 1950-1952
Arts Center Gallery, Chicago, inaugural exhibit 1932
Associated American Artists Galleries, Chicago annual 1944, 1950
Baltimore Museum of Art
Boston Museum of Fine Arts
Brooklyn Museum biennial 1939
Brooks Museum of Art, Memphis, Exhibition by Chicago Artists 1923
Butler Institute of American Art
Carnegie Institute International annual 1928, 1929, 1944-1946
Chicago Coliseum, All American Exposition 1919
Chicago Galleries Association semiannual 1926-1928
Chicago No-Jury Exhibition at Navy Pier 1957
Chicago No-Jury Society of Artists 1931, 1957
Cincinnati Art Museum annual 1928
Cleveland Museum of Art
Coliseum, NY, Art U. S. A. 1959
Colorado Springs Fine Art Center
Corcoran Gallery of Art biennial 1935, 1939, 1941
Corcoran Gallery of Art, Mural Designs Submitted for Federal Building Projects 1935
Davenport Municipal Art Gallery, Mississippi Valley Artists 1941
Dayton Art Institute
Des Moines Art Assoc.
Detroit Institute of Art, American Annual 1958
Garfield Park Gallery, Sculpture and Painting for Federal Buildings 1937
Honolulu Museum m of Art
Illinois Academy of Fine Arts annual 1926, 1928, 1931
Illinois State Museum, North Mississippi Valley Artist 1951
Illinois Women’s Athletic Club, Men Painters of Chicago and Illinois 1927
Increase Robinson Studio Gallery, Chicago, Water Colors, Drawings And Prints By Chicago Artists 1931
Increase Robinson Studio Gallery, Chicago by Chicago Artists 1931
Increase Robinson Studio Gallery, Chicago, Invitational 1931
Increase Robinson Studio Gallery, Chicago Flower Show by Chicago Artists 1932
Increase Robinson’s Studio Gallery, Five Jewish Artists 1932
Increase Robinson Studio Gallery, Chicago, Portraits of Chicago Artists by Chicago Artists 1932
Increase Robinson Studio Gallery, Chicago Artists Represented in ‘Art of Today - Chicago, 1933’ 1933
Increase Robinson’s Studio Gallery, Chicago, artists invited to submit decoration themes for A Century of Progress World’s Fair 1933
Increase Robinson Studio Gallery, Chicago, Summer in Chicago, 1933
Indianapolis Museum of Art
Jewish People’s Institute, Acquisitions of the Jewish Museum Association 1928
Jewish People’s Institute, Around the Palette 1926
Jewish People’s Institute, Jewish Woman’s Art Club 1926 (4/27)
Joslyn Art Museum, Graphic Arts annual 1949
Joslyn Art Museum, Central States Art 1948
Libertyville, Illinois Township High School 1935
Los Angeles Museum of Art, Painters and Sculptors of Southern California, by invitation, 1930
Los Angeles Museum of Art, Pan American Exhibition 1925
Mandel Brothers Art Gallery, Chicago, Federal Post Office Mural Competition 1935
Metropolitan Museum of Art, Artists for Victory 1942
Metropolitan Museum of Art, Contemporary American Watercolors 1941
Minneapolis Institute of Arts
Montclair Art Museum
Museum of Modern Art, New Horizons in American Art 1937
Museum of Modern Art, Painting and Sculpture From Sixteen American Cities 1933
National Academy of Design annual 1943, 1945, 1947
National Academy of Design, Pepsi-Cola Paintings of the Year 1947
Nebraska Art Association annual 1927, 1928, 1931
North Shore Art League, Festival of Religious Art 1935
Oklahoma City Junior League c.1935
Oklahoma State Fair 1934, 1935
Paris Exposition 1937
Pennsylvania Academy of the Fine Arts annual 1927, 1928, 1930, 1931, 1942, 1958
Pennsylvania Academy of the Fine Arts, Annual Watercolors 1943
Philadelphia Print Club
Public Works Administration, Chicago 1934
Renaissance Society, American Watercolors: Winslow Homer to Present-Day Chicago 1941
Renaissance Society, Chicago & Vicinity Artists 1930
Renaissance Society, Representative Works by Chicago Artists 1946
Renaissance Society, Works Made for the W. P. A. 1934
Scarab Club, Detroit, Watercolor annual 1935
Southern Illinois University, WPA Revisited 1972
Springville Museum of Art 1967-1969
St. Louis Art Museum, American Annual 1931
St. Louis Art Museum, Currents of Expansion: Painting in the Midwest 1820-1940, 1977
Studio Gallery, Diana Court, Chicago, Five Jewish Artists 1932
Toledo Art Museum, Contemporary American Art 1930
Toronto Art Gallery
University Guild, Evanston
University of Illinois, Contemporary American Painting 1948, 1950
University of Iowa
Washington Gallery, an affiliated branch of the Museum of Modern Art, Exhibition of American Watercolors
Whitney Museum of American Art annual 1944
Whitney Museum of American Art, Between the Two Wars: Prints by American Artists 1914-1941, 1942
Whitney Museum of American Art, Chicago Artists, Paintings and Prints 1933
Wilmington, Delaware Society of the Fine Arts, Watercolor annual 1935
World’s Fair, New York, Art of Today 1939
ONE, TWO OR THREE MAN EXHIBITIONS
1926 Chicago Galleries Association
1926 Art Institute of Chicago
1926 Madison, Wisconsin Art Association
1926 Milwaukee Art Museum
1927 Bethany College
1927 Denver Art Museum
1927 Kansas City Art Institute
1927 Oshkosh Public Museum
1927 University of Colorado
1927 University of Nebraska
1928 (Oct.) Denver Art Museum; (Nov.) Milwaukee Art Institute; University of Wisconsin; (Dec.) University of Nebraska and (Jan. 1929) University of Washington; Kroch’s Bookstore, Chicago (Feb. 1929); University of Oregon; University of Missouri; University of Michigan; San Diego Museum of Art (Apr. 1929); San Francisco Beaux Arts Gallery; University of Chicago bookstore (May 1929); Cinema Art Theater, Chicago (Jan. 1930)
1929 Conrad Hug Art Galleries, Kansas City, MO
1929 Art Institute of Chicago
1929 Yonkers Museum of Fine Art
1930 Davenport Municipal Art Gallery
1930 Houston Museum of Fine Arts
1930 Kansas City Art Institute
1930 (Feb.) Little Gallery, Cedar Rapids
1930 Oshkosh Public Museum
1930 University of Nebraska
1930 Walden Bookstore Palmolive Gallery, Chicago
1931 Dallas Museum of Fine Art
1931 Walden Bookstore Palmolive Gallery
1931 Delphic Studios, New York
1931 Rockford Art Association
1931 Sears, Roebuck & Co. Art Gallery, Washington D.C.
1932 Hudson Gallery, Detroit
1932 Knoedler’s, Chicago, lithographs
1932 Arts Center Gallery, Chicago
1933 Denver Art Museum
1933 Increase Robinson Gallery, Chicago, watercolors
1933 Oklahoma Art Association
1933 State Teachers College, Milwaukee
1933 Texas State College for Women, Denton
1933 University of Missouri
1933 University of Oklahoma
1933 University of Tulsa
1933 Woman’s Club of Evanston
1934 Mandel Brothers Gallery, Chicago, watercolors and lithographs
1935 Art Institute of Chicago
1935 Flint Institute of Art
1935 Memorial Art Gallery, Univ. of Rochester
1935 Toledo Art Museum
1936 Temple Israel, Omaha, NE
1937 Philadelphia Art Alliance
1938 Milch Galleries, NYC
1939 University of Oklahoma
1940 Joslyn Art Museum
1940 Katharine Kuh Gallery, Chicago
1942 Lenabel F. Pokrass Gallery, Chicago
1943 Associated American Artists Gallery, New York
1943 Toledo Art Museum
1944 Pokrass Gallery, Chicago: George Josimovich, Jean Crawford Adams, William Samuel Schwartz
1946 (Oct.) Associated American Artists Galleries, Chicago
1947 de Young Memorial Museum
1947 Santa Barbara Museum of Art
1949 Associated American Artists Galleries, Chicago
1953 (Apr.) Anna L. Werbe Galleries, Detroit
1954 Joslyn Art Museum
1954 Riccardo Studio Restaurant
1955 (May) Todros Geller Gallery of American Jewish Arts Club
1959 (Dec.) Anna L. Werbe Galleries, Detroit
1959 Bethany College
1960 (Dec.) Riccardo Studio Restaurant
1960 University Club of Chicago
1961 Illinois State Museum
1961 McKerr Galleries, Chicago
1975 Capricorn Galleries, Bethesda, Maryland
1983-1984 Hirschl & Adler Galleries; Grand Rapids Art Museum; Illinois State Museum
Commission for the Encouragement of Local Art
Montclair Art Museum, Time and Space
At one time he was an opera singer but left that to focus on painting. During class at the Art Institute Schwartz had painted a large nude in violent blues and greens. His classmates were upset, but his instructor, Karl Albert Buehr, was questioning carefully. Buehr stood by and Schwartz was permitted to have his own way. Schwartz believed to copy a natural appearance was a misconception of art and competition with Nature. 
“For 15 years after graduating with top honors from the Art Institute of Chicago...Schwartz sang with Chicago orchestras, in the Bohemian opera here, and on the concert and vaudeville stages...”
He was a Jewish artist and very close friends with Ivan Albright. Schwartz lived for a time above Riccardo’s Restaurant at 102 E. Hubbard and later at 880 Lake Shore Drive in a building designed by Mies Vander Rohe.
He said of his own work, “I do not imitate. Therefore I, and I alone, am responsible for the vision of the world I set before the view...For art remains, in sober truth, one of the highest expressions of the human spirit.” He described his work as, “realism interpreted to make a harmonious whole.”
Schwartz was one of four artists who critic labeled among the favored few for their regular acceptance by the juries of the Art Institute at the Chicago & Vicinity annual shows. In response to repeated published attacks Schwartz, Ivan Albright, Constantine Pougialis and Aaron Bohrod responded with a denial of their being “invited” to the shows without needs passing a jury. They skewered Bulliet aptly by noting he was “a man noted for the brazen manner with which he dispenses publicity patronage among his own particular artist friends.”
“William S. Schwartz has a definite, distinctive personal style, and the discerning eye, will single out a work of his at a glance. But he is also versatile and has succeeded in molding various and varying forms out of, so to speak, the patterns of this deeply rooted style. True enough; Schwartz is experimenting. That, however, is because he has found himself rather than for the opposite reason. Having mastered the personal style natural to him, he seeks to wield it in such fashion as to create ever newer and different forms - forms that more subtly and more fully give expression to his reaction to the multifarious phenomena of life around him.
He lived in Omaha as a house painter. To pay for school in Chicago He waited tables, ushered in theaters and sang in concerts. He was also a professional musician.
One day a student at the Art Institute painted a large nude in violent blues and greens. His classmates were upset, but his instructor thought carefully. Here was a student who had already mastered conventional technique, who possessed a great ability for getting a likeness. He was suddenly going overboard for some inner urgency of his own. The instructor fortunately stood by and Schwartz was permitted to have his own way with art. Schwartz believed copying a natural appearance was a misconception of art and foolish pride on the part of the artist to compete with Nature. He saw his subjects through the prism in his head using reds, greens, purples and oranges.
“In the exhibition the work of three men stands out above the general high level of quality which is maintained throughout the show ... William S. Schwartz.
Lawrence Lipton said of Schwartz, “...the mind ... is eclectic, that he reads widely in the sciences, history and literature and keeps abreast of all the latest trends in art and art criticism is to explain much that appears in his art. He is a musician, a vocal artist of recognized talent. His intellectual temper might be described as one of passionate cerebration.” Scwhartz was Jewish.
His name was different in Russia. Reference letter from Schwartz to Angarola.
Schwartz was the subject of a book by Manuel Chapman, published by L. M. Stein in 1930. It is reviewed by C. J. Bulliet, “Florid Ecstasy Over Fervid Painter,” The Chicago Evening Post Magazine of the Art World, 10/21/1930, p.6.
His registration card at the School of the Art Institute of Chicago shows 1895 as his birth year.
They had met sixteen years prior at a studio part in Chicago. See: John H. Thompson, “Artist’s Wife Does Cooking In Art Gallery,” Chicago Tribune, 9/11/1949, Sec. 3, p.6N.
Schwartz also studied voice at the Auditorium Conservatory of Music with Karl Stein from 1915 to 1918 and with Francesco Daddi from 1918 to 1919. This information was taken from his 1964-1965 entry in Who’s Who in America.
A age eleven, Schwartz passed a rigorous entrance examination and was awarded free scholarship to study.
Claire Conley, “Omahan’s Painting at Joslyn Recalls Determined Struggle,” Evening World-Herald, 5/24/1951, p.8.
“Snow Is Inspiration to Ex-Newsboy Artist,” Omaha World-Herald, 2/22/1948, p.4E. See also Omaha World-Herald, 2/22/1948 and Conley, p.8.
To pay for school in Chicago he waited tables, ushered in theaters, sang and played instruments in musical concerts. Schwartz was also an avid reader of history, literature and science.
“Museum Gets Self-Portrait,” Omaha World-Herald, 4/13/1958. He apparently attended on a scholarship. Schwartz studied extensively with Buehr throughout his time at the school of the Art Institute of Chicago. This fact is interesting in that students had the choice to study in any atelier and often changed through their years of study.
Retrospective Exhibit of Paintings and Lithographs by William S. Schwartz, (Bethesda, MD: Capricorn Galleries, 1975).
Philip Kinsley, “Fair Gives New Opportunity To The Mural Arts,” Chicago Tribune, 7/9/1933, p.12. The Paintings, Drawings, and Lithographs of William S. Schwartz 1896-1977, (New York: Hirschl & Adler Galleries, 1984), p.17. Op. cit., Thompson, Chicago Sunday Tribune, 9/11/1949, Sec. 3, p.6N. “Four Illinois Scenes,” Journal of the Illinois State Historical Society, Vol. 47, No. 4, Winter 1954, p.444.
Op. cit., Journal of the Illinois State…, p.444. The awarding of the mural contract was announced in “Eight Chicago Artists Win Competition For Post office Murals,” Chicago Tribune, 7/16/1935, p.15.
Op. cit., Journal of the Illinois State..., p.444. The mural was based on his Century of Progress mural of mining. The mural is illustrated on the cover of Journal of Illinois History, Vol. 3, No. 3, Autumn 2000.
The ad appeared in Time, 4/23/1945. An illustration is in the New York Public Library artist file S331/A6.
“ ‘Fine’ Art In Advertising,” American Artist, Vol. 10, January 1946, p.30.
C. J. Bulliet, “Around the Galleries: Saturday Classes,” Chicago Daily News, 10/12/1935, Art, Antiques and The Artists section, p.4.
Eleanor Jewett, “Saugatuck Is Summer Mecca of Art Study,” Chicago Tribune, 8/18/1935, part 8, p.5.
Schwartz and his wife traveled frequently and throughout the United States.
A story of how he was run out of town for painting a power plant and accused as a spy is recounted in: “Fifth-Columnitis,” Art Digest, Vol. 15, 10/1/1940, p.12. Also in June Provines, “Front Views and Profiles,” Chicago Tribune, 9/3/1940, p.17.
Lucy Key Miller, “Front Views & Profiles,” Chicago Tribune, 10/12/1949, part 2, p.6.
This trip was to visit recently married Ivan Albright on their Three Spear Ranch in Dubois; see: “the Feminine angle,” Chicago Sun-Times, 9/28/1949, p.60. Also, John H. Thompson, “Artist’s Wife Does Cooking in Art Gallery—Husband’s Works are Culinary Inspiration,” Chicago Sunday Tribune, 9/11/1949, Part 3, P.6N.
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.
School transcript. See also, “HONORS: Prize Winners and Distinguished Students of Art Institute,” Chicago Tribune, 6/16/1917, p.15.
He recounted some fifty years later that while he graduated, he was too poor to afford the diploma fee. William Samuel Schwartz, “An Artist’s Love Affair With America,” Chicago Tribune Magazine, p.65.
Jewish Chronicle, [Temple Beth El, Detroit], 1/16/1925. “Prizes were awarded to 6 artists whose work was on display at the fourth annual exhibition of Jewish Artists which is being held at Temple Beth El under the auspices of the Jewish Institute. Awards of $25 each were presented by Temple Beth el Sisterhood, Henry Wineman, president of the United Jewish Charities and Albert Kahn, the distinguished architect…The prizes were awarded to the following artists in the order given: William Schwartz of Chicago for a group of paintings; Samuel Cashwan of Detroit for a group of sculptures; Gerald Frank of Chicago for a still life, Todros Geller for pen and ink illustrations; Arthur A. Lavinger of Detroit, for pen and ink illustrations, William Walkewitz of New York, for a water color entitled ‘Central Park.’ “The jury awards consisted of Albert Kahn, chairman: Clyde Burroughs, curator of the Detroit Museum of Art, Jessie Talmagae, art director of the Detroit Recreation Commission, and Mr. David Werbe, artist and chairman of the exhibit.” For the 1926 prize see: “Chicago Artists Win Awards in Detroit,” The Chicago Evening Post Magazine of the Art World, 4/13/1926, p.4.
“Chicago Schools Obtain Prize Painting,” Art Digest, Vol. 2, 3/15/1927, p.3. The prize was awarded his painting Friendly Enemies, which is illustrated in the article. The painting was purchased by the Commission for the Encouragement of Local Art for placement in the public schools of Chicago. Inez Cunningham, “Exhibition by Chicago Artists to Open Today,” Chicago Tribune, 2/3/1927, p.23, and “Art And Artists,” Chicago Tribune, 2/6/1927, p.E6.
The prize was awarded his Talmudists. 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 painting was illustrated in the 11/20/1928 issue, p.2. It was also illustrated in The Kansas City Star, 1/23/1929, p.17.
The prize was awarded his Glicenstein, a Polish sculptor who was visiting Chicago, illustrated in The Chicago Evening Post Magazine of the Art World, 2/4/1930, p.16.
The prize was awarded his Glicenstein, Tom Vickerman, “Odd Jury Picks Art for Jewish Annual,” The Chicago Evening Post Magazine of the Art World, 2/24/1931, pp.1, 11.
The prize was awarded his Dancing the Blues Away. Eleanor Jewett, “Institute Show Soft Pedals the Moderns: Critic Sees Lesson Taught by Public Protest,” Chicago Tribune, 1/30/1936, p.17.
op. cit., Journal of the Illinois State..., p.443. His work Galena was purchased by the college.
The prize was awarded his In the Beginning. For a review of the exhibition see: C. J. Bulliet, “Chicago,” Art Digest, Vol. 26, 6/1/1952, pp.12-13.
Engaging With The Present: The Contribution of the American Jewish Artists Club to Modern Art in Chicago 1928-2004, (Chicago: Spertus Museum, 2004), pp.51-52.
His 1925 entry Emancipation, a realist figurative piece, was illustrated in the New York Herald Tribune, 11/8?/1925, Art Institute of Chicago scrapbooks, vol. 50, p.80.
His work in the 1935 exhibit was reviewed in Eleanor Jewett, “What Does Schwartz Mean?” and “Critic Admits She Is Puzzled,” Chicago Tribune, 9/29/1935, part 8, p.4.
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.
Title confirmed from Art Institute records. “Chicago Project,” Time Magazine, Vol. 32, 8/8/1936, p.34.
Edward Millman, “Art Notes: Highlights and Smudges,” The Chicagoan, Vol. 13, No. 5, December 1932, p.66.
His work was illustrated in Edith Weigle, “Modern Art For You, The Jury,” Chicago Tribune, 2/17/1957, p.F24.
The show was put on at the same time and in competition with the annual exhibit of American art at the Art Institute of Chicago. For a review see: Tom Vickerman, “Capone Got His, But Josimovich Still Baits Fate,” Chicago Evening Post, 11/3/1931, Art Section, p.8.
“Jewish Art and Music,” Chicago Evening Post, 2/23/1932, Art Section, p.6.
Art Digest, vol. 6, 4/1/1932, p.9. In a continuing tribute to his deceased friend Anthony Angarola, he exhibited Portrait of Anthony and Myself, illustrated in the Chicago Evening Post, 3/1/1932, Art Section, p.6. The painting was first runner-up in the popularity prize, “Doctoroff Portrait Wins Popular Vote in Chicago Artists’ Show,” Chicago Evening Post, 4/12/1932, Art Section, p.6. Eleanor Jewett, “Exhibition of Portraits Intrigues,” Chicago Tribune, 3/6/1932, part 8, p.4.
“Antiques, Auctions, Decoration,” Chicago Daily News, 4/15/1933, Art and Artists section, p.12.
Francis O’Malley, “WPA: We Produced Art,” Panorama - Chicago Daily News, 10/9/1965, p.4.
Eleanor Jewett, “Jewish Artists Offer Special Show of Work,” Chicago Tribune, 2/24/1932, p.17.
Art News, Vol. 36, 1/29/1938, p.13.
This exhibition was with Anthony Angarola and Minne Harms Neebe. The show was opened by Schwartz with a musicale in which he and a soprano sung a program. Dudley Crafts Watson commented on the show and Schwartz’ singing talent in “News of the Artists and Galleries,” Chicago Daily News, 121/15/1926, in the Art Institute of Chicago scrapbooks, vol. 52, p.127. “Shows by Angarola, Schwartz and Mrs. Neebe,” The Chicago Evening Post Magazine of the Art World, 12/14/1926, p.3 and again in Lena M. McCauley, “Three Local Artists Display Originality,” The Chicago Evening Post Magazine of the Art World, 12/28/1926, p.2. Eleanor Jewett, “Art And Artists,” Chicago Tribune, 12/26/1926, p.G5.
The show is reviewed by critic R. A. Lennon in “Shows by Mitchell and Schwartz Varied,” The Chicago Evening Post Magazine of the Art World, 8/3/1926, p.2. His Toilers of the Soil was illustrated in the 8/24 issue, p.12. Eleanor Jewett, “Art And Artists: Exhibits Mystic and Vivid Share Gallery,” Chicago Tribune, 8/1/1926, p.E4.
“Schwartz Exhibit Startles Milwaukee,” no source, c.September-December 1926, New York Public Library artist file, S331/A6. Announcement of the exhibit appears in “Schwartz’ Paintings Shown in Milwuakee,” The Chicago Evening Post Magazine of the Art World, 11/9/1926, p.11.
Tom Vickerman, “Artist Puts Zip in First Lithos,” The Chicago Evening Post Magazine of the Art World, 10/23/1928, p.12.
“Schwartz Lithographs,” The Chicago Evening Post Magazine of the Art World, 2/26/1929, p.2.
Of few of his nude lithographs were destroyed by vandals in various cities. The works traveled to “about thirty American cities,” and it is quite reasonable to assume most of the venues listed in 1929-1931 were part of this larger tour. “Vandals Mutilate Nude Lithographs by Chicago Artist,” The Chicago Evening Post Magazine of the Art World, 2/5/1929, p.3.
Lena M. McCauley, “Artists and Art Activities Along the Pacific Coast,” The Chicago Evening Post Magazine of the Art World, 4/16/1929, p.1.
“Lithographs by Schwartz,” The Chicago Evening Post Magazine of the Art World, 5/28/1929, p.7.
“At Movie Theater,” The Chicago Evening Post Magazine of the Art World, 1/14/1930, p.6.
A lithograph of his painting The Talmudist, was illustrated in op. cit., Kansas City Star, 1/23/1929, p.17.
“Summer Shows On at Art Institute,” The Chicago Evening Post Magazine of the Art World, 7/16/1929, p.2. Charles Victor Knox, “Gooey Sweetness and Academic Modernism,” 7/23/1929, pp.1, 12. His Lithograph Number 11, appeared on p.12 and The Sisters, 8/13/1929, p.4. His Kitty’s Lunch Room, 9/10/1929, p.2. Eleanor Jewett, “Institute Student Show Opens Tuesday,” Chicago Tribune, 6/9/1929, p.H6. “One-Man Shows Are Opened At Art Institute,” Rockford Morning Star, 7/14/1929, in AIC Scrapbooks, Vol. 56, p.113. Eleanor Jewett, “Current Exhibit Shows Modernists’ Work, Some Calmer Pictures,” Chicago Tribune, 7/19/1929, p.29. Eleanor Jewett, “Modernists Dominate Current Show,” Chicago Tribune, 7/21/1929, p.F5. Kitty’s Lunch Room was also illustrated in Eleanor Jewett, “Szukalski Wins Honor Here and Abroad,” Chicago Tribune, 9/22/1929, p.H8.
Eleanor Jewett, “Gay Squirrels, Serious Minded Birds Art Show Features,” Chicago Tribune, 12/9/1930, p.23.
Two works from the exhibit were purchased for their permanent collection. “Dallas Acquires Two Schwartz Paintings,” The Chicago Evening Post Magazine of the Art World, 5/5/1931, p.12. One of these, A Countryside, was illustrated in the Chicago Evening Post, 7/28/1931, Art Section, p. 5. Still Life was illustrated in Eleanor Jewett, “Millions for Art in America,” Chicago Tribune, 10/18/1931, p.E6.
“William S. Schwartz,” Chicago Evening Post, 8/18/1931, Art Section, p.6.
“Works of W. S. Schwartz on View,” New York Times, 10/27/1931, p.29.
“Schwartz and Romano,” Chicago Evening Post, 10/25/1932, Art Section, p.6. Eleanor Jewett, “Hold Exhibit of Lithographs and Paintings,” Chicago Tribune, 10/20/1932, p.15, and 10/30/1932, part 8, p.4.
“Around the Galleries: Show of Four Artists,” Chicago Daily News, 12/17/1932, Art and Artists section, p.7.
He shared the space with a few other artists. Eleanor Jewett, “Water Colors Dominate Two Art Displays,” Chicago Tribune, 3/28/1933, p.15.
“Four Chicagoans at Mandel’s,” Chicago Daily News, 12/8/1934, Art and Artists, p.6.
Daniel Catton Rich, Exhibition Of Paintings And Lithographs By William S. Schwartz, (Chicago: Art Institute of Chicago, 1935). The work is briefly reviewed in C. J. Bulliet, “Around the Galleries,” Chicago Daily News, 7/27/1935, Art, Antiques and The Artists section. Eleanor Jewett, “Summer Show at Institute Is Worth Seeing,” Chicago Tribune, 7/25/1935, p.13; “Moral Vacuity Marks Current One-Man Shows,” Chicago 7/28/1935, part 8, p.7; “Black and Whites Are William Schwart’z Forte,” 8/25/1935, part 8, p5.
“Ex-Omaha Newsy, William Schwartz, Sends Famed Art for Exhibit Here,” Omaha World-Herald, 4/26/1936.
Art Digest, Vol. 17, 4/1/1942, p.30.
“William S. Schwartz...,” New York Times, Sec. 2, Col. 3, 12/12/1943, p.8. See also: New York Herald Tribune, 12/12/1943. His Going Home, from the exhibition was illustrated in “Schwartz of Chicago Shows in New York,” Art Digest, Vol. 18, 12/15/1943, p.16 and “William S. Schwartz,” Art News, Vol. 42, 12/15/1943, p.36.
Art Digest, Vol. 18, 4/1/1944, p.30.
Eleanor Jewett, “Taft Founded Art Colony in State of Neglect,” Chicago Tribune, 10/2/1949, p.F11.
Eleanor Jewett, “Art Scene in Chicago is Bustling,” Chicago Tribune, 10/3/1954, part 7, p.4.
Retrospective Exhibit of Paintings and Lithographs by William S. Schwartz, 1/10-2/1/1975.
In 1951 an anonymous donor paid for seven paintings for seven museums. Schwartz in turn sent each museum a small group of paintings, they selected one and the patron paid the bill. Eleanor Jewett, “Patron Donates Paintings to Seven Museums,” Chicago Tribune, 5/24/1951, p.B5, and Eleanor Jewett, “W. Schwartz Works Given to 7 Museums,” Chicago Sunday Tribune, 5/27/1951, part 7, p.1.
“Notes of Art and Artists,” Chicago Tribune, 4/5/1936, part 8, p.3.
His painting appeared on the cover of Montclair Art Museum Bulletin, November 1946.
“Art Of William Schwartz,” Chicago Tribune, 10/6/1946, p.B10. This article also features several color illustrations of his work.
Contemporary American Painting, Chicago: Encyclopaedia Britannica, 1946 pXIX.
Walter Blair, “William S. Schwartz,” Southwest Review, Vol. XXIX, No. 2, Winter 1944, p.2.
Op. cit., Blair, Southwest Review, Winter 1944, p.4.
For a delightful commentary on Schwartz’s work by Ivan Albright see: William S. Schwartz Exhibition Paintings Watercolors, (Chicago: Associated American Artists Galleries, 9/23/1949).
William Schwartz, “An Artist’s Love Affair with America,” Chicago Tribune Magazine, 4/5/1970, p.65.
“Snow Is Inspiration to Ex-Newsboy Artist,” Omaha World-Herald, 2/22/1948.
Clarence J. Bulliet, “Artless Comment,” Chicago Daily News, 12/14/1935.
J. Z. Jacobson, Exhibition of Paintings and Lithographs by William S. Schwartz, (Chicago: Art Institute of Chicago, 1928).
Contemporary American Painting, (Chicago: Encyclopedia Britannica, 1946), p.19.
Albert Gardner, “Art For The Public,” Magazine of Art, September 1938, p.527.
J. Z. Jacobson, Art of Today. Chicago 1933, (Chicago: L. M. Stein, 1933), p.120.
See back cover of Art Digest, Vol. 19, 10/1/1944.
“Who’s Where,” Art Digest, Vol. 26, 11/1/1951, p.80.