Society of Six: California Colorists [Reprint 2019 ed.] 9780520919778

Citation preview

for Lynne Shamburger Kramlich

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With a New Foreword by Charles C. Eldredge

UNIVERSITY

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LONDON

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England Copyright © 1 9 8 8 by Nancy Boas All rights reserved Originally published by Bedford Arts, Publishers, 1988 First University of California Press printing 1997 Printed in Australia 9 8 7 6 5 4 3 2 1

Library of Congress Cataioging-in-Publication Data Boas, Nancy, [ D A T E ] The Society of Six: California colorists / Nancy Boas; with a new foreword by Charles C. Eldredge. p. cm. Originally published: San Francisco: Bedford Arts, Publishers, 1988. Includes bibliographical references and index. I S B N 0 - 5 2 0 - 2 1 0 5 4 - 9 (cloth: alk. paper). I S B N 0 - 5 2 0 - 2 1 0 5 5 - 7 (pbk.: alk. paper) 1. Society of Six. 2. Landscape painting, American—California, Northern. 3. Landscape painting—20th century—California, Northern. 4. Color in art. I. Title. ND1351.6.B63 1997 7 5 8'. 1 ' 0 9 7 9 4 — d c 2 1

ACKNOWLEDGMENTS

The goodwill and generous cooperation of many people contributed to this endeavor. First and most important, the late Louis Siegriest graciously shared his reminiscences, and it is through him that we know much of the story. I will always be grateful for his unfailing help and patience. Numerous relatives and friends of the artists kindly gave their time and recollections as well as loaning artworks, biographical material, and photographs. I am particularly indebted to the late Bruce Ariss, Peter Brown, Paul Carey, the late Mildred Eichman, the late Harold Gile, Jay Hannah, Richard Logan, the late Ruth Logan, Clemence Otto, Paul Oz, Rudolph Schmidt, Donn Schroder, Jack Schroder, the late Lundy Siegriest, the late Natalie Spang, the late Rene Weaver, Laurellee Westaway, Suzanne Westaway, and the late Walter Wood. The Oakland Museum and its Paul Chadbourne Mills Archives of California Art were prime resources for historical documentation and visual material. I am especially grateful to Terry St. John, curator of the 1 9 7 2 Society of Six exhibition, who generously shared his extensive knowledge of the artists with me. Other staff members of the Oakland Museum who offered their support during the project are Barbara Bowen, Christine Droll, Therese Heyman, Harvey Jones, Arthur Monroe, and Christina OrrCahall. Many museum professionals, historians, and artists provided valuable comments and counsel during the preparation of this book. Paul C. Mills in particular gave pivotal factual and contextual information about the artists and their work. The late Joseph A. Baird shared his extensive knowledge of California art and resources. Milton W. Brown's valuable comments on the paintings helped position the Society of Six within the greater context of American art. The late Richard Diebenkorn, Nathan Oliveira, Hassel Smith, and Wayne Thiebaud offered thoughtful insights into the paintings and artistic milieu. Andrea Clark, Katherine Holland, Henry T.

96-37048 CIP

Cover: Selden Gile, Boat and Yd low Hills, n.d., oil on canvas, 30 1/2 x 36 inches. Collection of the Oakland Museum. Page 1: Selden Gile, The Red Earth, c. 1 9 2 8 , oil on canvas, 31 1/2 x 37 1/2 inches. Private collection. Editor: Stephen Vincent. Text Editor: Suzanne Lipsett. Art and project editor: Deborah Bruce. Designed by Jon Goodchild and Erica Myers. Typeset by TBD Typography. Printed and bound in Australia by Southbank Book. Credits for art reproductions and photographs appear under "List of Illustrations" at the end of the volume.

Hopkins, Irma B. Jaffe, Gerald McCue, James Magid, Aimée Price, the late John Rewald, Kevin Starr, and Donald Stover gave valuable help. In Canada, art historians Nicole Cloutier, François-Marc Gagnon, Charles Hill, Laurier Lacroix, Robert Lamb, Joan Murray, and Dennis Reid aided my task.

Library, San Francisco Art Institute; Melvin Patterson, San Francisco Examiner; Eugenie Candau, Louise S. Ackerman Fine Art Library, San Francisco Museum of Modern Art; Gladys Hansen, San Francisco Archives, San Francisco Public Library; and Yae Shinomiya, The Tribune, Oakland.

Numerous individuals connected with galleries contributed greatly. Charles Campbell generously shared his knowledge of the six artists with me and helped locate widely dispersed works of art. John Garzoli provided vital information about the context of art in California. Mark Hoffman, Jan Holloway, and J a c k Van Hiele patiently responded to requests. A great many collectors participated in the search for paintings for this volume with enthusiasm and a spirit of cooperation for which I am thankful.

Several individuals who read the manuscript offered valuable comments. I am especially indebted to Marc Simpson and Jerome Oremland, and to Olga Carlisle, Robert Flynn Johnson, and John O'Brian.

Many people shared their resources with me. The late Elizabeth Hall's collection of paintings from Selden G i l e s estate were instructive. Nan and Roy Farrington Jones's extensive slide library gave a valuable overview of the artists' works. Lawrence Jeppson allowed me access to his unpublished manuscript on W. H. Clapp. Kent Seavey offered significant information on the Monterey scene, as did the late Helen Bruton, the late Amelie Elkinton, and Myron Oliver. The archival resources of Marjorie Arkelian, Beverly Hennessey (custodian of the late Thomas Albright's library), Gordon McClelland, Betty Hoag McGlynn, Nancy Moure, Harry Mulford, Mary Lewis Ogden, Nell Sinton, Raymond Wilson, and Philip and Mireille Piazzoni Wood aided my research. Documenting Northern California art of the early twentieth century called for a great deal of research in libraries and archives. I am particularly grateful to the following: Archives of American Art, Smithsonian Institution, Paul J . Karlstrom in the San Francisco office, and J u d y Throm in the Washington, D.C. office; William M. Roberts and staff, Bancroft Library, University of California, Berkeley; Library, California Historical Society, San Francisco; William Sturm, Oakland History Room, Oakland Public Library; J e f f Gunderson, Anne Bremer Memorial

I am grateful to my dedicated editors, Doris Ober, whose sensitive contribution helped me weave together the account of six lives, and the late Suzanne Lipsett, who brought clarity to the story and whose insight and encouragement enhanced the project and steered it to fruition. S. Ann Lee documented the exhibition history with exceptional care and diligence. Eugenie Candau expertly organized the bibliography. Hadley Soutter devoted her skills and insight to many phases of the project. Kirsten Bedford of Bedford Arts, Publishers, gave the book her enthusiastic support. Stephen Vincent, Editorial Director of Bedford Arts, contributed his many creative talents to this book. Deborah Bruce and Lisa Banner of Bedford Arts helped during the original publication process. Harry S. Parker III, Director of the Fine Arts Museums of San Francisco, and members of the Trustees Exhibition Committee, encouraged the development of the exhibition California Colorists: Paintings by the Society of Six, held at the M. H. de Young Memorial Museum, The Fine Arts Museums of San Francisco, from September 16 to December 3 1 , 1989. As guest curator of the exhibition, I worked closely with Marc Simpson, then the Ednah Root Curator of American Paintings, and benefited from his many scholarly contributions and insights. Finally, to my husband, Roger, my children, John, Christopher, Anthony, and Lucy, and my mother, Eva Wittcoff, I offer my gratitude for their patience and encouragement. Nancy Boas

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Foreword

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by Charles C. Eldredge

Six: Color Ascendant,

1919—1929

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Bernard von Eichman

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Louis Siegriest

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Introduction

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Maurice Logan

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One: The Background

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Selden Gile

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Within the Closed Circle

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William Clapp

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A City's Evolution

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August Gay in Monterey

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Devastation and Reconstruction

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Two: Beginnings

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The Context

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Seven: The Depression Years, 1 9 3 0 - 1 9 3 9

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Selden Connor Gile

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Selden G i l e and the Group's Dispersal

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August François Gay

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Maurice Logan

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Maurice Logan

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Louis Siegriest

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Louis Bassi Siegriest

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Bernard von Eichman

Bernard von Eichman

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William Clapp

William Henry Clapp

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August Gay

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Three: At the Fair

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The Golden Gate International Exposition

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The Meaning of the Fair

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Eight: The Forties and Beyond

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The Art at the Fair

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Selden Gile

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After the Fair

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Maurice Logan

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A N e w World

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Louis Siegriest

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Conclusion

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Four: Coming Together, 191j—1923 The Chow House

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The Six at Work

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N e w Painting Ideas

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The Six Separately

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The Manifesto

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Five: The Exhibition Years, 1923-1928

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Modernism in the Bay Area

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William Clapp at the Oakland Art Gallery

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The Society's Six Annual Shows

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Notes

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List of Illustrations

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Bibliography

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Exhibition History and Reviews

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Chronologies

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Index

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ll politics is local." This famous dictum of House Speaker Tip O ' N e i l l may well define American

political life, but it applies less certainly to American cultural life. T h e local and the universal have long struggled for primacy in the creative efforts of our artists. B u t what might win a seat in Con-

gress has not always won a spot on a gallery wall. In the modern era, artists of various stylistic persuasions have sought to transcend the

local, to achieve a statement of universal resonance, even when dealing with ostensibly local subject matter. T h e rural themes of J o h n Steuart Curry, for instance, though redolent of his Kansas upbringing, were "but incidental," wrote one partisan; "these are great experiences of life that are

universal," and ultimately the regionalist paintings "transcend all scenic localisms." 1 For other artists, however, the power of p l a c e — o f scenic localisms—provided not an obstacle to be transcended but the very foundation for art. D . H . Lawrence, for one, understood the importance of this "spirit of place. " "Different places on the face of the earth have different vital effluence," he wrote, "different vibration, different chemical exhalation, different polarity with different stars: call it what you like. B u t the spirit of place is a great reality." 2 For Lawrence, the artist's challenge was to remain open to suggestions from the "vital effluence" of a locale. T h i s , J o h n Dewey knew too. Declaring that "the locality is the only universal," he foresaw in 1 9 2 0 a time, soon to come, when artists "will discover the localities of America as they are, and no one will need to worry about the future of American art. W e have been too anxious to get away from h o m e . " 1 T h e history of American painting is writ on a large map, with many locales; on that chart, each site has potential importance. T h e left margin, for instance, is as important to the complete picture as the upper right corner; California is as consequential as N e w York, or Vermont, and vice versa. This is not to deny the importance of a " N e w York School," be it the first N e w York group, the "Hudson R i v e r school," or the Abstract Expressionists of the following century. T h e acclamation of the earlier g r o u p quickly led to an elevation of their regional subjects in a process historian A n g e l a Miller calls "synecdochic nationalism," wherein the part (northeastern scenery) became representative of the whole (the American nation). 1 T h e rise of the later abstract g r o u p led some to believe in a "triumph of American painting," in which the Manhattan product again served as epitome of a national art in the Cold War era. Indeed, the second N e w York School provided a symbol internationally for a type of expressive and muscular art just as the "School of Paris" had evoked an earlier type of abstraction. Such hegemonic schools transcended localism of place to speak f o r — a n d to—artists broadly scattered in time and space. In this cultural dynamic, some creators working far from the epicenter may have suffered from "the tyranny of distance," as British colonials sometimes referred to their position vis-à-vis the imperial center. Others, however, remained happily in place, discovering in distance not tyranny but liberation, the license to experiment. Their achievement rested not in transcending particular localisms but in celebrating them. " A r t , to be vital, must be local in its subject," advised Hamlin Garland. To his turn-of-thecentury readers, the author-critic recommended the pleasures of the American Midwest, for example, the splendid Wisconsin hills, which "would make Monet seem l o w - k e y e d . A generation later,

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Garland might have recommended the colorful hills of California's East Bay region, where, in the years after World War I, the Society of Six came together to change the course of California painting. As Nancy Boas's exemplary study shows, the Six were aware of the currents that flowed through distant metropolitan art centers, but they chose to pay equal heed to the character of their immediate physical environs, to local colors and forms. It was this allegiance to place as well as style that situated them in the tradition of grounded American artists. They were not naifs\ neither were they part of a placeless troupe perennially lured elsewhere. The Six, while inspired by Impressionism and Post-Impressionism, stayed at home to depict their familiar local subjects and found strength in knowing their surroundings well. They transcended the picturesque; local motifs were only the starting points for inspiration. Rather, their purposes and achievement related to larger issues of modernism. They succeeded in creating an amalgam of their o w n — o f expressive brushwork cohering into visual sensation, treading a line between abstraction and representation. Their colorful assault on the "brown soup" tradition of earlier California painting was a group effort. In this, the Society of Six reflected other modernist campaigns conducted collectively— as if the shibboleths of tradition could not be overturned single-handedly. Various aggregations proliferated in the modern movement: European vanguards, for instance, numbered from the German Expressionists' Blue Four to Belgium's fin-de-siecle innovators, Les Vingt. On this side of the Atlantic, the Society of Six was immediately inspired by the modern Canadian nationalists in the Group of Seven. But the Californians' collegial enterprise also followed in the wake of such compatriots as The Ten (Impressionists) or The Eight (urban realists), and anticipated Alfred Stieglitz's Seven Americans, the (new) Ten (abstractionists of the 1 9 3 0 s ) or even the Irascible Eighteen of the later N e w York School. In their numeration, the Society of Six conformed to a generational proclivity for painting by numbers. Their respect for the local and their reflection of it in art made the Six's achievement a distinguished one in its own right, as well as a laudable precursor to more recent developments in California's rich artistic history. Believing that "all great art is founded upon the use of visual abstractions to express beauty," and, moreover, that "seeing is the greatest joy of existence," the Six simply sought "to fix upon canvas the joy of vision." Regarded from our late-century vantage, their credo is striking in its simplicity. A n d , in the present era, when scholarly debate swirls around such arcane issues as "the denigration of vision" in twentieth-century thought, it is also refreshing to be reminded anew of painting's power to delight, so well exemplified in the colorful work of the Society of Six. Charles C. Eldredge The University of Kansas

Notes 1. Reeves Lewenthal, "John Steuart Curry," in John Steuart Curry: 20 Years of His Art (New York: Associated American Artists, 1947), n.p. 2. D. H. Lawrence, Studies in Classic American Literature (1923; New York: Viking, 1964), pp. 5 - 6 . 3. John Dewey, "Americanism and Localism," The Dial 68 (June 1920): 687-688. 4. Angela Miller, The Empire of the Eye: Landscape Representation and American Cultural Politics, 1825-1875 (Ithaca, NY: Cornell University Press, 1993), p. 17 and passim. 5. Hamlin Garland, "Impressionism," in Crumbling Idols (1894; Cambridge, MA: Harvard University Press, i960), pp. 1 0 3 - 1 0 4 .

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ile was standing at the stove cooking a big roast beef full ofgarlic smelling up the room and taking a drink every now and then of his home brew. Gay was sitting off in the corner with his cup of wine, and we were all crowded in as usual, jammed in because the whole room was filled with stacks of canvases, some wet ones that get on your clothes-, then in came Mr. Clapp with his ho, ho, ho and a neat little pack ofhis day's paintings under his arm. Sooner or later von Eichman would come crashing in with some wild story or other. Logan came in later because he ate dinner at home. Being the youngest, I was mighty glad to be included. I always came with a new painting or two, which we'dprop up on the floor and all take a crack at. It was a fairly large room full of paintings standing on the floor against the walls and tacked up. Every once in a while someone wouldpick one up and comment about it. Then there was always some argument going on about painters we'd run into during the day. Well, this particular night we all crowded around the table, ready to dig in because we always liked Gile's cooking, and Mr. Clapp was talking about this bunch of painters up in Canada he used to know who were now calling themselves the Group ofSeven and were starting to show together. And Gile said why don't we have a group, why don't the six ofus have a group and show together? —Louis Siegriest

Selden Gile, Louis Siegriest, Bernard von Eichman, August Gay, William H. Clapp, and Maurice Logan were plein-air painters who worked in northern California during the teens and twenties. They were a group of hearty, frank individuals whose rough-hewn quality also characterized their work, both in their choice of earthy, unpretentious subject matter and in their spontaneous, vigorous application of paint. They were undervalued in their day by the genteel art establishment of the San Francisco Bay Area and forgotten for many years when abstraction eclipsed earlier styles. Yet today their painting stands as some of the most modern and lasting produced in the West at that time. Within the lengthy stretch of pretty, picturesque, or Europeanized painting that characterized California art, their work is a bright flash of modern impulse and expression that remains fresh today. The Six's boldness,

unfettered exploration, chance taking, and crudeness, disdained at the time, foretold the new directions that California art would take a generation later. These unruly outsiders on the margin of their local art establishment had found a way to join the vital kernel of Impressionism to California's landscape tradition. The Six called themselves Impressionists, but their exposure to the French Impressionist movement came late and all at once at the Panama-Pacific International Exposition in 1915. (William Clapp is an exception to generalizations about the group's early years. He participated actively in the international art scene before arriving in California in 1917.) They had been preserved in a virtual time warp by their isolation, and for that reason their encounter with the by then historic French Impressionist movement acted as a visual catalyst, providing the formal means they had been looking for to vent their exuberant landscape ideas. Now they discovered how to use color to create a sense of light and to make a stroke of paint suggest the thing painted. They invested plein-air practice with a hearty American flavor, and their forays into the landscape were like their forays into painting—hikes taken by the sons of pioneers, not the sedate outings of city dwellers. Full of naive self-confidence in their own rough style, the Six were innocent of theory, dogma, and establishment ambitions. They painted for themselves and worked regardless of who noticed them. In their heyday, from 1918 to 1929, their painting shared the spirit of other modernist American artists, who a decade earlier had started to explore color and form while searching for an American idiom. Even before the Armory Show of 1913, artists such as Marsden Hartley and John Marin had begun to forge a new American landscape art using PostImpressionist color. But the Bay Area artists differed from their American peers in the East by virtue of their isolation in still-rural Oakland, a community lacking even the degree of culture to which San Francisco pretended. Without the vital nourishment of an art capital, they were sustained by the strength of their friendship and their vision alone. They founded no school that endured beyond them, but their painterliness and their use of color are parts of an identifiable tradition that includes work of later Bay Area figurative expressionists. Although the Six did not leave a direct legacy, their spirit connects them with the modern painters of northern California after World War I I — a spirit of deep alliance to the light and the land. In order to appreciate fully the accomplishment of the Six in bringing color and California landscape together, it is necessary to understand the special case of California's artistic history, one that has just begun to be fully documented. Therefore the story of the Society of Six begins with a short overview of the special circumstances that shaped California's art.

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n the 1910s, the six artists who would become the Society of Six entered an art world in northern California that had been unique from its beginnings. This distinctiveness stemmed in large part from California's geography. The region was so remote and physically isolated from the art centers of the East Coast and Europe that it was almost an island unto itself. California was cut off by the mountain ranges and deserts of the West, and travel to it from the East was a long, arduous undertaking. For this reason, few art movements reached the West Coast that were not almost obsolete elsewhere.1 Within the Closed Circle The art that emerged within this closed world of northern California, from the first carefully detailed documentary paintings of Yosemite to the studio compositions of the San Francisco Bay Area's post—World War II abstractionists, was distinguished by a distinct sense of place and particularly of landscape space. Often, in the early nineteenth century, artists who traveled to California were topographers who joined exploratory expeditions as surveyors and chroniclers of the natural wonders and vast virgin terrain of the frontier. The marvels of the unexplored West depicted in their landscapes fascinated the world, and everywhere the public flocked to see paintings and photographs of \osemite first made in the 1850s. The descriptive, reportorial realism of late Hudson River school painter Albert Bierstadt, who visited California in 1863, and English-born Thomas Hill, who arrived in California in 1861, was well-suited to a landscape that was largely unknown and inaccessible to most Americans until the completion of the transcontinental railroad in 1869. Another characteristic of early California art, and a major nineteenth-century preoccupation generally, was the study of light. Many painters of California scenery—visitors Bierstadt, Martin Johnson Heade, and George Tirrell and residents Hill and Virgil Williams—attempted to depict the extreme clarity of light and air that was a striking feature of pristine western lands. Boldly scaled views painted by Bierstadt, Thomas Moran, Thomas Hill, and William Keith in his

"Andu-hat is your religion?'' I asked him. "/ think it is

California"

he replied. From an interview with Gotrardo Piazzoni conducted by Max Stern

Seiden Gilè. Sausalito, lijiS (detail: see page 36).

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early period express the excitement of discovery and a feeling for the sublime, and it is the dramatic use of light that infuses these artists' paintings with romantic and spiritual overtones. Keith, a central figure among late-nineteenth-century California painters, eventually moved away from descriptive realism to romantic realism, and finally to a subjective style of misty tonalism. But many western artists prolonged the descriptive rather than interpretive vein well after the Hudson River school and luminism were passé in the East. The American frontier was giving way to settlement in most parts of the country, but in California and other western regions the ideas of the moral landscape and of America as a new Eden remained very real. Reverence for the wilderness and the belief in nature as the mirror of God, transcendentalist ideas held by philosophers Ralph Waldo Emerson and Henry David Thoreau, were very close to the view of nature as the embodiment of spiritual qualities held by John Muir, William Keith, and George Inness. These ideas kept spiritual overtones alive in California landscape painting late into the nineteenth century. By the 1880s, works by French Barbizon painters such as Théodore Rousseau and Jean Baptiste Camille Corot and their American followers had entered San Francisco collections, and local interest turned to the darkly poetical forest glades of that group. Soon afterwards western painters, including Keith, began to favor more intimate, subjective landscapes, and to find in them a metaphor for mood, distilling the spirit of the scene in "a reduced palette of soft colors coupled with a density of natural light," as Wanda Corn describes this tonalist style.2 At this time the Impressionist movement in France was only a distant rumor. In fact, nothing was seen of Impressionism in California until 1891, when a Claude Monet painting and a Camille Pissarro drawing, owned by Mr. and Mrs. W.H. Crocker, appeared in an art loan exhibition at the Shreve Art Rooms in San Francisco among French Barbizon canvases, Salon paintings, and old masters. But a tonalist entry by George Inness painted near Monterey during his visit to northern California that spring greatly overshadowed any attention to the Impressionist pieces in the show.3 The next opportunity westerners had to see Impressionist canvases occurred in 1894, when a portion of the 1893 World's Columbian Exposition of Chicago arrived in San Francisco as the California Midwinter International Exposition, the brainchild of publisher M . H . de \bung. Paul Durand-Ruel, a progressive Parisian art dealer, loaned the exposition an exhibition of French art that included a small group of Impressionist canvases. Hung alongside the Barbizon and Salon paintings were two Monets, one Pissarro, one Auguste Renoir, one Alfred Sisley, and three Eugène Boudins, representing virtually the only view of Impressionism available to the San Francisco public until the PanamaPacific International Exposition of 1915.4 That view was not enough to influence local artists, however.

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That French Impressionism made little or no impact on artists or collectors in the Bay Area as late as the turn of the century was a measure of California's distance from the great art centers of the East and of Europe. The same would be the case with Post-Impressionism, Fauvism, Cubism, and American (New York) modernism. Each of these developments would achieve acceptance in the West only when they had become almost obsolete elsewhere. Californians had little access to reproductions before 1915, as few illustrated art magazines besides International Studio had reached the West.'' Though California's isolation and physical distance from the East is one explanation for the slow start of West Coast art, at least as significant is northern California's own history—and particularly its natural history—which influenced the evolution of a very distinctive perspective in artistic taste. A City's Evolution It started in 1849 with the Gold Rush, which transformed San Francisco from a quiet outpost of colonial Spain and Mexico into a boisterous, hell-raising boom town hustling to provide for its large new population.6 Once gold fever had spent itself and San Francisco had absorbed its newcomers and begun to establish its society, a desire grew, particularly among its prominent citizens, to gloss over the city's inelegant beginnings and its saltier days as a frontier town and to smooth the rough edges with a patina of respectability and gentility. San Francisco's taste for cultivation demanded a socially validating art, and William Keith's landscapes provided it. Keith's romanticnaturalist view of nature, with its Barbizon echoes, found a huge market in late-nineteenth- and turn-of-the-century San Francisco, and his paintings graced many a foyer and drawing room wall in the homes of his patrons.

Worcester's bouse in Piedmont with a view of San Francisco Bay as painted by William Keith. 188•}. Oil on panel.

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The art environment that emerged in the city's self-conscious new society in the 1890s was exceedingly conservative, but one patron—Mrs. W.H. Crocker—was an exception. Her grandson, Charles de Limur, remembers Ethel Crocker as a "Victorian woman who sat up very straight, had a lace or pleated jabot to her dress, looked very severe, and had a vague aroma of patchouli hovering around her. . . ." But he goes on, Mrs. W.H. certainly had a keen eye. . . . Unlike Mrs. Palmer of Chicago or Mrs. Gardner of Boston. . . who accumulated vast collections, {she} did not rely on professionals such as Durand-Ruel for advice, but bought strictly according to her own judgment. ... A great deal of the art she bought was avantgarde and, therefore, could not be hung on the walls in the house at IIJO California Street but remained in the basement. The walls were graced with the popular paintings of the last century, those of the Barbizon school, the Hudson River school, and the up-and-coming. . . western painters such as Albert Bierstadt, Thomas Hill, William Hahn, Charles Nahl, and Arthur Mathews. There were some French paintings scattered around the house—a Delacroix, a Corot, a Courbet, a Puvis de Chavannes, a Meissonier, and Millet's Man with a Hoe. . . . {But} the basement was a treasure trove of modern {French Impressionist) art, and occasionally Mrs. W.H. would take Uncle Billy and Annie down below to give them a lecture on paintings. . .{and this is} what Uncle Billy and Annie cut their teeth on when they visited the basement. . . . Three Monets {including one of his Haystack series), two Pissarros, two Boudins, seven Degas, three Renoirs. . . and one Besnard? The fact that such masterpieces were consigned to Ethel Crocker's basement to escape criticism and ridicule suggests the level of public acceptance of "modern" art in San Francisco at a time when, in other American cities, Impressionists had become respectable even among patrons with conservative tastes. During this period in which San Francisco society was defining itself, two styles of life coexisted in northern California, further illustrating what Kevin Starr has summed up as "the perennial conflict between the desire for frontier vigor and genteel respectability"8: one, a typically Victorian-American way of life then current in many American cities— of propriety, materialism, and social formulas; the other a more informal, close-to-nature existence inspired by the extraordinary land and climate and permitted by the absence of an entrenched tradition. This second, informal direction was pioneered in the 1870s by artist William Keith and naturalist John Muir and was taken up in the 1890s by minister-architect Reverend Joseph Worcester and architect Bernard Maybeck. All these men subscribed formally or informally to the Swedenborgian philosophy, a system of thought that recognized the interpénétration of the spiritual and the material in nature. This group advocated simplicity and natural harmony in architecture, homemaking, and family styles, and Bernard Maybeck based his distinctive Bay

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Region architectural style on these principles. In 1904, Maybeck's friend Charles Keeler published The Simple Home, a polemic on architecture and a social treatise on the home as haven in the industrial age, a shelter in which the family could enjoy a simple yet satisfying standard of living. The book contained features of the thriving Arts and Crafts movement and advocated outdoor living, natural foods, hiking, and simple shingle houses handcrafted from unpainted redwood. 9 Besides the Victorian and back-to-nature groups, a third group was emerging simultaneously: a lively and diverse bohemian circle that included Oakland writer Jack London, artist Xavier Martinez, and poets George Sterling and Joaquin Miller. The first bohemian on the scene was probably French painter Jules Tavernier, whose long hair, dramatic clothes, wild escapades, and convivial excesses epitomized the image of the artist-outsider. In the 1870s, along with a small group of journalists, painters, and poets, he helped establish the beginnings of the bohemian life in San Francisco and Monterey. The bohemian group was like a flock of birds that often took flight and settled in one northern California locale or another and then moved on. They went from the Montgomery Block, a warren of writers' rooms and artists' studios, to Telegraph Hill in San Francisco to Piedmont in the East Bay to Carmel and Monterey in the south. The central participants knew one another, and their circles constantly intermingled. William Clapp, The Village Laundry, France, 1908, oil on board.

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The Montgomery Block housed many historic figures in its time. Mark Twain, then a young journalist, lived there in the 1860s and learned about the craft of writing from Bret Harte, who worked nearby at the Mint. Ambrose Bierce, acerbic columnist and dominant literary figure from the 1870s to the 1890s, frequented the Montgomery Block, and Robert Louis Stevenson met there with Tavernier. Art school director Virgil Williams and other leaders of San Francisco's bohemia lived there in the early 1880s, and later denizens were photographer Arnold Genthe and poet George Sterling. Some, but by no means all, of the city's bohemians were members of San Francisco's Bohemian Club, begun in 1872, which expanded its original group of journalists and artists to include prominent businessmen and lawyers. Soon the Bohemian Club had become more a gentlemen's club than a bohemian outpost. 10 Meanwhile, California joined in a revival of interest in classical Greek and Roman culture encouraged by archaeological discoveries in Greece and Italy and by the reinstatement of the Olympic Games in 1896. This revival sparked new interest in more natural, unrestricting forms of dress based on the Greek style and in the value of calisthenics and outdoor athletic activity. Isadora Duncan attributed her free form of dance and expression to the extreme freedom of her early childhood in San Francisco, where she was raised barefoot and unsuppressed by her permissive mother. With a flourish, she wrote in her autobiography, "I bring you the dance. I bring you the idea that is going to revolutionise our entire epoch. Where have I discovered it? By the Pacific Ocean, by the waving pine-forests of Sierra Nevada. . . . For the children of America I will create a new dance that will express America." " The notion of the Arcadian landscape meshed well with the reality of California and the state's bountiful agricultural produce. Newcomers were dazzled by the plenty and wrote East about the spectacular size and lengthy growing seasons of California's fruits and flowers.12 Uninhibited self-expression and unbounded fertility became major characteristics of the mythic Golden Age that Californians were beginning to invent. Devastation and Reconstruction That invention did not last long, however, in the face of the reality of 1906. The Great Earthquake, with a magnitude of 8.25, caused more that 2500 deaths and considerable structural damage, especially south of Market Street.13 The fire that followed, uncontrolled because of broken water mains, swept inexorably through the ruins, destroying buildings and personal possessions on a grand scale. These events devastated the city physically and altered the course of its development architecturally and culturally. But more than that, if there is a "spirit" to a city, San Francisco experienced a spiritual upheaval as well. Isolated geographically and now by virtue of its great crisis, San 18

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Francisco adopted a set of priorities different from those of the rest of the country. The city's focus was on itself, its losses, and its reconstruction. For San Francisco's artistic community, however, reconstruction was not possible. What remains today of pre-1906 northern California painting is that portion dispersed before the earthquake in collections beyond the zone of devastation. Fire claimed 1000 oils and 1250 drawings in William Keith's studio, his complete series of all the California missions, and forty major paintings of the high Sierra, in addition to the works lost in the destruction of the houses of his patrons. 14 Maynard Dixon's early paintings burned. Arthur Atkins, largely unknown today but deemed by many critics of the time one of the outstanding early moderns, lost much of the work created in his short life. The fire took the small body of work left behind by Henry Alexander, an important Victorian genre painter who had committed suicide in 1894. Carleton Watkins, one of the major early photographers, saw the contents of his San Francisco studio go up in flames, and never recovered emotionally from the experience. And photographer Arnold Gen the, a renowned chronicler of the city, lost all his pre-fire photographs except his Chinatown plates. The fire also destroyed the gallery in the San Francisco Art Association's Mark Hopkins Institute of Art, the only important collection open to the public. And the major private collections, housed on the crest of Nob Hill in the mansions o f W . H . Crocker and his late father Charles Crocker, Leland Stanford, and the late Collis P. Huntington, burned as well. Although the Montgomery Block was one of the few downtown buildings to remain standing after the quake, many inhabitants of the neighborhood, having lost homes and studios, fled to outlying areas such as the East Bay and Sonoma and Monterey counties. At the time, English writer-adventurer Herman Whitaker was caretaker of a large house and fourteen-acre mulberry orchard in Piedmont, and he invited his homeless artist and writer friends to pitch tents among the trees. Each night around a bonfire, Whitaker's friends, campers, and neighbors— including Miller, London, Martinez, writer Mary Austin, and others—took turns entertaining. 15 Martinez married Whitaker's very beautiful, very young daughter Elsie soon afterwards. The Lake Temescal campground, where Maurice Logan grew up, also attracted Bay Area bohemians. From his childhood days there, Logan remembers Ambrose Bierce arriving on a bicycle, its handlebars extended to accommodate his extra-tall frame. The Whitakers, whose place was about a mile away, often joined the Logans and other campers at Lake Temescal for picnics and dances that took place on an open-air platform. Many other artists scattered to surrounding Bay Area counties and to the Monterey Peninsula after the earthquake, camping out in tent cities during that mild California summer until they could relocate. Poet George Sterling had settled in Carmel before 1906, and he

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William Clapp, Morning in Spain,

/907, oil on canvas.

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attracted his bohemian friends to that area. Painter Charles Rollo Peters opened his large Monterey estate, Peters' Gate, to homeless artists. E. Charlton Fortune's family fled to Stockton after their San Francisco house was dynamited in a futile attempt to halt the flames, and they lived in a tent for eight months before resettling in Carmel. Some artists eventually returned to San Francisco, but others never did. Perhaps a clean break with the past and a new artistic beginning were possible after 1906, but they did not occur. Both artists and patrons reacted to the loss of their many valued possessions with nostalgia, and conservatism in art and architecture were the result. "I think that was a rather natural reaction," comments Charles de Limur. "If you have lost everything, you are not totally prepared; your mind is not open enough to buy new modern things. . . . I don't think that after the fire they thought it was possible to recreate the kind of collections that they really wanted. I don't think they had the energy. . . that this effort required." 16 While the rest of San Francisco was rebuilt apace, the large homes on Nob Hill where many valuable works had hung were abandoned in favor of newer houses in the country. Before the earthquake, Nob Hill collectors had often been willing to display their paintings publicly in the city's annual exhibitions. But the loss of their collections and their subsequent migration depleted the store of what little was available for artists, the public, and the critics to see. So different was the art atmosphere in San Francisco from other cities that in 1914 an exhibition of copies of modern French paintings was given a serious if negative review by Anna Cora Winchell. Strangely enough, exhibited alongside the copies was the headline-making avant-garde sensation (not a copy), Marcel Duchamp's Nude Descending a Staircase, No. 2.' ' Into this vacuum stepped Arthur Mathews, a central figure in the turn-of-the-century Bay Area art world, together with his wife and collaborator, Lucia Mathews. Mathews's belief in an architecturally based, unified approach to fine and applied arts, in the spirit ofWilliam Morris and the English and American Arts and Crafts movements, proved supremely apropos to San Francisco's reconstruction after 1906. Arthur and Lucia Mathews devoted themselves to the task of helping to rebuild the city, using their talents in architecture, mural painting, furniture making, printing, and urban design. Until the Panama-Pacific International Exposition in 1915, Mathews's mural painting and integrated arts and crafts activities were the dominant artistic influences in the Bay Area. Using a tonalist approach, flat patterns, and intense color harmonies within a close range of values, Mathews painted figures, usually female, in classical dress to represent mythological personages or symbols and set them in recognizable northern California locales. His allegorical paintings are fairy tales for grownups, fulfilling the California ideals of both refined, uplifting elegance and sylvan informality. 18

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Mathews created a perfect evocation of the prevailing California mythology. He brought California one of its earliest contacts with Gauguin's color and designs, Whistler's tonalism, and Puvis de Chavannes's mural aesthetic, with which he became acquainted during his student days in Paris in the 1880s. His approach became known later as the California Decorative style, and many important artists of the next generation—Xavier Martinez, Francis McComas, Gottardo Piazzoni, Armin Hansen, Clarence Hinkle, Ralph Stackpole, and Maynard Dixon— were his students during his pre-earthquake years as director of the Mark Hopkins Institute of Art. 19 Mathews dominated the local art scene, controlling who would be exhibited and rewarded, and the dearth of museums and galleries in the city added to his power. In fact, Mathews has been blamed for shutting out Impressionism in northern California, and his forceful personality had earlier elicited an isolated rebellion in 1902, when a group of progressive artists, led by Piazzoni, 20 staged the First Exhibition of the California Society of Artists to declare its independence from Mathews and the San Francisco Art Association. The rebellion was shortlived and the 1906 cataclysm changed the status quo: Mathews was not reappointed director of the art school when it reopened, and Monterey's Del Monte Art Gallery became the haven for San Francisco artists in which to exhibit. However, Arthur and Lucia Mathews remained the leading stylistic influences in the rebuilding of San Francisco. In 1915 Mathews's ideal of a Golden Age reached its apogee in the design concept of the Panama-Pacific International Exposition. The fair would be the culmination of a particular nineteenth-century mentality that sought a higher meaning in life in order to elevate the commonplace. It was on the margins of this milieu that the Six began to work, and from the beginning they demonstrated something quite different from current practice. The Six rejected the tonalists' preference for a muted, almost shrouded landscape, which depicted California's foggy days but not its predominantly sunny reality. They sought instead to capture the visual impression of sunshine and the color of the land and sky, and to evoke the quality of the light and weather, the yellow hills, the manzanitas and scrub oaks, lupine and poppies, tile roofs, and Monterey pines. With their small, vivid canvases, the Six would make a place for themselves as a vanguard for California's new landscape art.

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n 1915, the year the Panama-Pacific International Exposition opened in San Francisco, the Six were gradually assembling. Selden Gile was a thirty-eight-year-old bachelor living in Oakland, earning a steady businessman's wage and hiking and traveling on weekends to a variety of sites around the Bay Area to paint. August Gay, age twenty-five, was living at Giles Oakland house and working around the city at menial jobs. The recently married Maurice Logan, twenty-nine, was living on Chabot Road and beginning work as a commercial artist after a lengthy apprenticeship at the San Francisco Institute of Art. Louis Siegriest, at sixteen an aspiring cartoonist, was studying drawing at the California School of Arts and Crafts.

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"Wouldyou like to meet an artist—a real artist?" he asked. And I said I would. . . . Louis Siegriest

Siegriest recalls the day sometime that year when his French laundryman introduced him to the painter living nearby: "Would you like to meet an artist—a real artist? " he asked. And I said I would. ... He took me {to Gile's house on James Avenue} but Gile wasn't home, but nobody locked the door at that time and he took me in and the whole place was plastered with pictures. I was so impressed, I had never seen an artist's studio before. Siegriest had to wait until the laundryman took him back several days later to meet Gile. "I brought my things up to show him, and he was quite impressed with them and invited me to go sketching with him and Gay."1 The young man rushed home and asked his mother to buy him his first oil paints for that expedition. Soon afterward, Siegriest introduced his best friend and classmate, Bernard von Eichman, to the others. When Gile moved to Chabot Road in 1916, he renewed his friendship with his new neighbor Maurice Logan, who coincidentally was an old family acquaintance of Siegriest's. William Clapp was the last on the scene. In 1915, at the age of thirty-six, he went from Canada to Cuba with his parents and spent two years there painting tropical scenes. He moved to California in 1917, thus completing the group. Gile, originally from Maine, Gay from France, and Clapp from Canada, together with three native sons — Siegriest, Logan, and von

August Gay, Woman in the G a r d e n , c. 1 9 2 3

(detail; see page 41).

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Eichman — came together from diverse backgrounds. Their histories prior to their association provide an opportunity to trace the separate threads of environment and circumstance that became the fabric of their work together. Selden Connor Gile Selden Gile would be the forceful center of the Six — teacher, provider, and provocative critic — and his ideas about painting would determine the group's aesthetic standards. When we look at Giles roots in Maine, we can see in his family a pattern of leadership, fraternal support, and close-knit community that would later reveal itself among the Six. To some extent, Giles background explains his social role in the group and provides an insight into his view of nature. Gile was born in Stow, Maine, on 20 March 1877. His father was James Henry Gile, of Effingham, New Hampshire; his mother was Ellen Alice Bemis, daughter of Seth Bemis of Stow. The Gile family had come from Salem, England, in the 1600s, and the Bemis family, wellto-do residents of Maine, were of partly American Indian stock. Selden, the youngest of six children, was named for the then-governor of Maine, Seldon Connor. James Gile, Selden's father, had volunteered at seventeen in the Union Army. After the war he acquired a rock-littered, 100-acre farm near Kezar Lake in Stow, where he raised horses and cows. This harsh, flat land was distinguished by a grove of loo-foot-tall butternut trees, and in the winter the ground froze to a depth of five feet. These childhood surroundings remained basic to Selden Giles visual world. His preferred subject matter was always such a farm, its setting changed from barren, rocky New England to sunny, fertile California, but unchanged in its nineteenth-century simplicity. A nephew, Harold, remembers the Giles: "They were a typical small-town family of hell-raising kids — hard workers on the old farm (of necessity), bright in school. . . adept at fishing on old Kezar Lake, and expert hunters and trappers (also of necessity) under the thoughtful, understanding and loving guidance of a wonderful Mother and a hard taskmaster Father."2 The Gile children had the reputation of being aggressive and outgoing, but Selden was remembered by the family as different. He was artistic, sharing his mother's strong interest in color and design, and he was his mother's favorite. Selden's father was a strong, self-reliant farmer and a stern disciplinarian with his children. But for all his strictness, the elder Gile was known as a spellbinding storyteller, particularly on such subjects as bear hunting and the Civil War. Selden's brothers were a hardy bunch, comfortable in the outof-doors, adventurous, and convivial. All had reputations as heavy drinkers, and every year they held a boisterous week-long party in the woods with their male friends, carousing, feasting, and engaging in

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high jinks. Selden, though, was a temperate boy and notably shy with women. Like his brother Ellsworth, he displayed a love of nature, an indefatigable energy as a hiker, and a colorful imagination. Ellsworth became the most famous hunter and trapper in all of the White Mountains and a famous storyteller like his father. According to Harold Gile, "The townsmen gathered nightly around the large pot-bellied stove, and many tall tales were swapped and tended to keep the boys in a friendly, jovial mood all winter long."3 Frank, the oldest brother, worked his way up to become head chef at the landmark Lafayette Hotel in Portland, Maine. When Selden completed high school in 1894 in Fryeburg, he went to live with Frank and attended Shaw's Business College, from which he graduated in 1899. Frank was famous for giving big parties with lots of food. He taught Selden how to cook and undoubtedly served as the model for the host and provider Selden would become. The region in which the Gile family lived was a popular area for hotel resorts where wealthy eastern families took their summer vacations. In nearby Jackson, N e w Hampshire, Selden's brother Edward had become the main lumberman, providing building materials for the big hotels then being constructed in the region. Selden and another brother, Jason, worked at the most famous hostelry in town, General Marshall Wentworth's Wentworth Hall, Jason as gardener and Selden as head bellboy and part-time accountant. But Selden was soon to move on. General Wentworth, who had been James Giles commanding officer in the Union Army, took an interest in Selden and arranged a job for him as paymaster and clerk on the vast ranch of his friend J . Parker Whitney in Rocklin, California, near Sacramento. Selden's reasons for leaving Maine and setting out for California are not known: perhaps he was lured by California's legendary wildness and beauty, as depicted by earlier artists; perhaps he desired adventure or longed for warmth in color and climate; or perhaps he harbored a secret interest in Whitney's sixteen-year-old daughter Beryl, whom he may have met when she vacationed with friends at his aunt's summer hotel in Jackson in 1900. 4 Whatever the impetus, a loan of fifty dollars from his brother Jason set Selden on his way. Since the details of his cross-country trip are not known, it is not clear whether he arrived at Whitney's Spring Valley Ranch in 1901 or, as some say, in 1903.' Giles earliest known painting — a small, naive N e w England landscape of mountains, trees, and farmhouse — is dated 1900. He must have taken the painting with him on his westward journey.

Beryl Whitney at Spring Valley Ranch. Plater Comity, near Sacramento.

California. Sunset magazine cover. January 1905.

Farm Scene, painted in New England by Selden Gile. Oil on board, signed and dated 1900.

Giles job required that he travel on horseback or by buggy to deliver the payroll from the bank to the ranch and that he distribute wages to the ranch hands. It was a risky job that called on the roughneck ways he had learned from his brothers. Gile carried a gun on his deliveries, and once, when he was held up by bandits, he had occasion to use it. A n exchange of shots followed the holdup, but Gile managed to escape.

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The Whitney's house, The Oaks, was large and ornate and set within the extensive Spring Valley Ranch. The grounds of the house encompassed the state's first tennis court, a golf course, and sites for many other sporting and social activities. For young Selden, though, life at Spring Valley Ranch was much more than a new job in a lively northern California social and agricultural center. Whether or not he had met her previously in the East, he now fell in love with the beautiful, vivacious Beryl Whitney. As heirs of one of the most dashing pioneer entrepreneurs in the West, Beryl and her two brothers led the privileged life of the socially prominent of the era. A cover of Sunset magazine (27) shows her standing in front of The Oaks holding an armful of huge Whitney navel oranges. Looking at this picture, one can well imagine the effect of Beryl's charm on the young Gile. He must have felt he had happened upon a mythical kingdom in California, one that embodied all the tales told in the East: part orange grove, part Wild West, and presided over by a beautiful young princess. Beryl Whitney's father, it is believed, disapproved of the association and sent his daughter off to Europe. Soon afterwards she married her brother's friend, Tom Gray don, a Harvard football hero. Gile was deeply hurt. He rarely discussed the details of the story in later life, but Siegriest, Clapp, and Logan knew of this unhappy love affair and August Gay, Untitled (Stevenson House), n.d., oil on canvasboard.

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believed that it accounted for a trait that was characteristic by the time they knew Gile: a consistent aversion to women. By 1905 Gile had left the Whitney ranch and moved to Oakland, where he began work as a salesman at Gladding McBean and Company. This firm was a major supplier of ceramic building materials, from pipes and bricks to architectural adornments, and would play a major role in the rebuilding of San Francisco after the 1906 earthquake. In Oakland, Gile lived at several locations before 1911, when he moved to James Avenue. Gile was self-educated as a painter. According to Louis Siegriest, he occasionally dropped into art classes without officially enrolling. In later years, Gile claimed a school background for himself in Oakland and listed Perham Nahl and Xavier Martinez as well as E. Spencer Macky, Frank Van Sloun, and William Clapp as his teachers, but there are few records to corroborate this claim. 6 Nature was Giles best teacher, and his passion for the out-of-doors influenced his work more than anything he learned in a class or studio. During those early years, the hardy New Englander hiked into the hills as often as possible laden with pounds of gear. After the harsh N e w England weather, California's climate must have seemed consistently benevolent. Giles childhood in Maine's farmlands and woods helped him feel at home as a plein-air painter in California. With the exception of August Gay, the

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between Belvedere and Corinthian Island. The bridge appeared in several paintings by Selden Gile.

Seiden Gile, Bridge, 79/5, oil on canvas.

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Six were all tireless hikers who shared Selden Giles preference for exploring the out-of-doors. Gile is known to have painted during his first years in California but none of his work from before 1908 is known to survive. In those early years, his paintings reflected his striving for high-keyed color and his lack of knowledge of how to achieve it. He had not yet seen what color could do. In a 1913 painting, Landscape with White Barn, the composition is reminiscent of paintings of woodland clearings favored by William Keith, but here tradition is poised at the brink of change. The barn is framed by a thicket of tree branches and underbrush swirling around the edges of the canvas. The barn, ever an evocative symbol for Gile, perhaps represents the painter himself. During the time this early canvas was painted, Giles impulses as host and provider began to find expression. In these pregroup years he shared his house on James Avenue intermittently with artists August Gay and Dane Gregory, and the groundwork was laid for what would become a tradition of raucous banquets prepared and presided over by Gile himself. Another insight into the energetic, distinctly male atmosphere now pervading Giles life in Oakland was the importance he placed on his acquaintance with Jack London, 'America's first working class writer,"7 during the writer's final alcoholic and self-pitying years. Gile reported to his family in the East and later to the Six that, as an occasional drinking buddy and amanuensis, he did typing for London and was sometimes an overnight guest at London's ranch, from where the two rode horseback to a nearby saloon. Also, he was particularly proud of his signed first editions of London's works, all but one of which were eventually lost to vandals. In 1915 Gile presented Jack and Charmian London with a framed oil painting of a scene on their ranch. Jack London's polite Seiden Gile, Landscape with White Barn, 1973. oil on canvas.

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thank-you note does not convey the flavor of the friendship as Gile would describe it over the years. It is possible, in fact, that Gile exaggerated his closeness with London, for in Giles last years he referred to the writer with more awe than familiarity. Still, London's importance to Gile was undeniable, perhaps as the embodiment of what Gile himself wished to be — romantic, creative, working class, and successful. Although by the time of their association London was alienated from most of his old friends, he had been at the center of the bohemian group to which Gile and his group were peripheral. Whatever the reality of the situation, London would have seen in the rugged, wellbuilt, and broad-shouldered Gile the stalwart New England stock he himself idealized. Gile was physically very strong, but he was sensitive and creative as well, with a distinctly dry Yankee humor. Like London, he admired the macho bravado of the working-class Oakland experience and had a romantic view of California and a fondness for boozy sociability. Gile was a brisk, hard worker, full of energy and power. These traits plus the force of his large-hearted personality proved potent in bringing into being the Society of Six. Although Gile would prove to be one of the most innovative of the northern California painters of the time and open to radical change, his entirely competent art before the Panama-Pacific International Exposition did not indicate the strength of the talent that would emerge after he discovered color. Still, as evidenced by the scant information we have of his early history plus the few pre-1915 paintings that have come to light, from the very beginning there was something steadfast about Gile, something sturdy and old-fashioned, like the barns he painted. August François Gay The friendship of Selden Gile and the much younger August Gay was central to the formation of the Society of Six. It was Gay, in fact, who was sharing Giles house when young Siegriest was brought there by his laundryman to meet "a real artist." Gus Gay's nonchalance contrasted with Giles heartiness. Gay was a lapsed Catholic and Gile a lapsed Baptist, yet an undercurrent of spirituality infused their view of nature and their art. The personal history of the young man Gile took into his home lends insight into his growth and the sensitive temperament that would inform his painting. August François Pierre Gay was born on 11 June 1890 in Rabou, a village near Gap, France, located on a pass on the main road between Marseilles and Turin. He was one of five children of Auguste J. Gay and Elisa Corréard Gay.8 Gay's father had come to America ahead of the rest of the family, and sometime between 1901 and 1903, at approximately the same time Selden Gile arrived in California, Gay and his sister Olympe left their mother and younger brother and sisters behind and journeyed to Oakland. B

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The children and their father soon moved to a small house in Alameda on the east shore of San Francisco Bay, where they were joined by the three younger Gay children. Gus's mother remained behind in France and Gus never saw her again. When he was about sixteen, Gay contracted tuberculosis and went to his uncle's ranch in the Imperial Valley to recuperate. He returned to Alameda after three years with bookfuls of sketches and a keen interest in art. Tuberculosis may have been the reason for Gay's slow pace (which Gile would call laziness), his fragile constitution, and the fact that he appeared older than his years. Louis Siegriest recalls that Gay met Gile when he went to Gladding McBean to buy bricks. Giles paintings hanging in the office probably started the artists talking. In about 1910, Gay had moved in with Gile to escape his own crowded home, where he had been sleeping on a mattress on top of a chicken coop. In the company of a working artist who had taken him in with uncommon generosity, Gay was able to pursue his artistic interests in freedom. Siegriest remembers Gay as short (five feet four inches tall), wiry, and well coordinated, with a mop of curly, black hair. "The clothes he wore might be anything he found hanging around, even if it was someone else's."9 Gile, who had nicknames for all his friends, called Gay "Santa Claus." Gile used to tell a story of coming home from work earlier than usual one afternoon to see Gay getting on a trolley dressed completely in Giles own clothes. "I was seeing myself," Gile reported incredulously. The truth came out: Gay had a habit of putting on Giles clothes to work in and then changing back into his own before Gile returned home. Gile, full of physical energy, was often impatient with Gay, especially with what he considered Gay's sluggish pace. But his financial and artistic support of the younger man bespoke concern and friendship, and the two lived and painted together off and on for nearly a decade. Gay's early art education was minimal. He attended occasional classes at the California School of Arts and Crafts, and later, in 1918 and 1919, enrolled in night school at the California School of Fine Arts in San Francisco. From the time he left home, his working career was restricted to menial jobs — as a warehouseman, a food checker at the Palace Hotel restaurant in San Francisco, and at the Hunt, Hatch & Company fruit cannery in Oakland. Indeed, his life was constantly circumscribed by material need and the necessity to work hard for subsistence. Gay's first known exhibition was the San Francisco Art Association Annual Exhibition of 1916, in which he had one painting. It is difficult to assess the distinctive beginnings or the promise of Gay's work because so few of his early paintings have been found, but it seems that his interest in structure and design was fundamental and that col-

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oristic innovations came later. We do know that Gay's experience on his uncle's farm matched the rural backgrounds of Gile and Logan and that he knew first-hand the country settings the group would choose to paint. And, although little is known from anecdote or written material, it appears certain that one of the most important things Gay brought to the group was a strong appreciation for French art. Gay's friends often commented on his "Frenchness." He was almost never without his beret and his glass of wine. Gay grew up far from Paris and sailed for the United States from the south of France, so it is unlikely that he saw the work of major French artists before he came to California. Nevertheless, his earliest known paintings, such as Untitled(Stevenson House), 28, and Woman in the Garden, 41, display a French sensibility and a respect for Impressionist antecedents that must have been a valuable impetus for the rest of the group. William Clapp, The New Church, Sketch, c. 1909, oil on board.

Gay was without pretension, and his personal stance was simple and unaffected. From the start he seems to have demonstrated an instinctive understanding of picture making, an original sense of color, and a desire to deal with important pictorial issues. And temperamentally, as Siegriest recalls, "[Gay] was a happy-go-lucky fellow. Nothing seemed to bother him. If it was raining he would paint indoors, through a mirror or something, and do still life. He never got mad. I never saw him mad in my life." 10

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Maurice Logan Maurice Logan's dual pursuit of bohemia and business success set him apart from the rest of the group. Indeed, his ambiguous loyalties provoked Giles scorn, while his work inspired admiration. Logan's stance is best summed up in the mode of dress he adopted in his studio during his adult years — he wore a three-piece suit with an artist's smock over it. His intense interest in painting and his ambitions for bourgeois respectability are themes that ran side by side from his childhood. A native of northern California, Maurice George Logan was born on 21 February 1886. His father was George W Logan and his mother Elizabeth Robinson, an English woman who died when Maurice was six months old." Within two years of her death, his father married Mary Jane Hayden Wood, who raised Maurice and his older sister, Jessie, along with five children of her own. According to Maurice's stepbrother, Walter Wood, their father was very strict and had definite ideas on raising children. He believed that children should not be sent off to school too early but should learn about the simple life of nature instead; he also believed that art, Maurice's interest from early childhood, was not quite respectable as a career for a young man. The Logan and Wood children did not begin grammar school until they were eight years old. This left them plenty of time to play and explore in the out-of-doors and learn about nature. When they reached school age, Walter remembers, he and Maurice walked the two miles from their father's farm on Lake Temescal to Peralta School. Walter describes his stepbrother as "full of fun" but as a lone wolf who liked to work in solitude even as a child. 12 Logan recalls his early aspirations: "Ever since I can remember I had wanted to be an artist. Even when I was a youngster on my father's farm . . . the bare smell of paint seemed to inspire me." 13 If accurately dated, an oil portrait of a boy, signed by Logan in 1891, was painted when the artist was five or six. Evidence of Logan's commitment was his extreme protectiveness of his hands. He never worked with them except when he painted; he considered them precious to his work and was careful not to hurt or callus them. In about 1898, the boy began taking art lessons after school from a Miss Clara Cuff. Since George Logan would not support his son's artistic inclinations, a friend of the family paid for the lessons. But George Logan indirectly played a role in Maurice's future career through his friendship with some bohemian neighbors. George was the superintendent of the Contra Costa Water Company, and the family lived at the lake made by Temescal Dam. The forested environs of the lake attracted a group of artistic and literary bohemians and other adventurous locals, who set up tent cabins during the warm summers. Long afterwards, Logan described the profound influence of his encounters with the bohemian group at Temescal on his art career: When I was twelve I used to go to a woman teacher out on Alcatraz

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Avenue on Saturdays and get a half-day of art lessons for a quarter. But after four orfiveyears 1 lost interest and gave up. ... {soon afterwards} a British painter, J.H.E.

Partington, and his son Dick came here {to Lake Temescal} and

pitched a tent. . . . It was not long afterwards that the Partingtons' "home" became a gathering place, especially on weekends, for men like {Jack} London, {Ambrose} Bierce, {Joaquin} Miller and {George} Sterling. I used to hang aroundfor many hours. Our family became quite friendly with these men. And all of a sudden this association rekindled my interest in painting, especially after watching the Partingtons at work .'4 Logan enrolled in the Partington Art School in San Francisco. After the 1906 earthquake destroyed the school, Richard Partington became curator of the Piedmont Art Gallery on Frank Havens's estate, and Logan assisted in the gallery. Partington's traditionally English technique in landscape and portraiture influenced young Logan's work in these genres. When Maurice was about eighteen years old, his father became superintendent at Lake Chabot near Oakland and gave up the farmhouse at Lake Temescal. Maurice and his brothers decided to rent an apartment for themselves and some friends in Berkeley during the winters and to continue to spend summers at Lake Temescal at the campground. Unlike George Logan, Maurice's stepbrothers always encouraged him to make use of his talent and supported him during his many years of art school. The post-earthquake years were productive for Logan. He was the first student to enroll in the newly named San Francisco Institute of Art when the school reopened after reconstruction in 1907, and he studied there from that year until 1913.'^ Among his teachers at the institute were Theodore Wores, PerhamNahl, and John A . Stanton. In those years, instruction at the school was a hodgepodge of conservative styles: the close-toned, atmospheric view of landscape practiced by Keith, Whistlerian nocturnes, Munich School Realism, and the California Decorative style. No paintings from Logan's San Francisco art school days have been located, but he probably produced the kind of academic work typical of the school's students. However, he must have demonstrated some talent, because he found himself in heady company Logan family farmhouse at Lake Temescal in Oakland. California, c. 1895. The streetcar to the left of the house sen vd as a bedroom for Maurice Logan. Walter Wood, and their brothers.

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when he was chosen to exhibit two paintings with his teachers and other establishment artists in the San Francisco Art Association's 1914 Annual Spring Exhibition of Paintings and Sculpture by California Artists. This was Logan's first known exhibition. Of all the Six, Logan had the lengthiest art school training. He had a scholarship for part of his expenses; for the rest, his brothers and roommates paid him to cook and keep house. They nicknamed him "Henny" for his domestic proclivity. Logan called the San Francisco Institute of Art his "home" and his "cradle." 16 And the long years he spent as a student finally brought him independence. By 1915 he had a studio of his own in San Francisco, work as a commercial artist, and a secret marriage to Bertha Kipke, a young woman whose family had camped at Lake Temescal and with whom Maurice had been keeping company for ten years. At this time he moved fortuitously to Chabot Road — a few houses away from Selden Giles future home. Logan was tall and distinguished looking, an English gentleman in appearance if not in speech. It was when he left art school to pursue a business career that he took to wearing a three-piece suit, simply adding a smock over the suit when painting in his studio. At least in costume, then, he managed to integrate his own artistic desires with his father's more pragmatic aspirations for him. Perhaps this amalgamation in his garb had a bit of humor to it as well, for Logan came to be

Selden Gile, Sausalito, 1918, oil on canvas. In Sausalito, Gile aspires to capture the world of leisure earlier evoked by the French Impressionists. But the setting for the u •hite garbed figures is a simpler one—the unpretentious buildings, rough-hmm docks, and empty hills of Marin County along San Francisco Bay. The atmosphere and luminous quality of the light belong to northern California, and despite the clearly intended delicacy, the hearty brtishwark and bold color harmonies reveal Gile's hand.

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appreciated by the Group of Six for his sense of humor and his penchant for practical jokes. Louis Bassi Siegriest Louis Siegriest and Bernard von Eichman were the youngest of the Six. Siegriest's high spirits would color his early painting, and his open nature would facilitate his role as apprentice and admirer. Siegriest's healthy sense of self-acceptance helped affirm the Six's belief in indigenous experience as the subject matter of their art and in the native tradition they followed. Siegriest was the son of a pioneering man who had crossed half the continent on foot — one of the tribe of sturdy adventurers who had come west and had found that "the new world is here." Siegriest's family allowed him the freedom to pursue life as he chose. Siegriest was born in Oakland, California, on 24 February 1899. He was the son of Louis Napoleon Siegriest, an easterner of German-Swiss stock, and Emilia Bassi, daughter of a French mother and Italian father who had come to Virginia City, Nevada, during the Gold Rush. As a young man, Louis senior had left the family horse farm in Virginia, hiked from Minneapolis to Vancouver, Washington, and from there had taken a boat to San Francisco. In one of his jobs he drove the first horse-drawn streetcars in Oakland; next he went into the Seiden Gilè, Joaquin Miller Home, 1915, oil on canvas.

heating-oil business and then made acetylene gas machines for home gaslights. He and Emilia Bassi married in 1888. They built the large Victorian house in north Oakland where the artist was born and where he has lived all his life. When electric lights put the elder Siegriest out of business, he retired and lived comfortably on income from property. When Lou was born, his father exclaimed, "What a handsome dude," and Dude became the boy's family nickname. Louis's lifelong friend and neighbor, Dewey Westaway, affectionately recalled him as a boy: Louie ivas always kind ofa scalawag. The kind ofa felloiv who threiv firecrackers in the church and hid in the girls' bathhouse—and things like that that ivould never occur to me. I guess there wasn't a day that I didn't go down to play with Louie when we were kids. Louie s place was quite large—lots ofplaces to run and hide in the trees. It was 1906and that was scary as hell. I was about eight years old at the time. The earthqtiakes lasted about three weeks. I think there were twenty-one real severe ones, and you never knew when one would come. Dude If mother and dad said, " You folks better not stay in the house. Come down and we'll all sleep in the tent" I can remember Louie's mother saying "Pa, you oldfool, why did you put the tent right in front of the house? If the house falls down now it will kill all of us? And he said "Don't worry, old woman. It'll take a long time before it falls. You'll have plenty of time to get out of the ivay'.'u

Louis Siegriest at age sixteen, 1915.

Siegriest family bouse. 5185 Miles Avenue, Oakland, California, 1915.

Siegriest's parents encouraged Louis's creative talents, enrolling him when he was fifteen in art classes three nights a week at the California School of Arts and Crafts, at that time in Berkeley, while he attended Oakland's University High School during the day. From early on, Siegriest wanted to be a cartoonist. In 1916 he won a comic strip contest in the San Francisco Chronicle sponsored by Bud Fisher, who drew Mutt andJeff. Siegriest remembers that "really started me, because all the kids said, 'Oh, this fellow's good because his name was in the paper,' and I thought I was also."18 His experience in life drawing class remains vivid: They put me in the cast class, which I wasn't too hot about. I wanted to go in the life class — I could see all these paintings in the other room. . . . I used to peek through the door to see what was going on in there. It was Professor {Perham} Nahl that was teaching, and at the end of the term I received a scholarship and he said that I could go into the life class, which almost stopped me because they were all older people. He put me right down in the front seat, and here this nude model came out, and I almost died. I couldn 't even look at her— I'd start to draw and sort of look up.w Commenting on that early experience, Andrée Maréchal-Workman noted in 1982 that "although he recovered from the shock, the experience seems to have carried with it an antipathy for the nude motif that persists to this day."-0 One of Siegriest's fellow students at Arts and Crafts — and soon his best friend — was Bernard von Eichman. In 1916, at von Eichman's

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urging, the two seventeen-year-olds transferred to the California School of Fine Arts on Nob Hill in order to study under Frank Van Sloun. After two and a half years of high school, Siegriest became a full-time day student at the school. When Van Sloun left and started a school of his own, Siegriest and about twenty other students followed, studying with him until 1919, when Van Sloun left for New \ork to teach at the Art Students' League for a year. Rudolph Schmidt, who attended classes with Siegriest and von Eichman, explains Van Sloun's popularity: "He wasn't rigid. \ou could do anything you wanted. He just wanted you to make a good picture."21 This was a change from the rigorous and academic teaching methods favored by more conventional Bay Area art school teachers. Frank Van Sloun was the first teacher to bring Robert Henri's message of American realism and self-confidence to the Bay Area. Van Sloun had studied with Henri at the Chase School in New % r k and had brought to San Francisco Henri's Ashcan school ideas — a preference for the raw, the real, and the hearty, and for American subject matter—in contrast to the genteel and refined art favored by the National Academy of Design. Boldness, Siegriest believes, was the most important thing he learned from Van Sloun, and he learned more by watching Van Sloun paint in class than by painting himself. "It gave me ideas," Siegriest says. Van Sloun . . . did the murals in the dining room of the Bohemian Club, and he took two of his students to help him. I was one. . . . It was my first job working on a big flat wall. . . . We knew quite a bit {about Van Sloun's} style of painting, . . . we'd go ahead and paint, try to imitate his style, then he woidd come along and sort ofpidl it together.11 His teacher's belief in the value of American art training and American themes validated Siegriest's homegrown vitality. Siegriest and von Eichman were among the first northern Californians to take to heart the important new idea that American art should reflect the real world of America and not imitate European sources. Gile also claimed Van Sloun as a teacher, although Siegriest believes the contact was informal and occasional. Van Sloun's ideas may have helped the group appreciate its own Americanness: while in Philadelphia and N e w a r k , Ashcan school artists used city life and ordinary people for subject matter, in California the "real world" was still nature, and this was the reality the Six wanted to depict in a vital way. Siegriest's memories of his art school days provide a vivid picture of the Bay Area art scene at the time: {Von Eichman} and I would go to {San Francisco} on Saturday evenings — we would visit other artists and art students, go to Bagini {Bigin J Bologna} and Coppa restaurants, where all the artists and poets hung out. . . . Those two restaurants were the only places I could get a drink of wine. . . . Artists and poets used to ivrite and sketch on the walls. They were covered with sketches and poetry. . . ,2i

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Since the early 1900s, Coppa's restaurant had been the gathering place for most of the Bay Area literary and artistic bohemians. For years, its owner and genial chef, Giuseppe Coppa, allowed poor artists and writers to enjoy his Turinese cooking on credit, and the restaurant's location in the famous Montgomery Block building assured its popularity. Siegriest remembers seeing Maynard Dixon, Xavier Martinez, Gottardo Piazzoni, Henry Varnum Poor, Sadakichi Hartmann, and George Sterling there, all colorful personalities who were regarded as celebrities by the younger artists. He recalls: Von Eichman — who everyone called Red on account of his fiery red hair—and I would order spaghetti and a bottle of red wine, sometimes two if we could hold it. , . . We would meet other art students and for a dollar ive would have a wonderful time. 'Course, those days we didn't have an automobile — it came later—so we would have to take it easy on the red wine so we could make the ferry boat. The last boat was 2 A.M.; if we didn't make that one we were sunk 'til 5 A.M. I know we missed it a few times rA William Clapp, Houses Along the Estuary, c. 1920-1930, oil on board. Opposite: August Gay, Woman in the Garden, c. 1923, oil on canvas. This canvas reflects the three large ingredients of Gay's vision in the early 1920s: it is French, Californian, and modem. The immediate impression is of a harmonious French scene—a Bonnard-like figure in its dappled environment. On second view, however, the light is stark and crisp; astringent color juxtapositions evoke the clarity and intensity of California sunlight. Brushstrokes and colors are bold andforthright. Gay's own modernist techniques keep the piece from being precious. Wayne Thiebaud notes, "There's a tiny little piece of bright red in the center, like a nailed compositionalforce; everything else sort of spins around from it'.'

All this time, Siegriest remembers, he was looking at billboards and thinking, "That's what I want to do." A family friend, poster artist Maurice del Mue, got him a job with Foster and Kleiser, the major outdoor advertising firm in San Francisco. Maynard Dixon, best known for his modernist desert paintings, also painted posters for the firm. Siegriest's bold and simple poster style would never intrude upon his fine art; rather, it seemed to spring from a separate aesthetic

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source. His painting was modern from the start, showing little holdover from earlier California landscape modes, and his contribution to the Six was youthfulness and a playful exuberance. Siegriest's color was often fresh and original, and from the beginning he was interested in structure and lines of force as subject matter. His earliest works (for example, Oakland Quarry, 91, and Old Warehouse, 89) show a concern with directional thrusting forms; shallow depth of field; textured, rough brushstrokes; and an active surface alive with linear jottings of c o l o r — a l l characteristics that presage his painting later in the twenties. Bernard von Eichman Siegriest's friend and classmate Bernard von Eichman was the wildest and least settled member of the group. His red hair and volatile disposition captured the imagination of the others. They found him a compelling subject to paint as well as an intriguing friend. A l t h o u g h they laughed at his antics, their act of painting him may be seen as a form of concern and an acknowledgment that he lived close to the edge in his life and art during the years they knew him. Bernard James von Eichman was born in San Francisco on 4 October 1899. In his later life von Eichman was uncommunicative about his past, but newspaper interviews in the twenties provide some background, some of which von Eichman invented: He got his first inspiration as an artist from an aunt who made pretty designs on china plates and cups and saucers when he was four years old. When he was about that age he was allowed to visit his aunt, who lived in the Santa Clara valley. He saw her doing interesting things with brushes and colors and promptly went out and painted everything in sight, including the barn. Ofcourse the youngster was soundly spanked and sent to bed. But he kept on painting. And a very few years later he went back to the valley — this time to 'follow the fruit? And this time he earned fifty dollars. When he returned to Oakland in the autumn he persuaded his parents that he had learned enough ofgrammar and arithmetic and geography and history and that he really should go to art school. He was only ten but he went. And he has been going to art school ever since, both here and in the East, when he wasn 't laying bricks or shoveling coal. And all these years he's been painting, steadily, without a letup of even a few weeks P Florence Lehre, W . H . Clapp's assistant and friend, also wrote of von Eichman's early art interest: The red-headed boy.. . was more than ordinarily fond of drawing and painting. He would sit in his room evenings making picture after picture. And as each was completed, it was pushed aside or thrown upon thefloor.In time—so the story goes — the thousands of discarded drawings underfoot made such a pile that tables, chairs, and the prolific draughtsman were in danger of being pushed through the ceiling by the force of art.2''

Von Eichman had a difficult childhood. In fact, for a period he lived the life of a street urchin. What he did confide about his family was sketchy. Harsh memories made him reticent on one hand and influenced him to fantasy on the other. His account of his father's history is an example: he described Charles von Eichman as a German baron who was forced to leave Germany as the result of a duel. His father, he said, had intended to go to Africa but fate intervened — the first boat leaving was headed for San Francisco. Red kept a picture postcard of a castle that he claimed belonged to his father's family. The cold reality was that Charles von Eichman had abandoned his family when Red was about twelve, fleeing to Mexico to escape business problems in the United States. Red's mother and her two sons were left destitute. Painfully, von Eichman recalled searching in garbage cans for food to help feed his mother, his brother, and himself. At thirteen, he left school to work as a bricklayer, and his mother took a variety of menial jobs before she remarried.27 Despite his hardship, in 1915 von Eichman managed to go to night classes at Berkeley's California School of Arts and Crafts. There he became friends with Siegriest, whom he convinced to transfer with him to the California School of Fine Arts to study with Frank Van Sloun. Along with the friendship between Gile and Gay, this boyhood alliance would contribute markedly to the cohesiveness of the Six. Von Eichman was Van Sloun's prize pupil, according to Louis Siegriest. He exhibited a technical ease and highly modern approach that distinguished him from the rest of the class; in fact Van Sloun chose him to make a mural border in chalk around the classroom. But certain aspects of von Eichman's personal situation as well as his painting style set him apart from his classmates, and these exposed him to broadening experiences that would have an impact on his art. While still a teenager, he earned money by shipping out from time to time on merchant marine ships as an oiler or a fireman, often traveling to Seattle but also to the East Coast and the Orient. His sophistication and worldliness greatly impressed Siegriest: I guess because be got around the world a lot, I admired him. He seemed to know a lot about the French painters, and although he painted in the Impressionist style he knew what else was going on in Europe. He was in New York when the big murals show was there. He used to talk about Cezanne, Manet, Renoir, Braque, Kandinsky, Matisse, Klee, Rouault, etc., but that didn't make too much of an impression on meat that time. . . ,2H When von Eichman and Siegriest first met, Red was a funloving teenager with something wild and erratic about him. "He was a fiery red-haired fellow and very husky. I remember when he would shake hands with you he would almost put you on your knees."29 Both Siegriest and fellow student Rudolph Schmidt recalled his penchant for pulling outrageous stunts with no explanation:

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{One} evening he asked me to come to his studio. I will neverforget it as long as I live. . . . When he opened the door he lit a match andput it against the wall—it was a burlap wall—and the whole wall caughtfireand went out quickly — it just burnt off the nap. He thought it funny, but I couldn't see anything funny about it.i0 Fire itself seemed to hold a fascination for von Eichman. When Siegriest later mentioned this incident to Red's mother, she told him that Red had scared her badly as a child by lighting several fires. Once as a small boy he had put a match into a trunk because he had wanted to see fire engines. Interestingly, von Eichman's wartime work was stoking furnaces aboard ship. In an article she wrote in 1928, Florence Lehre related, "Then came the war. The youth went voyaging about the world in the stokeholds of ships, putting coal into furnaces as furiously as he had once put art into drawing. Sometimes finding time for art, but more frequently finding time for life — as the sailor finds life."31 Though von Eichman's contact with the larger art world added to his sophistication, he would prove to be less centered than the others. Siegriest accused his friend of "jumping around too much." And although Red's voyages and his intellectual curiosity stimulated his art, his family believes he felt inferior because he had not finished high William Clapp, Sailboat in the Sun, n.d., oil on masonite.

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school and regretted all his life that he was not able to go to college or study art in Europe. This feeling may have contributed to a lack of confidence in his own art and to the eclectic tendencies that would emerge in his paintings during the twenties. William Henry Clapp William Clapp came to the group as an already accomplished and recognized artist in Canada and Europe. He brought a measure of worldliness to the others, initially as a resource from the larger art world and an encourager of the emerging group and later as their ingenious promoter. His family's wide-ranging travels in his youth and his foreign study gave Clapp an international grounding that enlarged the horizons of all the Six. William Henry Clapp was born in Montreal on 29 October 1879 to Ann Elizabeth Clapp and George Parker Clapp of Massachusetts. George Clapp had served in the navy in the Civil War and was

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William clapp, Children Wading

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an entrepreneur and adventurer who traveled widely and made and lost a number of fortunes. The family moved to Oakland in 1885, and young William attended Oakland public schools until they returned to Montreal some time before 1900. He was deeply affected by the death of his only sister, Edith, from tuberculosis at seventeen in 1892. Perhaps owing to this early experience, he lived with his parents for the rest of their lives. Art in Montreal at the turn of the century was determinedly academic, ruled by a taste for somber, Barbizon-type landscape and Whistlerian atmosphere. In 1900, at the age of twenty-one, Clapp enrolled in the Montreal Art Association's school, and for four years he studied with the foremost teacher in the city, William Brymner, who encouraged his most gifted students to study in Paris at the academies catering to foreigners, as he himself had done. This was encouragement that Clapp would eventually take. Clapp's fellow student and good friend was Clarence A . Gagnon, who would later become a well-known expatriate painter. In 1900, '02 and '03, Clapp and Gagnon took plein-air painting excursions at Saint-Joachim and Baie-Saint-Paul, two isolated villages north of Quebec City on the St. Lawrence River, favored by painters such as Brymner. Gagnon and Clapp were "a new breed of artist-visitor," hardy campers who immersed themselves in nature, traveling long distances by foot in summer and on skis in winter, sometimes setting up paints and easels outside in extremely cold conditions. 32 It was here that Clapp first worked with an artist friend who valued humble rural subjects over elegant ones and sought direct contact with the elements. When he moved to California, Clapp would find in Selden Gile another intrepid soul who enjoyed painting in the open. The conservative painting on Clapp's easel in the accompanying photograph is representative of the work he did before his trip to Europe. At about the same time, Clapp painted a self-portrait that communicates the young man's self-possession and romantic inner life (47). In the fall of 1904, Clapp joined Gagnon and Montreal artists Henri Hébert and Edward F. Boyd in an apartment in the Montparnasse quarter of Paris. Clapp's painting was transformed by his voyage to France. Soon after his arrival there he fell under the spell of Monet, so much so that Brymner wrote in a letter to Gagnon in 1906, "Tell [Clapp] that Monet is often good but that there are others. One of the others is to be Clapp one of these days, not a Clapp-Monet."" The timing of Clapp's journey to France was excellent. "There is a difference between living in a place where things are talked about and living in a place where they are done; and Paris in 1904 was the place where things were being done."54 Indeed, Picasso had just arrived in Paris; Matisse and the Fauves-to-be were painting and showing together; works by Cézanne, Gauguin, Bonnard, Vuillard, and Signac were being exhibited and talked about. It was the most exciting and significant of times. Clapp attended the 1905 Salon d'Automne, at

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which the Fauves made their historic debut. The importance of the new movements was not obvious to all artists at the time, however; French art schools were still largely academic. The École des Beaux-Arts and private institutions such as Académie Julian, where Clapp studied, taught timeworn techniques and encouraged imitation over originality. During the four years he studied at the Académie Julian, the Ecole de la Grande Chaumière, and the Académie Colarossi, Clapp held Monet, Pissarro, and Renoir as heroes, but his teachers were Jean-Paul Laurens, the old-guard painter of the imposing murals at the Panthéon; Tony Robert-Fleury; Lucien Simon; and Ernest-Joseph Laurent. Clapp's student days in Paris established his longstanding Impressionist view of landscape and his academic idealization of the female nude. H e was invited to show in the 1906 Salon dAutomne, and he established himself among the young Canadian independents of his day." A.Y. Jackson, a Montreal contemporary who later helped form the

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impressed and influenced by their progressive ideas. 36 Clapp, Gagnon, and Jackson were part of the group of progressive young artists who, with the more established James Wilson Morrice

jf rk: Hirshhorn Foundation, 1963), for the catalogue raisonné of the Armory Show; Officiai Catalogue, Department of Fine Arts, Panama-Pacific International Exposition (San Francisco: Wahlgreen, 1915); John E . D . T r a s k a n d J . Nilsen Laurvik, eds., Catalogue De Luxe of the Department of Fine Arts, Panama-Pacific International Exposition, 2 vols. (San Francisco: Paul Elder, 1915); Fine Arts, French Section : Panama-Pacific International Exposition, San Francisco, 1915 (Paris: Librarie Centrale des Beaux-Arts), 1915. 17. Brown, American Painting, p. 64. 18. Louis Siegriest, taped interview, Oakland, California, 22 May 1984. 19. Eugen Neuhaus, The Galleries of the Exposition (San Francisco: Paul Elder, 1915), pp. 13—14. 20. The outbreak of World War I in August 1914 closed many usual avenues of contact for exhibitions. J . Nilsen Laurvik, of the Department of Fine Arts, traveled to Venice, Vienna, and Budapest to secure the majority of works shown in the International Section. Because packers and boxmakers in Budapest were fighting in the war, Laurvik filled a huge furniture-moving van with the paintings he had gathered, sent it by flatcar to Genoa, and then had it moved intact onto the transport Jason (courtesy of the United States government), which sailed directly to San Francisco. There the van was finally unpacked at the door of the Palace of Fine Arts. Thirty German paintings did make it to the exposition, however, captured in mid-Atlantic from a German ship returning from a 1914 Carnegie Institute exhibition and rerouted to the San Francisco fair. 21. Trask and Laurvik, Catalogue De Luxe of the Department of Fine Arts, vol. 1, p. 30. 22. Ibid, p. 25. 23. " B u t it was at the Panama-Pacific Exposition in San Francisco that Impressionism, and especially American Impressionism, enjoyed its most complete triumph. Impressionist works dominated the show, Impressionist artists painted many of the murals, and the public and critics acclaimed the style. Impressionists were everywhere and en masse: there was an entire wall of paintings by Monet." William H . Gerdts, American Impressionism (New % r k : Abbeville, 1984), p. 301. In an earlier essay, Gerdts commented that Impressionism "had become officially 'historicized' [at the Panama-Pacific International Exposition}. . . . the exhibition proved not only that American art had come of age, but that California, more specifically, had begun to make valid artistic contributions. In addition to Keith, Mathews and McComas, a whole host of younger regional artists were represented, and among these, Joseph Raphael and Euphemia Charlton Fortune received silver medals. B u t there were new forces present too; critics discussed and disputed the merits of such painters as Robert Henri and George Bellows, though it was too soon to expect the shadow of the recent Armory Show to fall upon an official exposition. B y 1 9 1 5 , as the Exposition in San Francisco so concretely showed, Impressionism had become a piece of art history. . ." American Impressionism (Seattle: Henry Art Gallery, University of Washington, 1980), p. 126.

Annex presented some of the most advanced artists of the fair — the Futurists, Kokoschka, and Munch — in addition to a mixed selection from Norway, Austria, Hungary, Spain, Germany, and England, ranging from innovative artists to second-generation interpreters and academicians. 25. See Illustrated Catalogue of the Post-Exposition Exhibition in the Department of Fine Arts, Panama-Pacific International Exposition (San Francisco: San Francisco Art Association, 1916). Three Picasso paintings were listed in the catalogue of the Post-Exposition Exhibition: Violon et flacon, Portrait, and Les Arbres. Picabia had two entries: C'est de moi qu'il s'agit and Animation. Armory show organizers Arthur B . Davies, Walt Kuhn, and Elmer Livingston MacRae were newcomers. 26. Siegriest interview, conducted by Lynne Kramlich and Nancy Boas, Oakland, California, 27 December 1979. 27. William H . Clapp's journal, 5 October 1939, Archives of California Art, Oakland Museum.

Chapter 4 1. Laura Bride Powers, "Will Bohemia Rise in Oakland?" Oakland Tribune, 22 April 1917, lists Clapp and Gile as present at an organizational meeting of an East Bay artists' club. 2. Siegriest and Siegriest, "Louis Bassi Siegriest," P-753. A l l quotes this paragraph ibid., pp. 75 and 76. 4. Ibid., p. 76. 5. Ibid., p. 89. 6. Ibid., p. 90. 7. Ibid., p. 92. 8. Ibid., p. 94. 9. Siegriest interview, 22 J u l y 1983. 10. Interview with Paul Carey, conducted by Lynne Kramlich and Nancy Boas, Piedmont, California, 1 October 1980. 11. Siegriest and Siegriest, "Louis Bassi Siegriest," pp. 8 0 - 8 1 . 12. Louis Siegriest, taped interview, Oakland, California, 20 September 1984. 13. For example, the Ten American Painters showed together in N e w Y } r k from 1898 to 1918 to express independence from the Society of American Artists and to retain control over the way their paintings were exhibited. But the Ten were not a closeknit group, nor were the Eight, who showed together in N e w "York only once, in 1908. Canada's G r o u p of Seven was one of many groups during this period to come together based on shared common artistic principles. The foreword to their first exhibition catalogue in May 1920 stated that these artists "held a like vision concerning Art in Canada. . . that an Art must grow and flower in the land before the country will be a real home for its people." Dennis Reid, then of the National Gallery of Canada, Ottawa, wrote in the 1970 pamphlet reconstructing the first show, "The t e x t . . . . is as close to a manifesto as the Group of Seven were ever to venture." The Futurists, who had issued a manifesto earlier in Italy, made their American debut at the ppie, and published a nineteen-point version in the exposition catalogue. The Dadaists' manifesto, Dada est Americain, appeared in 1920. In 1 9 2 3 , "The Group of Independent Artists" in Los Angeles held its first exhibition, and Stanron Macdonald-Wright wrote a manifesto for the catalogue introduction.

24. Interview with William Gaskin conducted by Lewis Ferbraché, 28 February 1964, Archives of California Art, Oakland Museum, tape 1. The

14. Earlier artists who had a close and long-term association include the summer art colonists of Dublin and Cornish, N e w Hampshire, in the late 1880s and 1890s, and in Woodstock, N e w York, in the 1910s. B y the early twentieth century, summer art colonies such as Cos Cob, Old Lyme, Provincetown, Taos, and Woodstock were becoming important centers for learning, camaraderie, the exchange of ideas, and access to unjuried shows. Colonies, often centered around a summer art school, aired ideas of American Impressionism and Post-Impressionism,

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and provided a network for artists away from the domination of the monolithic N e w \brk art world. But their northern California locale distinguished the Six by affording them continuity. In colder climates, summer colonies from Maine to Pennsylvania offered artists seasonal access to nature and plein-air painting. Many of these artists congregated in N e w York City and other urban centers during the cold winter season, painting in their studios and exhibiting in well-known metropolitan galleries, but the mild California climate enabled the Six to live the summer colony life year round. 15. Selden G i l e , letter to Louis Siegriest, Belvedere, California, 18 November 1927. A l l letters from Selden Gile to Louis Siegriest are from a series of photocopies supplied by Siegriest. A set is filed in the Archives of California Art, Oakland Museum. Originals are located in the Louis B . Siegriest and Edna Stoddart Papers, Archives of American Art, Smithsonian Institution, Washington, D . C . Some typographical and grammatical errors in the letters have been corrected. Thaddeus Welch was a California painter of landscape in the picturesque style. 16. Selden G i l e , letter to Louis Siegriest, 15 November 1927. 17. Aline Kistler, San Francisco Chronicle, 29 April 1928. 18. Selden G i l e , letter to Louis Siegriest, 19 November 1927. 19. Ibid. 20. "Se rappeler qu'un tableau — avant d'etre un cheval de bataille, une femme nue, ou une quelconque anecdote — est essentiellement une surface plane recouverte de couleurs en un certain ordre assemblées? Maurice Denis, Théories, 1890-1910 (Paris: RouartetWatelin, 1920), p. 1. 21. Robert V Howard, "Remarks on Price," undated, docent file, Monterey Peninsula Museum of Art. 2 2 . A Tribute to C.S. Price (Portland, Ore. : Portland Art Museum, 1976) n.p. 23. This and the remarks in the next paragraph from Wayne Thiebaud, taped interview, San Francisco, 12 March 1987. Thiebaud goes on to point to other fundamental aspects of G i l e s work: "all those rather pedantic, formal issues concerning a way of knowing in the paint how to use things like pressure, tension, where the brushstroke can be in terms of its tempo — how fast, how slow, how immediate, how notational, or even how adroit and succinct in terms of summing up a kind of shorthand notation of form. A n d in the Gile paintings I've seen over the years now, he has an amazing record of achievement in terms of pure formal relationships such as touch, balance, and structure." 24. Wayne Thiebaud, taped interview, San Francisco, 13 April 1987. 25. Siegriest and Siegriest, "Louis Bassi Siegriest," p. 81. 26. J a y Hannah, taped interview, N e w London, Connecticut, 2 December 1983. 27. Siegriest and Siegriest, "Louis Bassi Siegriest," pp. 8 1 - 8 2 . 28. Ibid., p. 82. 29. Some unsigned works found in G i l e s estare may well have been painted by Gay. A n example is a self-portrait by Gay, previously attributed to Gile (160). 30. Siegriest and Siegriest, "Louis Bassi Siegriest," pp. 9 2 - 9 3 . 31. Carey interview, 1 October 1980. 3 2 . Paul Carey, "Maurice Logan Exhibition" (brochure), Bohemian Club, San Francisco, 29 Sept e m b e r - 3 1 October 1975. 33. Siegriest and Siegriest, "Louis Bassi Siegriest," p. 94. 34. The remarks in this paragraph, ibid., pp. 13 and 19. 35. In 1972, for the first Society of Six retrospective, Siegriest wrote dates on many canvases painted decades earlier. His memory for facts, he said, was always better than for dates, and he has now concluded that many of the dates given as pre-1920 are probably closer to 1925 (see list of illustrations).

3 6. Christina Orr-Cahall, ed., The Art of California (Oakland: Oakland Museum, and San Francisco: Chronicle Books, 1984), p. 109. 37. Siegriest and Siegriest, "Louis Bassi Siegriest," pp. 8 2 - 8 3 . 38. Siegriest interview, 20 November 1983. 39. Spang interview, 18 January 1984; interview with Paul Oz conducted by Lynne Kramlich and Nancy Boas, Larkspur, California, 20 October 1980. Eichman and Eichman interview, 23 November 1985. 40. Interview with Louis Siegriest, conducted by Lynne Kramlich and Nancy Boas, Oakland, California, 14 January 1980. Prior to 1915 the group had little exposure to art magazines and books, beyond International Studio, but the books, magazines, and reproductions that von Eichman brought back from his travels gave the Six new visual information, and Clapp had books and examples to share as well. 41. John Caldwell, in Impressionism: A California View (Oakland, Calif.: Oakland Museum, 1981), p. 12. 4 2 . Edward Doro, The Society of Six, unpublished essay, The Louis B. Siegriest and Edna Stoddart Papers, Archives of American Art, Smithsonian Institution, Washington, D . C . , and Archives of California Art, Oakland Museum. 43. Doro's version: "probability of improbability or" seems to have been mistranscribed.

Chapter 5 1. Laura Bride Powers, 'Artists and Their Work: Revolutionaries of the Past Grow Soberer," San Francisco Chronicle, 14 January 1923. Jehanne Bietry Salinger Carlson remembers that while this was the first important showing of French painting since the fair, it had a conservative tinge (taped telephone interview, San Francisco/Monterey, 26 February 1986). The oils in the exhibition included one Cézanne (A Tiger), three Derains, three Gauguins, two Matisses, one Monet (Marine), two Bonnards, eight Renoirs, two Sisleys, and a Toulouse-Lautrec. Regarding watercolors, there were one Cézanne (Trees), six Signacs, and three Vlamincks as well as works by René Menard, Henri Le Sidaner, and others not currently looked on as progressive lights in the avant-garde. This exhibition, organized by M. d' Oelsnitz of Paris, was one result of Piazzoni and Stackpole's trip to Paris in 1922. 2. Beatrice Judd Ryan, "The Rise of Modern Art in the Bay Area " California Historical Society Quarterly 38 (March 1959): 1—2. 3. The retrospective section of the inaugural show was strong, offering an oil and two watercolors by Cézanne, six oils from Brittany and Tahiti by Gauguin, three Manets, eight Monets, four Pissarros, seven Sisleys, a Toulouse-Lautrec, and two van Goghs. However, the "modern" section was filled with painters not well known today, such as Paul Bret, Paul Jouve, René Piot, and André Sureda. The most progressive works in the modern section appear to be several by Bonnard, Denis, Marquet, Vallotton, and Vuillard. 4. Mme. Ryan's "innovators" were Maynard Dixon, Gottardo Piazzoni, Ralph Stackpole, Rinaldo Cuneo, Helen Forbes, Otis Oldfield, Nelson Poole, Edgar Walter, Charles Stafford Duncan, RayBoynton, and Sargent Johnson. Ryan, "The Rise of Modern Art," p. 2. 5. Rivera had a show in August 1927 at the Galerie Beaux Arts of drawings for the Ministry of Education frescoes in Mexico City, and thus began his major influence on the Bay Area art scene. Ryan claims that this was Rivera's first gallery showing in the United States and notes that it was not listed in his biography. In November of the same year the East-West Gallery exhibited Rivera works from Bay Area collections. Ralph Stackpole had met Rivera on his 1922 Paris trip, and later went to study with him in Mexico. Ryan, "The Bridge Between Then and Now," unpublished manuscript, Bancroft

Library, University of California, Berkeley, no date. 6. Otis Oldfield was another proponent of modernism in San Francisco in the twenties. After spending fifteen years in Paris, he returned to teach at the California School of Fine Arts, where he adopted the young Chinese immigrant Yun Gee as his protégé. Oldfield imparted his love of Cubism to his precocious student, and "Yun Gee soon evolved a style of fragmented colored planes that he called Diamondism. In his use of color, the scale of his work, his subject matter of intimate city scenes, and his spirit of experimentation, Y i n Gee bears a resemblance to von Eichman at that time. Together Oldfield and Yun opened the Modern Gallery, a cooperative, on Montgomery Street, near Chinatown. In 1926 Y i n Gee founded the Chinese Revolutionary Artists Club, where he taught painting to young ChineseAmerican students. Prominent French patrons encouraged him to move to Paris; in 1927 he left the Bay Area permanently.

the similarities did not strike him until Scheyer's introduction of Feininger's work. 17 . Scheyer's shows included the following: Thirty European Modernists [including Feininger, Gauguin, Kirchner, Kandinsky, Picassso, Matisse, Nolde] (January 1928); block prints and etchings by Lyonel Feininger (January 1929); oils, watercolors, and lithographs by Wassily Kandinsky (April-May 1929); Constructivism by German and Russian artists (May 1930); Dadism by Kurt Schwitters and Moholy-Nagy (June 1930); The Blue Four, (AugustSeptember 1931), incorporating the first comprehensive American display of Feininger's oils and watercolors, according to Clapp letter to Dorothy C. Miller, Museum of Modern Art, N e w Y > r k , Oakland, 18 September 1944; Carlos Merida watercolors (July-August 1932); Alexander Archipenko, sculpture and paintings (November—December 1933); Wassily Kandinsky paintings (January 1935); paintings by Paul Klee (September 1935).

7. Clapp was described as the "quiet deep-thinking, deep-feeling director" by Laura Bride Powers in the Oakland Tribune, 18 March 1923. Josephine Bentham gave Clapp credit for being "obviously Chief Encourager of the group, about whom the circle swings" although most critics called Gile "captain" of the group (The Post Enquirer, Oakland, 29 March 1923).

18. The Modern French and American Exhibition, a traveling show assembled by New Y>rk art dealer E. Weyhe, came to the Oakland Art Gallery in October 1927, providing the first in-depth view of Alfred Maurer's work in northern California. Maurer was one of the best known Americans painting in Fauvist style, and his early landscapes in vivid colors and expressive design shared an affinity with Giles. The exhibition also included works by Signac, Dufy, Hartley, Maillol, Matulka, and Vlaminck.

8. A selection of major Oakland Art Gallery exhibitions, excluding Galka Scheyer's, are George Bellows (1917); Impressionist Painting by Western Artists (1924); The New Mexico Painters (1925); Synchronism, Stanton Macdonald-Wright and Morgan Russell (1927); Modern French and American Exhibition (1927); Abstract Paintings, including Braque, Léger, Miro, Picasso, Orozco, Rivera, Weber, and Park (1933); and David Park, watercolors (1934). 9. Siegriest interview, 22 July 1983. 10. Taped interviews with Clapp's stepsons, Donn Schroder, Carmel, California, 22 September 1983, and Jack Schroder, Oakland, California, 5 May 1984. 11. Sara Campbell, ed., The Blue Four Galka Scheyer Collection (Pasadena: Norton Simon Museum of Art at Pasadena, 1976), p. 11. 12. On 3 September 1924, Scheyer wrote: "Dear Sir, Having been invited to America by Professor Churchill of Smith College to arrange for exhibitions and lectures on 'Modem Art in Hillyer Art Gallery, I should like to exhibit and lecture in other leading institutions, including yours. . . ." On 17 September 1924, Clapp replied affirmatively. Letters in Galka Scheyer file, Archives of California Art, Oakland Museum. The Daniel Gallery in New York showed the Blue Four in February and March 1925, and Scheyer lectured before art classes at Smith College, Columbia University, and Iowa State College on her way westward. 13. Nadia Lavrova, "Prophetess of'The Blue Four' Discusses Modern Art," San Francisco Examiner, 1 November 1925. 14. In his foreword to The Blue Four catalogue of the Oakland Art Gallery, Oakland, California, May 1926, Clapp wrote, "We Americans have read of Kandinsky, Feininger, Jawlensky and Paul Klee repeatedly in the art magazines and in books on art — notably Western Art by Katherine S. Dreier, Cubism and Post Impressionism by Arthur Jerome Eddy, Since Cézanne by Clive Bell, A Primer of Modern Art by Sheldon Cheney, Spiritual Harmony by Kandinsky and Modern Art by Willard Huntington Wright." In these books (whose titles Clapp abbreviated) the Six saw illustrations of works by Feininger, Klee, Kokoschka, Matisse, Derain, Gauguin, and Picasso. 15. Siegriest and Siegriest, "Louis Bassi Siegriest" P- 21. 16. Siegriest interview, 14 January 1980. Actually Siegriest had been "tipping" houses earlier, and a painting entitled Tipping Houses appeared in the 1925 Society of Six show in Los Angeles, before Scheyer had come to San Francisco. Siegriest may have seen reproductions of Feininger's work earlier, or perhaps

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19. Willard Huntington Wright, "The Seven Arts," The Bulletin, 29 March 1919. Southern Californian Wright spent several months in San Francisco writing weekly articles on the seven arts from a progressive viewpoint. The series ran from 15 February to 26 April 1919. 20. Josephine Bentham, in a 29 March 1923 article in the news section of the Post-Enquirer, Oakland called the group the "Society of Six." In an 11 March 1928 article in the Oakland Tribune, Florence Lehre reported that "during their First Annual — six years ago — the group had no name. Jennie Vennerstrom Cannon, art critic, viewed the exhibition and elected herself'godmother' to the clan. She named it the 'Society of Six.' The 'Six' approved." 21. Laura Bride Powers, Oakland Tribune, 11 March 1923, 22. Bentham, Post-Enquirer, 29 March 1923. 23. Ibid. 24. Powers, Oakland Tribune, 11 March 1923. 25. Ibid. 26. Powers, Oakland Tribune, 7 January 1923. 27. The list of paintings comes from the review by Powers, Oakland Tribune, 11 March 1923. In this case the titles Chinatown, Chotv House, and Monterey do not identify specific paintings; the Six often applied the same name to several works. No catalogue for the first exhibition has been located. 28. Powers, Oakland Tribune, 11 March 1923. 29. Lehre, Oakland Tribune, 11 March 1928. 30. "Oakland Offers Most Alive Show in State," OaklandTribune, 30 March 1924. 31. H . L . Dungan, OaklandTribune, 3 May 1925. 32. St. John, Society of Six, p. 24. 33. As reported by H . L . Dungan, Oakland Tribune, 19 June 1925. Beatrice Judd Ryan was interested in having the show in her Galerie Beaux Arts after it closed in Oakland in what would have been the group's only San Francisco display, but scheduling and other complications intervened. The exhibition took place in Los Angeles from 18 July to 30 August 1925. Thereafter, no trace of it can be found in the cities to which it was supposed to travel until letters sent in November 1926 from Los Angeles to Portland and Seattle museums indicate that efforts were made by the Western Association of Art Museum Directors to arrange other venues. See letter from Clifford Jennings Greene, Seattle, to Anne Crocker, Portland, Oregon, 12 November 1925, Seattle Art Museum files, University of Washington Libraries, manuscripts section. Correspondence indicating that the boxes of paintings

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were returned from Los Angeles to the Oakland Art Gallery on 19 January 1926 are the last clues on the subject. One may assume that the paintings did not leave Los Angeles for another city between September 1925 and January 1926, and no trace of a Society of Six show has been uncovered for 1925 or 1926 in the designated cities. The Los Angeles catalogue provides a checklist of paintings that were shown there, one that was rather close to if not identical with that for the 1925 Oakland show, according to a letter from Clapp. (Clapp had hoped the traveling show would contain works from the two earlier Society of Six exhibitions.) But since the only Society of Six catalogues the author has been able to locate are from the 1925 Los Angeles exhibition and the 1928 Oakland exhibition, it serves as a valuable tool for identifying and dating some known works. Among the interesting paintings are Dinner (75), by Gile; and Outside (69), Yellow House (153), Garage, and Tipping Houses by Siegriest. 34. "Six Society's Ranks Thin as Someone Hisses," Oakland Tribune, 7 March 1927. 35. H.L. Dungan, Oakland Tribune, 27 March, 1927. 36. Selden Gile letter to Louis Siegriest, 13 February 1928. 37. Selden Gile letter to Louis Siegriest, 24 March 1928. 38. Lehre, Oakland Tribune, n March 1928.

Chapter 6 1. During the six years of Society of Six shows, the artists also exhibited as individuals in the Oakland annuals and jury-free shows begun by Clapp, and in San Francisco Art Association annual exhibitions (see exhibition history). 2. William Gaw's work was strongly stylized and vividly colored. As a teacher, he had an analytical and intellectualized approach that Gile scorned. Gaw taught for many years at the California School of Fine Arts; he also served as chairman of the Mills College art department from 1940 to 1957. He was one of the few veterans that Douglas MacAgy retained when he took charge of the California School of Fine Arts in 1945, and thus provides a link between the era of the Six and the post-war period. Hassel Smith, interview, Oakland, California, 10 January 1986. "Many of us remained associated with Gaw for many years after we left the school {CSFA]. Although our major influence was [Maurice] Sterne, Gaw was the person permanently associated [with the school] with whom we had the most continuing relation, and undoubtedly with his very direct and colorful way of painting"

15. According to Gile letter to Siegriest, 24 March 1928. 16. Scheyer also admired Californians Maynard Dixon, Peter Krasnow, Frank Van Sloun, and photographers Edward and Brett Weston and Imogen Cunningham, whose works are represented in her collection at the Norton Simon Museum, Pasadena. Scheyer was refused a teaching position at the University of California, Berkeley in 1927. She left San Francisco for Hollywood soon after the Western Association of Art Museum Directors' traveling exhibition opened in spring 1929. After bitter attacks on Kandinsky by Bay Area art figures such as Ray Boynton, she was hoping for a more receptive audience in southern California. The avant-garde Los Angeles collectors, Louise and Walter Arensberg, appreciated the Blue Four, but generally the Depression, a lag in artistic taste, and the coming war in Europe made Scheyer s task a difficult one. She persisted in her devotion to her artists throughout her lifetime and died in Los Angeles in 1945. Her collection, originally slated for the University of California in her will, was not accepted because of conditions of the bequest, and was donated to the Pasadena Art Institute, now the Norton Simon Museum, Pasadena. 17. Lehre, Oakland Tribune, 4 March 1928. 18. Lehre, Oakland Tribune, 2 September 1928. 19. Gile letter to Siegriest, 1 May 1928. Although Gile may have struck some people as dreadfully crude, Lehre knew him better than that and pointed out his deeper side, particularly his compassion for other artists. This was evident in his role as unofficial host and advisor to visiting artists. 'Always, when any artist started a life class, Gile was quite sure to be his first pupil. Not because he was anxious for instruction (in most cases he was more highly skilled than the teacher), but because his desire to help the other fellow impelled him. Always if an artist were hungry, either for good food or for good fellowship, he hied himself to Giles studio home, and there received both, without stint. And frequently he received, too, an embarrassingly frank analysis of his personal appearance, his artistic shortcomings — and a loan of good hard cash. A rough tongue and an open hand have combined with a furious painting energy to make a character whose importance in the community has been realized only since he has forsaken our city for the more picturesque Belvedere, in Marin County." Lehre, Oakland Tribune, 2 September 1928.

3. Lehre, Oakland Tribune, 9 September 1928. 4. Lehre, Oakland Tribune, 11 March 1928. 5. Oakland Tribune reviews of 3 May 1925 and 4 April 1926 illustrated two of von Eichman's paintings that are now lost. 6. Gile letter to Siegriest, Belvedere, California, 24 March 1928. 7. MaryMcPhail, OaklandTimes, 9 March 1928. 8. Lehre, Oakland Tribune, 9 September 1928. The watercolors described in the review belong to the Oakland Museum. 9. Louis Siegriest, taped interview, Oakland, California, 21 March 1986. 10. Louis Siegriest, taped interview, Oakland, California, 7 August 1985. 11. 'African Sketches by Maurice Logan," Art World, 31 March 1925. 12. Selden Gile, letter to Louis Siegriest, 15 November 1927. 13. Oakland Tribune, 29 August 1926 and 10 July 1927, comment on Logan and Giles Grand Canyon trip. In 1925 the New Mexico painters, including Ernest Blumenschein, John Sloan, and Andrew Dasburg, exhibited in Oakland in one of the first contacts between the two regional groups. 14. Selden Gile, letter to Louis Siegriest, 1 May 1928.

20. William Clapp's journal, undated, p. 2, Archives of California Art, Oakland Museum. "It should be the object of the impressionist to paint the seeing of nature rather than nature itself— nature as seen, not as it is. Nature as it is is a matter for the microscope, the scientist and probably the photographer. The significance of nature and its interpretations on a plane surface should be the field of the painter.'' 21. Siegriest interview, 20 November 1983. 22. William Clapp, "The Oakland Art Gallery's System of Three Juries," undated statement in Archives of California Art, Oakland Museum. 23. Albright, Art in the San Francisco Bay Area, p< 424. Gene Hailey, "Is it Bad Art or Bad Nudes?" San Francisco Chronicle, undated (1927), Archives of California Art, Oakland Museum. 25. Mary McPhail, "Hundreds Flock to Art League Show; Exhibit Born of Controversy Sets Mark," OaklandTimes, 13 February 1928; and H.L. Dungan, 'Art War in the Unfortified City of Oakland," The Argus, February 1928, p. 7. 26. Selden Gile, letter to Louis Siegriest, Oakland, California, 8 February 1927. 27. Some say Gay moved in 1922, but 1919 is most often given. He may have gone back and forth to the Bay Area frequently in the early years and settled in completely by 1922. 28. Interview with Jayne Chaix conducted by Terry St. John, Alameda, California, June 1972. 29. Clapp, letter to August Gay, Oakland, California, 10 June 1924, filed in the Archives of California Art, Oakland Museum.

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30. The founding committee of the Del Monte Art Gallery, led by Keith, Peters, and Eugen Neuhaus, also included Martinez, Mathews, and Piazzoni. Josephine Blanch, the gallery's second curator, called Monterey "the Barbizon of California." 31. William Merritt Chase's Carmel summer classes in 1914 and 1915 gave northern California artists their first chance to study with a prominent East Coast Impressionist on their home ground. Charlton Fortune had studied with Chase in the East and arranged for his invitation to teach at DeNeale Morgan's Carmel Summer School of Art. It was an influential visit. Chase's elegant touch suited the refined sensibilities of the establishment of painters in Carmel. In contrast to the fairly rigid instruction then prevalent in the West, Chase, although conservative in style, encouraged experimentation and freedom in his students. Other exposures to American Impressionists came through the visits of three other members of the Ten American Painters — Childe Hassam, Robert Reid, and Edward Simmons —who came to San Francisco to paint mural decorations for the Panama-Pacific International Exposition. Bellows's visit during the summer of 1917 was also interesting to the Six. Not only did he display some of the rough-and-ready masculine subject matter that brought him success and controversy, but his response to California's topography occasionally matched their own. The output of Bellows's four-month stay was exhibited at the fledgling Oakland Art Gallery and drew mixed reviews. Logan and Gile were particularly drawn to Bellows's rendering of light and dark, and his unvarnished American vitality. 32. The Bruton sisters returned to the Bay Area at the end of the twenties, but kept their adobe studio-house in Monterey and lived there again in the late thirties. 33. Esther Bruton Gilman, taped interview, Monterey, California, 10 November 1983. 34. Helen and Margaret Bruton, taped interview by Terry St. John, Monterey, California, 21 July 1972. 35. Hansen studied at the Mark Hopkins Institute of Art with Mathews, then studied in Stuttgart, Munich, and Paris, and in Holland and Belgium. He returned to the Bay Area in 1912 and won a silver medal at the PPIE. He was elected an associate of the National Academy of Design in 1926, and a full academician in 1948. 36. Helen Bruton, taped interview, Monterey, California, 4 April 1983. 37. Helen and Margaret Bruton interview, 21 July 1972. When Siegriest commented to Helen Bruton that he thought Gay was influenced by Hansen a good deal, she replied, "Well, that's possible. He might have thought he should be influenced by Armin Hansen, but I don't know about that." 38. Kent Seavey in Monterey: The Artist's View, 1925-1945, exhibition catalogue, Monterey Peninsula Museum of Art, 1982, p. 12. 39. Helen and Margaret Bruton interview, 21 July 1972. 40. Armin Hansen interview, unidentified newsclipping, 1953, archives of Betty Hoag McGlynn, Carmel, California. Siegriest points out Hansen's influence on Gay, whether as a student or peer, in his stylized harbor paintings and blue-violet-red palette. Siegriest interview, 10 December 1982. On 31 October 1920, Laura Bride Powers reported that August Gay had "fallen under the influence of Armin Hansen while working in Monterey — a beneficent influence, let it be said." 41. Siegriest interview, 20 November 1983. 42. Siegriest says they liked Piazzoni "because he was so simple." Taped interview, Oakland, California, 5 February 1985. From Piazzoni, Price learned the ideas that led him from cowboy illustration to painting as a personal expression, and also received the encouragement to persevere. 43. John Cunningham, Montery Peninsula Herald, 31 October 1950. 44. Terry St. John in Impressionism, The California

View (Oakland, Calif.: Oakland Museum, 1981), p. 19. 45. Howard, "Remarks on Price." 46. Ibid. 47. Salinger, "The Monterey Group," The Argus, June 1927. 48. Helen Bruron interview, 4 April 1983. 49. Maribeth, San Francisco Examiner, 18 January 1959. It was Fortune's desire to "achieve a balance between old and new and to avoid the extremes of either 'plaster saints or incoherent rubbish.'" 50. The teredos was exhibited at the Golden Gate International Exposition in 1939. Candlesticks carved by Myron Oliver and gilded by August Gay are in the chapel at Carmel Mission. 51. In addition, the guild craftsmen produced candlesticks, altar cloths, vestments, and light fixtures. The eleven original members of the Monterey Guild—which included Myron Oliver making furniture, Robert Petersen working wrought iron and brass, August Gay as painter and gilder, and sculptors Roy Zoellin and Frederick Todd— remained together until the beginning of World War II (John Woolfenden, Monterey Peninsula Herald, 12 February 1968). 52. Amelie Elkinton, taped interview, Carmel Valley, California, 18 March 1984; Chaix interview, June 1972.

Chapter 7 1. New Deal Art: California (Santa Clara, Calif.: de Saisset Art Museum, University of Santa Clara, 1976), pp. 69-70. 2. Growing American isolationism in the twenties and disenchantment with transplanted European ideas led many American artists, particularly the Regionalists, to search for homegrown sources of inspiration and to reject abstraction as a foreign intrusion. Nationally, abstraction played a minor part in public art in the thirties. 3. In northern California, Maxine Albro, Marian Simpson, Clifford Wight, and Matthew Barnes worked with Rivera; Bernard Zakheim studied with him; and Ralph Stackpole, Lucien Labaudt, and Victor Arnautoff demonstrated his influence. Zakheim learned from Orozco, and Millard Sheets worked with Siquieros at the Chouinard Art School in Los Angeles in 1932. 4. Radical commentary was rare in California, limited largely to San Francisco's Coit Tower murals, which show their debt to Rivera's politics as well as his style. 5. This stay in San Francisco was Rivera's introduction to the United States and marked the beginning of an important period in his development, his exploration of the life and people of this country. New images went into the creation of his San Francisco frescoes: The Making ofa Fresco at the California School of Fine Arts, which depicted the artist at work, and Riches of California, at the Stock Exchange, which showed the state's bounty; both murals incorporated his friends as models. His San Francisco frescoes bridged the gap between his Mexican frescoes, which were rooted in native sources, and his later industrial murals of Detroit and New York. Diego Rivera joined Clapp and Legion director Lloyd Le Page Rollins in writing the foreword to the two 1931 Blue Four catalogues, attempting to use his considerable prestige to educate the skeptical western public. 6. Rivera had gone to the Peninsula to visit Mrs. Stern for a short rest and ended up spending six weeks on the commission. Her mural is now at the University of California, Berkeley. 7. Hassel Smith, taped interview, Oakland, California, 10 January 1986. 'At the University [of California] during this period, there was entrenched faculty that taught a kind of desiccated cubism." 8. Siegriest interview, 22 July 1983. 9. Hofmann's first United States exhibitions took place at the California Palace of the Legion of Honor

in San Francisco and Haviland Hall at the University of California, Berkeley, in August 1931. Parallel to Rivera's influence, Hofmann's painterly lessons and formal innovations brought another important strain to Bay Area art, which continued to be felt into the 1950s. At the end of his life, Hofmann gave his personal collection of his paintings to the University Art Museum, Berkeley, California. The brief visit of Henri Matisse to San Francisco in March 1930 was another interesting footnote to the times. His visit was treated more as a social event for a visiting dignitary than as an opportunity to learn from the master. Gottardo Piazzoni's daughter, Mireille Piazzoni Wood, remembers meeting Henri Matisse at a party given in his honor at Ralph Stackpole's studio. Wood attended a party for the Riveras, also at Stackpole's studio, in November of that year. Aline Kistler, "Henri Matisse Here on Way to South Seas," San Francisco Chronicle, 23 March 1930. I am indebted to John O'Brian for information regarding Matisse's visit. Matisse's work was not given a full display locally until 1936, when the newly opened San Francisco Museum of Art held a one-man exhibition.

opening show was a collection of forty-five French Impressionist and Post-Impressionist works loaned by local collectors and several New York galleries, and an exhibition of Chinese art. 28. In 1933, during Scheyer's last trip to Germany, the Bauhaus in Dessau closed, the Blue Four dispersed to safer havens, and Scheyer brought back what art she had been able to rescue. Feininger came to teach summer school at Mills College in 1936 and 1937 and then moved to New \brk permanently. Clapp and Scheyer arranged exhibitions of the Blue Four and other avant-garde Europeans to tour under the aegis of the Western Association of Art Museum Directors. Nineteen thirty-one saw two Blue Four exhibitions in the Bay Area: in the spring at the California Palace of the Legion of Honor in San Francisco and in the fall at the Oakland Art Gallery. On Scheyer's return from Europe, Clapp wrote her on 5 July 1933: "We were just on the point of sending forth inquiries to discover whether you had survived the Hitler episode. Knowing your enthusiasm for liberty and modernity, we were somewhat afraid you might get into difficulties."

10. Louis Siegriest, taped interview, Oakland, 10 December 1982. "\bu know the funny thing about Gile — he drank like everyone else, but I never saw him drunk. Then he got in with this fellow and his girlfriend and they would drink every night and then he got so he had to have it all the time. He used to have us come over on Sunday for brunch. He got so bad we hated to go over. He got to be an alcoholic. I never thought it would end up like that." 11. Siegriest interview, 20 September 1984. 12. "The Knave" column on the front page of the Oakland Tribune, 21 February 1934, mentions this trip. 13. Gile letter to Siegriest, 15 November 1927. 14. Gile letter to Siegriest, 18 November 1927. 15. Selden Gile letter to Nellie Gile McGuigan, Belvedere, 26 November 1928. 16. Logan particularly admired eastern watercolorist John Whorf; it may have been Whorf's 1930 Oakland Art Gallery exhibition that encouraged Logan to concentrate on that medium. Artists of the California Watercolor Society included Millard Sheets, Dong Kingman, Rex Brandt, Emil Kosa, Phil Dike, and George Post, many of whom earned their livings in advertising, poster illustration, and film art. Also known as the "White Paper Painters^ many of them were artists Logan counted as friends, 17. Rene Weaver, taped interviews, San Francisco, 14 and 21 June 1984. 18. Ibid. 19. Paul Carey became a partner in the firm in later years and accompanied original Society of Six members on occasional outings in the thirties. He continued to paint with Lundy Siegriest and Terry St. John in the eighties. 20. Siegriest interview, 20 September 1984, 21. Louis Siegriest, taped interview, Oakland, California, 15 April 1986. 22. There were many name changes in the family: Mildred Stazer had changed her name from the Polish Stazewski; she encouraged von Eichman to change his name to Eichman to avoid anti-German sentiment in New York; their son Paul changed his last name to Oz. Bernard von Eichman signed his name with a lowercase von on his 1926 marriage license, but some of his paintings have an uppercase Von on the verso, and in his September 1928 exhibition he signed his watercolors Eichman. 23. Oz interview, 20 October 1980. 24. Ibid. 25. Oakland Tribune, 4 October 1931. 26. Among Clapp's other visitors were University of California art professors Erie Loran, Glenn Wessels, and Worth Ryder, and painter Alexander Nepote. 27. Gile, Gay, and Logan showed at the opening exhibition of the San Francisco Museum of Art, which incorporated the Fifty-fifth Annual of the San Francisco Art Association. Also part of the museum's

29. Clapp supported painter and WPA administrator George Biddle's national campaign to help artists, corresponding with him on his survey of artists' income during the Depression. 30. See correspondence, Oakland Art Gallery personnel files, Oakland History Room, Oakland Public Library 31. Helen Bruton, taped interview, Monterey, California, 4 April 1983. 32. Bruce and Jean Ariss, taped interview, Monterey, California, 11 June 1984. 33. Bruton interview, 4 April 1983. 34. Elkinton interview, 18 March 1984. 35. Ariss interview, 11 June 1984. 36. Elkinton interview, 18 March 1984, and Ariss interview, 11 June 1984. 37. Although Frances Elkins's fame was curtailed by her geographic isolation, "Billy Baldwin, the late dean of American interior design called her 'the most creative decorator we ever had, and perhaps the greatest."' Dupuy Warrick Reed, "A New American Style," Connoisseur (January 38. Elkinton interview, 18 March 1984. 39. Ellwood Graham, taped interview, Monterey, California, 17 November 1985. 40. Helen and Margaret Bruton interview, Monterey Peninsula Museum of Art docent files, undated. The WPA selection committee consisted of E. Charlton Fortune, Armin Hansen, and Francis McComas, according to information in the archives of Betty Hoag McGlynn. 41. Bruton interview, Monterey Peninsula Museum of Art docent files. 42. Ariss interview, 11 June 1984. 43. Ibid. 44. Ibid. 45. Scardigli, personal communication, 20 November 1985. 46. Doro, "The Society of Six." 47. Ariss interview, 20 November 1985. 48. Monterey Peninsula Herald, 9 March 1948. 49. A label on the back of the painting indicates it was exhibited in the exposition's Art Exhibition by California Artists, however it is not listed in the catalogue. 50. Clapp journal, 22 March 1939.

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Chapter 8 1. Elmer Benson's building now houses the Belvedere Christian Science Reading Room. Giles quarters had a front-window view of San Francisco across the bay. The weekend cottage that was his first Marin County dwelling still stands, at 118 Main Street in Tiburon; it has been remodeled and moved to an adjacent lot. 2. Livesey is remembered as "the greatest character that ever lived in Belvedere. . . . She was a very perceptive woman . . . [with] sharp brown eyes that

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looked right through you . . . she always wore a little shirt striped like a man's, collar and tie, tailored suit. . . . She always had a parrot on her shoulder. . . . She adored [Gile] . , . she loved his work, she felt he was misunderstood." Olive Fetherstonhaugh, taped interview, Belvedere, California, 17 February 1983.

strange and unreal, part child-like, part akin to the kind of Mexican folk art that also inspired Rivera." In his essay in the same catalogue, Charles Shere describes Edna as "the anchor of the family — the unchanging, ongoing awareness of the mystery, sometimes romantic, even sentimental, which surrounds the energy and forcefulness that Louis and Lundy dealt with."

3. Fetherstonhaugh interview, 17 February 1983. The material in succeeding paragraphs is from this interview. 4. Howard Devree, 'Art: American Watercolor Society Exhibition," New York Times, 1 April 1958. 5 . San Francisco Chronicle, 23 March 1977. 6. OaklandTribune, 21 October 1962. 7. Thomas Albright, San Francisco Chronicle, 5 J u n e 1975. 8. Thomas Albright, San Francisco Chronicle, 10 February 1979. 9. Louis Siegriest, taped interview, Oakland, California, 4 January 1986. 10. Ibid. 11. Alexander Fried, "Siegriests Call O f f Disputed Nude Art Show," San Francisco Examiner, 11 J u n e 1952. Lundy Siegriest encountered another censorship attempt several weeks after the de Young Museum incident, when another private citizen accused him of having painted a sacrilegious painting of a "trampled crucifix." The careers of father and son suffered from further efforts at censorship during this time. The split between progressive and conservative artists continued during this period, the McCarthy era, with the Siegriests in one camp and Maurice Logan in the other.

1. Paul Mills, taped interview, Santa Barbara, California, 3 February 1984. 2. Robert Rosenblum, "The Primal American Scene," in The Natural Paradise, Painting in America 1800-1950 ( N e w York: M u s e u m of Modern A r t , 1976), p. 16. Rosenblum mentions Californians Gottardo Piazzoni and Maynard Dixon as well as Georgia O ' K e e f e , Marsden Hartley, Milton Avery, J o h n Marin, and Arthur G . Dove, as precursors of abstract painters Still, Rothko, and Pollock.

12. Siegriest interview, 4 January 1986. 13. Charles Shere in The Siegriests, A Family of Artists and Their Work (Davis: Richard L. Nelson Gallery, University of California, 1980). 14. Siegriest interview, 20 September 1984. 15. Thomas Albright in The Siegriests, A Family of Artists and Their Work. Albright describes Stoddart's paintings as "enlivened by a 'primitive sense of the

3. Serge G u i l b a u t , How New York Stole the Idea of Modern Art (Chicago and London: University of Chicago Press, 1983), p. 177. 4. "Grace McCann Morley, Art, Artists, Museums and the San Francisco Museum of Art," an interview conducted by Suzanne B . Reiss, Northern California Oral History Project, Bancroft Library, University of California, Berkeley, i960.

16. Allan Temko, San Francisco Chronicle, 23 March 1981. 17. Nathan Oliveira, taped interview, San Francisco, 23 February 1984. 18. Siegriest interview, 20 September 1984. 19. Siegriest interview, 4 January 1986. 20. Charles Shere, The Tribune, Oakland, California, 24 February 1985. 21. Siegriest interview, 4 January 1986. 2 2 . Ibid.

Conclusion

5. Henry Hopkins in Painting and Sculpture in California: The Modern Era (San Francisco: San Francisco Museum of Modern Art, 1977), pp. 25 and 27. 6. During this time, St. John, an artist himself, became intrigued with the idea of plein-air painting as practiced by the Six; in the course of the friendship he developed with Louis and Lundy Siegriest, the trio began taking painting excursions together. W h e n Louis's eyesight kept him from painting, Lundy and Terry St. John continued as the nucleus of an expanded group, which included Paul Carey, Peter Brown, and others, choosing sites frequented by the Six that were still unchanged — such places as Benicia, Mount Diablo, and China C a m p in Marin County. The friendship and artistic association between Lundy Siegriest and St. John continued until Lundy s death in 1985. 7. Selden Gile also received a large one-man show at the Walnut Creek, California, Civic Arts Gallery in 1983. 8. George Neubert in Society of Six, p. 7. 9. Elizabeth Hall, taped interview, Belvedere, California, 26 October 1983. 10. Mills interview, 3 February 1984. 11. Wayne Thiebaud, 'As Far As I'm Concerned, There Is Only One Study and That Is the Way in Which Things Relate to One Another," Untitled y—8, (Carmel, C a l i f . : Friends of Photography, 1974), p. 24. 12. Helen and Margaret Bruton interview, 21 J u l y 1972. 13. Beatrice J u d d Ryan, "The Bridge Between Then and Now," p. 158. 14. Richard Diebenkorn, letter quoted in St. J o h n , Society of Six, p. 27. 15. Selden G i l e letter to Louis Siegriest, Belvedere, California, 29 November 1927.

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Because the artists rarely inscribed dates on the works at the time of execution and none kept inventories, the dating of the paintings by the Society of Six is problematic. In some instances, dates were inscribed on the backs of the works decades after they were painted. The problem has been compounded by conflicting "circa" dates that have been published. The dates in this book represent the author's opinion based on most recent research. In cases in which a date inscribed on the back of the work is at variance with that reached through new research and revised recollections by Louis Siegriest, the new date is given followed by the inscribed date in brackets. The majority of the works by Selden Gile and August Gay and some of those by the other members of the group were not titled by the artists. In these instances, the author has listed the titles that have been most commonly used or published and have indicated alternate titles where appropriate. Dimensions are given in inches, height preceding width. Photography by Cecile Keefe unless otherwise noted. Because some of the paintings have changed hands since the original publication of this book in 1 9 8 8 and their present ownership is unknown, the attribution "private collection" is given.

Color Illustrations Page 1 Selden Gile, The Red Earth, c. 1 9 2 8 , oil on canvas 3 1 '/2 X 37 Vi inches, Private collection. Chapter 1 Page 1 2 Selden Gile, Sausalito, 1 9 1 8 . Detail (see p. 36). Page 1 7 William Clapp, The Village laundry, France, 1 9 0 8 , oil on board, 1 0 X r 3 inches. Private collection. Page 20 William Clapp, Morning in Spain, 1 9 0 7 , oil on canvas, 2^/a X 36I/2 inches. Collection of the National Gallery of Canada, Ottawa. Photograph courtesy of the National Gallery of Canada, Ottawa. Chapter 2 Page 24 August Gay, Woman in the Garden, c. 1 9 2 3 . Detail (see p. 4 1 ) . Page 28 August Gay, Untitled {Stevenson House), n.d., oil on canvasboard, 1 3 V4 X 1 6 V4 inches. Collection of The Oakland Museum. Bequest of Olympe Allegretti. Page 29 Selden Gile, Bridge, 1 9 1 5 , oil on canvas, 1 2 X 1 6 inches. Collection of Dr. and Mrs. Morton A, Meyer, Berkeley, California.

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Page 3 3 William Clapp, The New Church, Sketch, c. 1 9 0 9 , oil on board, 9V4 X i3 l /4 inches. Private collection. Page 3 6 Selden Gile, Sausalito, 1 9 1 8 , oil on canvas, 1 2 x 1 6 inches. Private collection. Page 37 Selden Gile, Joaquin Miller Home, 1 9 1 5 , oil on canvas, 1 1 V 2 X 1 4 ^ inches. Collection of The Oakland Museum. G i f t of Louis Siegriest.

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watercolor on paper, 9 X 11V2 inches. Private collection. Page 6 1 Selden Gile, Bernard von Eichman Painting in His Yard, c. 1 9 2 3 — 1 9 2 6 , oil on board, 9 X 7I/2 inches. Collection of Mrs. George Moncharsh. Page 63 August Gay, Garden Scene, n.d., oil on panel, 15V4 X 1 8 l A inches. Private collection.

Page 40 William Clapp, Houses Along the Estuary, c. 1920— 1 9 3 0 , oil on board, 1 5 X ijVa inches. Collection of The Oakland Museum. G i f t of Mr. and Mrs. Donn Schroder.

Page 64 Louis 18X15 charsh. Louis 15 x 18

Page 4 1 August Gay, Woman in the Garden, c. 1 9 2 3 , oil on canvas, 20 X 1 6 inches. Collection of Mr. and Mrs. Robert Aichele.

Page 65 Selden Gile, Red von Eichman, c. 1 9 2 3 — 1 9 2 6 { 1 9 2 0 and 1 9 2 6 } , oil on canvas, 20 x 1 6 inches. Collection of The Oakland Museum. G i f t of Louis Siegriest.

Page 44 William Clapp, Sailboat in the Sun, n.d., oil on masonite, 1 0 X 1 0 inches. Private collection.

Page 67 Louis Siegriest, Tiburón Buildings, c. 1 9 2 3 { 1 9 1 9 } , oil on board, 1 1 lA X 15V4 inches. Private collection.

Page 45 William Clapp, Children Wading, c. 1 9 0 9 , oil on canvas mounted on board, 28 X 35 l /2 inches. Private collection.

Page 68 Louis Siegriest, My Garage, 1 9 2 1 , oil on board, 1 4 X 16I/2 inches. Private collection.

Page 48 William Clapp, Birdnesting (also known as Summer), c. 1 9 0 9 , oil on canvas, 361/2 X 1&/4 inches. Collection of The Oakland Museum. G i f t of Mr. and Mrs. Donn Schroder. Page 49 Louis Siegriest, Untitled {House and Garden), n.d., oil on masonite, 1 1 V 4 X 1^/4 inches. Collection of The Oakland Museum. G i f t of Louis Siegriest. Selden Gile, Trees, 1 9 2 4 , oil on board, 1 9 X 1 6 inches. Fine Arts Museums of San Francisco. G i f t of the Thiebaud family. Chapter 3 Page 52 Louis Siegriest, Outside, c. 1 9 2 1 - 1 9 2 3 . Detail (see p. 69). Page 56 Selden G i l e , Portrait of Red von Eichman, c. 1 9 2 3 1 9 2 6 , oil on panel, 14V4X 16V4 inches. Private collection. Page 57 Louis Siegriest, Von Eichman in Gile's Yard, c. 1 9 2 3 - 1 9 2 6 [ 1 9 2 0 ] , oil on board, 15I/2 X 11I/2 inches. Private collection. Page 60 Selden Gile, Still Life in Chabot Garden (also known as Table with Wine, Glass), c. 1 9 2 0 - 1 9 2 5 ,

Siegriest, Fartnyard, c. 1 9 2 4 , oil on panel, inches. Collection of Mrs. George MonSiegriest, Untitled {House), n.d., oil on panel, inches. Collection of Paul and J a n Mills.

Page 69 Louis Siegriest, Outside [also known as Outside {Seattle)}, c. 1 9 2 1 - 1 9 2 3 [ 1 9 2 0 } , oil on board, 11I/2 X 1 6 inches. Private collection. Page 70 Selden Gile, Marin Dairy, n.d., oil on canvas, 1 5 X 1 8 inches. Private collection. Maurice Logan, The Old Milk Ranch, 1 9 2 5 , oil on board, 1 0 X 1 2 inches. Collection of the Nora Eccles Harrison Museum of Art, Utah State University, Logan. G i f t of the Marie Eccles Caine Foundation. Chapter 4 Page 7 2 Selden Gile, Untitled {Cows and Pasture), n.d. Detail (see p. 76). Page 7 5 Selden Gile, Dinner, 1 9 2 3 , oil on panel, 9 X 1 2 inches. Collection of The Oakland Museum. G i f t of Louis Siegriest. Page 7 6 Selden Gile, Untitled {Cows and Pasture), n.d., oil on canvas, 1 2 X 1 6 inches. Collection of Mr. and Mrs. Robert Aichele. Page 7 8 Selden Gile, Tree and Hill, 1 9 3 2 , watercolor on paper, 9 X 1 2 inches. Collection of Mrs. George Moncharsh. Selden Gile, Five Cows and Pond, 1 9 3 1 , watercolor on paper, 9 X 1 \ Va inches. Private collection.

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Page 8 1 Selden G i l e , Tree, 1 9 3 2 , watercolor on paper, 1 2 X 9 inches. Collection of Henry H. Brandon.

Page 1 0 8 Selden G i l e , Tiburon Housetops, c. 1 9 2 7 , oil on canvas, 3 0 X 3 6 inches. Private collection.

Louis Siegriest, Yellow House, c. 1 9 2 5 [ 1 9 1 8 } , oil on board, 1 2 X 1 6 inches. Collection of Roselyne and Richard L. S w i g .

Page 82 Selden G i l e , Untitled. (Country Scene), n.d., oil on canvas, 1 1 X 1 5 inches. Collection of T h e Oakland Museum. G i f t of Louis Siegriest.

Page n o Selden G i l e , The Red Tablecloth (also known as View from the Room), c. 1 9 2 7 , oil on canvas, 3 0 X 3 6 inches. Private collection.

Page 1 5 6 A u g u s t Gay, View of Old Monterey from Rooftop of Stevenson House, 1 9 2 7 , oil on board, 2 0 X 24 inches. Private collection.

Page 84 Maurice Logan, Alaska Packers Yard, Alameda, c. 1 9 2 0 , oil on canvas, 1 3 X 1 8 inches. Collection of The Oakland Museum. G i f t of Dr. and Mrs. Frederick G . N o v y , J r .

Page 1 1 2 Selden G i l e , Circular Walk, c. 1 9 2 6 , oil on board, 1 5 X 1 8 inches. Private collection.

Page 1 5 7 August Gay, Old Marsh's Studio, 1 9 3 1 , oil on board, 1 3 X 1 5 inches. Private collection.

Page 1 1 7 Bernard von Eichman, Self-Portrait, 1 9 2 6 , oil on masonite, 11V2X 9V2 inches. Collection of T h e Oakland Museum. G i f t of Louis Siegriest.

Page r6o A u g u s t Gay, Self-Portrait, c. 1 9 2 6 , oil on panel, 1 8 X 1 6 inches. Private collection.

Page 85 Selden G i l e , Tiburon Houses [also known as Tiburon {and Belvedere) Houses], c. 1 9 2 7 [ 1 9 4 5 ] , oil on panel, 24 X 3 0 inches. Collection of Mr. and Mrs. W i l l i a m L. McDonald. Page 86 Maurice Logan, View of Rocks by the Sea (also known as Untitled, Carmel), c. 1 9 2 6 , oil on canvas, 30 X inches. Private collection. Page 88 Selden G i l e , Quarry (also known as Rockridge Quarry), n.d., oil on canvas, 1 6 x 1 2 inches. Private collection. Page 89 Louis Siegriest, Old Warehouse, 1 9 1 9 , oil on board, 1 2 X 1 6 inches. Private collection. Page 9 1 Louis Siegriest, Oakland Quarry, c. 1 9 1 7 [ 1 9 2 0 ] , oil on board, 1 2 X i6lA inches. Collection of T h e Oakland Museum. G i f t of Louis Siegriest. Page 9 3 Maurice Logan, Point Richmond, 1 9 2 9 , oil on canvas, 1 5 X 1 8 inches. Collection of T h e Oakland Museum. G i f t of Louis Siegriest. Page 94 Bernard von Eichman, Industrial Buildings, c. 1 9 2 6 — 1 9 2 8 , watercolor on paper, 13Va X 9V4 inches. Beale Memorial Library, Bakersfield. Page 96 W i l l i a m C l a p p , Water Scene, c. 1 9 2 0 — 1 9 3 0 , oil on panel, 1 8 X 1 5 inches. Collection of The Oakland Museum. G i f t of Mr. and Mrs. Donn Schroder. Page 97 W i l l i a m Clapp, Estuary Dwellings, c. 1 9 2 0 — 1 9 3 0 , oil on panel, 2 0 X i6'/2 inches. Collection of T h e Oakland Museum. G i f t of Mr. and Mrs. Donn Schroder. Page 98 Selden G i l e , Boat and Yellow Hills, n.d., oil on canvas, 30 l /2 X 3 6 inches. Collection of The Oakland Museum. G i f t of Dr. and Mrs. Frederick G . N o v y , J r .

Page 1 6 6 A u g u s t Gay, Self-Portrait, 1 9 2 4 , oil on canvas, 1 2 X 1 4 inches. Collection of T h e Oakland M u s e u m . G i f t of Louis Siegriest.

Page 1 1 8 Bernard von Eichman, Hong Kong Scene, c. 1 9 2 2 , watercolor on paper, i3 l /2 X tfA inches. Private collection.

Chapter 8 Chapter 6

Page 1 6 8 A u g u s t Gay, Monterey Pier, 1 9 2 4 . Detail (see p. 1 7 6 ) .

Page 1 2 0 Bernard von Eichman, China Street Scene # 1 , 1 9 2 3 . Detail (see p. 1 3 0 ) .

Page 1 7 1 Selden G i l e , Still Life, n.d., oil on canvas mounted on panel. 4V4 X 6 1 /2 inches. Collection of Dr. and Mrs. Morton A . Meyer, Berkeley, California. A u g u s t Gay, Untitled {Monterey Houses), n.d., oil on board, 1 0 X 1 1 V 2 inches. Collection of The Oakland Museum. Bequest of O l y m p e Allegretti.

Page 1 2 3 Bernard von Eichman, Hong Kong, c. 1 9 2 2 , watercolor on paper, 1 1 lA X 8V2 inches. Private collection. Page 1 2 5 Bernard von Eichman, Chinese Market, c. 1 9 2 2 , watercolor on paper, ~JVH X 7 inches. Collection of Dr. and Mrs. Morton A . Meyer, Berkeley, California.

Page 1 7 2 A u g u s t Gay, Old Wharf, Monterey, c. 1 9 2 6 , oil on masonite, 1 2 X 1 6 inches. Private collection. A u g u s t Gay, Reflections of Three Small Skiffs on Water, 1 9 3 5 , oil on board, 1 1 X 1 4 inches. Fine Arts Museums of San Francisco. G i f t of the Chaix family.

Page 1 2 6 Bernard von Eichman, Alley in China, c. 1 9 2 2 , watercolor on paper, 1 ilA X 8 inches. Private collection. Page 1 3 0 Bernard von Eichman, China Street Scene # 1 , 1 9 2 3 , oil on board, 1 9 V 4 X i6lA inches. Collection of The Oakland Museum. G i f t of Louis Siegriest.

Page 1 7 3 A u g u s t Gay, Fishing Boats from the Water Side, n.d., oil on board, 6V2 X 8V2 inches. Private collection. Page 1 7 4 A u g u s t Gay, Stevenson House, Monterey, c. 1 9 2 8 [ 1 9 3 2 ] , charcoal and graphite on paper, 29V4 X 3 0 inches. Private collection. A u g u s t Gay, Front View of Stevenson House, Monterey, 1 9 2 9 , oil on board, 1 1 X 1 4 inches Private collection.

Page 1 3 3 Bernard von Eichman, China Street Scene # 2 , 1 9 2 3 , oil on board, 2 1 X 1 4 inches. Collection of The Oakland Museum. G i f t of Louis Siegriest. Page 1 3 7 A u g u s t Gay, Untitled (Farm House, Rolling Hills), n.d., oil on board, 20 X 2 4 inches. Private collection.

Page 1 7 6 A u g u s t Gay, Monterey Pier, 1 9 2 4 , oil on board, 1 1 V 2 x 14^2 inches. Collection of Ronald A. Mickelsen, H a l f Moon Bay, California.

Page 1 3 8 A u g u s t Gay, Untitled (Carmel Valley), c. 1 9 2 5 , oil on board, 9V4 X i^A inches. Collection of The Oakland M u s e u m . Bequest of O l y m p e Allegretti. A u g u s t Gay, Ranch in Carmel Valley (also known as Red Barn), 1 9 2 5 , oil on board, 12V4 X 1 5 inches. Collection of T h e Oakland Museum. G i f t of Dr. and Mrs. Frederick G . N o v y , J r .

Page 1 7 9 A u g u s t Gay, Monterey, 1 9 2 9 , oil on board, 12V2 X 14V2 inches. Collection of Ronald A . Mickelsen, Half Moon Bay, California.

Chapter 5 Page 1 0 0 Bernard von Eichman, Self-Portrait, (seep. 1 1 7 ) .

Page 1 8 0 Bernard von Eichman, Summer Day in Harlem, c. 1 9 3 5 , watercolor on paper, 1 7 X 1 1 V 2 inches. Private collection.

Chapter 7 1 9 2 6 . Detail

Page 1 0 3 Selden G i l e , Boat and Barn, n.d., oil on canvas, i5 l /4 X 1 8 inches. Collection of Gerald and Barbara M c C u e , C a m b r i d g e , Massachusetts. Page 1 0 5 Selden G i l e , Woman and Child, n.d., oil on board, 8 X 1 0 inches. Private collection, San Francisco. Selden G i l e , Green Fish, c. 1 9 2 8 , oil on board, 8 X 9I/2 inches. Private collection. Page 1 0 6 Maurice Logan, Corinthian Island, c. 1 9 2 8 , oil on canvas, 1 5 X 1 8 inches. Beale Memorial Library, Bakersfield.

Page 1 4 2 Selden G i l e , The Soil, 1 9 2 7 . Detail (see p. 148).

Page 1 8 1 Bernard von Eichman, Studio, c. 1 9 2 8 , gouache on paper, 1 1 1 / 2 X 8y2 inches. Collection of T h e Oakland Museum.

Page 1 4 5 Maurice Logan, Happy Valley, Contra Costa County, 1 9 2 0 , oil on board, 9V4 X 1 2 inches. Private collection.

Page 1 8 2 Bernard von Eichman, Shopping, c. 1 9 2 8 , oil on board, 1 6 X 1 8 inches. Collection of J u d y and Sheldon Greene.

Page 1 4 8 Selden G i l e , The Soil, 1 9 2 7 , oil on canvas, 3 0 X 3 6 inches. Private collection.

Page 1 8 3 Selden G i l e , Woman of Taos, 1 9 3 1 , oil on board, 9 X IVs inches. Private collection.

Page 1 4 9 Bernard von Eichman, Landscape, n.d., oil on board, 1^/2 X 1 9 ^ inches. Private collection, San Francisco.

Page 1 0 7 Selden G i l e , Sailboat, n.d., oil on board, 1 0 X 1 2 inches. Private collection.

Page 1 5 3 A u g u s t Gay, Fishermen's Houses in Old Monterey, 1 9 2 7 , oil on board, 1 5 X 1 8 inches. Private collection.

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Conclusion Page 1 8 4 A u g u s t Gay, Front View of Stevenson House, Monterey, 1 9 2 9 . Detail (seep. 1 7 4 ) .

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Louis Siegriest, Steel Mill, 1 9 3 1 , oil on canvas m o u n t e d on board, 97/k x 9V1 inches. Collection of A l l e n E. S o m m e r , San Francisco.

Page 5 0 W. H . C l a p p in B a i e - S t . - P a u l , Q u e b e c , 1 9 0 3 . P h o t o g r a p h courtesy of Lawrence J e p p s o n .

Page 192 Louis Siegriest, Quiet landscape. 1 9 7 0 , m i x e d m e d i a , 3 6 X 4 8 inches. Collection of the Stanford U n i v e r s i t y M u s e u m of A r t . G i f t of N a t h a n Oliveira.

Page 5 4 T h e Panama-Pacific International E x p o s i t i o n along the marina on San Francisco's northern bayfront. P h o t o g r a p h courtesy of the California H i s torical Society.

Chapter 1

Page 26 Selden G i l e in his early twenties, c. 1 9 0 0 — 1 9 0 1 . P h o t o g r a p h courtesy of H . G i l e .

Page 29 T h e old d r a w b r i d g e between B e l v e d e r e and Corinthian Island. T h e b r i d g e appeared in several p a i n t i n g s by Selden G i l e . Photograph courtesy of the Belvedere Land Company.

Page 3 1 Margaret B r u t o n , Portrait of August Gay, c. 1 9 2 5 , g r a p h i t e on paper, 1 0 x 8 inches. Private collection. Page 3 4 M a u r i c e Logan d u r i n g his art school days, dressed in costume, c. 1 9 1 2 . Photograph courtesy of Richard Logan.

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Selden G i l e , Fair Sailing, 1 9 2 7 , oil on canvas, 3 4 X 4 0 inches. Private collection, San Francisco. Page 1 5 0 Maurice L o g a n , 1 9 3 6 . Photograph courtesy of the San Francisco Examiner. Maurice L o g a n , Victorian. 1 9 3 5 , watercolor on paper; present location u n k n o w n . Photograph courtesy of the San Francisco Examiner. Page 1 5 2 Louis Siegriest p a i n t i n g in Martinez, California, 1 9 3 9 . P h o t o g r a p h courtesy of Louis Siegriest. Poster of P o m o Indian basket designed by Louis Siegriest for the Indian C o u r t , G o l d e n G a t e International Exposition, 1 9 3 9 . P h o t o g r a p h from the Print and Poster C o l l e c t i o n , Library of Congress; courtesy of W h e a t l e y Press.

Page 9 2 Bernard von E i c h m a n (second row, center) and crew of the S.S. Edgehill bound for China. Seattle, 1 9 2 1 . P h o t o g r a p h courtesy of N a t a l i e S p a n g .

Page 42 Bernard von E i c h m a n , age t w e n t y - n i n e . T h e photograph appeared in a review by M a r y M c P h a i l in

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Page 1 3 9 U n t i t l e d p a i n t i n g by C . S. Price (probably C a r m e l Valley, m i d - i 9 2 0 s ) , oil on board, i o V í X 1 3 h A inches. Private collection.

Page 1 4 6 T h e deck of the cottage on Beach R o a d , B e l v e d e r e — w h e r e Selden G i l e lived from 1 9 2 7 to around 1 9 4 3 — l o o k i n g toward Belvedere Island. Photograph courtesy of Louis Siegriest.

P a g e 90 Ignacio Z u l o a g a , Sepulveda. 1 9 1 3 , oil on canvas, 23V« X 3 2 inches. Present location u n k n o w n . Photograph courtesy of A c q u a v e l l a Galleries, Inc., N e w York.

Siegriest f a m i l y house, 5 1 8 5 Miles A v e n u e , O a k land, California, 1 9 1 5 . P h o t o g r a p h courtesy of Louis B . Siegriest and E d n a Stoddart Papers, A r c h i v e s of A m e r i c a n A r t , S m i t h s o n i a n Institution, W a s h i n g t o n , D.C.

Page 1 3 6 Helen B r u t o n , The Party, c. 1 9 2 5 , block print, 45/h X 51/2 inches. Collection of G o r d o n and Debi McClelland.

Page 7 1 E. Charlton Fortune, Mending Nets, n.d., oil on canvas, 1 2 Vz X 15V4 inches. Private collection.

Page 79 Louis Siegriest at w o r k out of doors, c. 1 9 2 2 . P h o t o g r a p h courtesy of T h e O a k l a n d M u s e u m .

Page 38 Louis Siegriest at age sixteen, 1 9 1 5 . Photograph courtesy of Louis Siegriest.

Page 1 3 5 A u g u s t G a y (seated) and C . S. Price in Monterey, early 1 9 2 0 s . P h o t o g r a p h courtesy of K e n t Seavey.

Chapter 7

Page 7 4 G i l e ' s p a i n t i n g s and b u n k at the C h o w H o u s e on Chabot R o a d in O a k l a n d . P h o t o g r a p h courtesy of Louis Siegriest.

Page 35 L o g a n f a m i l y farmhouse at Lake Temescal in O a k land, California, c. 1 8 9 5 . Photograph courtesy of A1 Wood.

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Page 1 3 1 Selden G i l e c o o k i n g , c. 1 9 2 7 . P h o t o g r a p h courtesy of Louis Siegriest.

C a m i l l e Pissarro, Les toits rouges (Red Roofs), 1 8 7 7 , oil on canvas, 207/8 X 2 5 l A inches. Collection of the M u s é e d'Orsay, Paris. Bequest of G u s t a v e Caillebotte. P h o t o g r a p h courtesy of G i r a u d o n / A r t Resource.

Page 3 0 Selden G i l e , landscape with White Barn, 1 9 1 3 , oil on canvas, 1 2 Y4 X 1 7 V\ inches. Private collection.

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Page 1 2 9 Selden G i l e and Louis Siegriest d r i n k i n g home brew, T i b u r ó n , c. 1 9 2 5 . Photograph courtesy of Louis Siegriest.

Page 66 Paul Cézanne, \ji golfe de Marseille, vu de l'Estaque, on c. 1 8 7 9 , canvas, 2 3*/2 X 28V4 inches. E x h i b i t e d in the French pavilion at the exposition under the title L'Estaque (a village near Marseilles). Collection of the M u s é e d'Orsay, Paris. Bequest of G u s t a v e Caillebotte. P h o t o g r a p h courtesy of G i r a u d o n / A r t Resource.

Farm Scene, painted in N e w E n g l a n d by Selden G i l e . O i l on board, 1 0 X 6 inches, signed and dated 1 9 0 0 . Collection of Louis Siegriest.

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Page 1 2 8 Selden G i l e in his office at G l a d d i n g M c B e a n and C o m p a n y , O a k l a n d , California, 1 9 1 5 . Photograph courtesy of Louis B . Siegriest and Edna Stoddart Papers, Archives of A m e r i c a n A r t , S m i t h s o n i a n Institution, W a s h i n g t o n , D . C .

T h e G a l l e r y of the Futurists in the Palace of Fine A r t s . P h o t o g r a p h courtesy of the San Francisco A r c h i v e s , San Francisco P u b l i c Library.

Page 27 B e r y l W h i t n e y at S p r i n g Valley R a n c h , Placer County, near Sacramento, California. Sunset magazine cover, J a n u a r y 1 9 0 5 . P h o t o g r a p h courtesy of Lane P u b l i s h i n g C o m p a n y , Sunset magazine.

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Page 1 2 4 Louis Siegriest in Seattle, 1 9 2 2 . P h o t o g r a p h courtesy of Louis Siegriest,

Page 6 2 Paul G a u g u i n , Faa Ibeibe, 1 8 9 8 , oil on canvas, 2 1 '/4 X 66!/!2 inches. E x h i b i t e d in the French p a vilion, listed as Frieze in the exposition catalogues. Collection of the Tate Gallery, London. P h o t o g r a p h courtesy of the Tate Gallery, London.

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Chapter 6

Page 5 9 Floor plan of the Palace of Fine A r t s , from the Catalogue De Luxe of the Department of Fine A rts, Panama-Pacific International Exposition, vol. II, p. 4 8 3 .

Page 1 5 R e v e r e n d J o s e p h Worcester's house in P i e d m o n t w i t h a view of San Francisco B a y as painted by W i l l i a m K e i t h , 1 8 8 3 . O i l on panel, 1 6 X 23VS inches. Collection of Mr. and Mrs. H a r m o n C . Bell.

Page 1 1 4 A u g u s t Gay, Outward, c. 1 9 2 3 . A p p e a r e d iri the first Society of Six exhibition in 1 9 2 3 ; private collection. Photograph courtesy of the San Francisco Examiner.

Bernard von E i c h m a n , Inside, 1 9 2 8 , pen and ink on paper, 1 5 V 4 X 1 2 inches. Collection of T h e Oakland Museum.

Page 5 8 T h e Palace of Fine A r t s , Panama-Pacific International Exposition, San Francisco, 1 9 1 5 . Photog r a p h courtesy of the San Francisco Archives, San Francisco P u b l i c Library.

Black and White Illustrations

Florence W i e b e n Lehre. Photograph courtesy of Robert Wieben.

Page 1 1 9 Bernard von E i c h m a n , Arrangement in Black and Gray, reviewed in the San Francisco Examiner; 2 7 M a r c h 1 9 2 7 ; present location u n k n o w n . P h o t o g r a p h courtesy of the San Francisco Examiner.

Chapter 3

Page 1 9 3 Louis Siegriest, Stormy Sky, 1 9 6 5 , oil and sand on masonite, 6olA X 48'/« inches. Collection of the San Francisco M u s e u m of M o d e r n A r t . M e m b e r s Accession F u n d Purchase. P h o t o g r a p h courtesy of the San Francisco M u s e u m of M o d e r n A r t .

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Page 47 W. H . C l a p p ' s self-portrait Portrait of Man with Pince-Nez and Moustache, c. 1 9 0 2 , oil on canvas, 2 2 X 1 6 inches. Collection of T h e O a k l a n d M u s e u m . G i f t of Mr. and Mrs. D o n n Schroder.

Page 1 8 9 Bernard von E i c h m a n , Impromptu Concert in Harlem, c. 1 9 3 5 , watercolor on paper, 1 6 x 1 2 inches. Private collection.

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Page 1 0 2 T h e Oakland A r t G a l l e r y with a display of canvases by W. H . C l a p p . Photograph courtesy of Mr. and Mrs. D o n n Schroder.

Page 46 W. H . C l a p p seated before his easel in the BaieS t . - P a u l , Q u e b e c , studio of Boston artist Frederick Porter V i n t o n in 1 9 0 3 . P h o t o g r a p h courtesy of Lawrence J e p p s o n .

Page 1 8 8 A u g u s t G a y , A Slice of J J f e , n.d., oil on canvas, 3 9 X 4 9 ' / i inches. Private collection.

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the Oakland Times, 1 0 M a r c h 1 9 2 8 . P h o t o g r a p h courtesy of the San Francisco Examiner.

Page 1 8 7 Selden G i l e , A Pueblo, Arizona. 1 9 2 6 , oil on cardboard, cj-Vi X 1 2 inches. Collection of T h e O a k l a n d M u s e u m . G i f t of Louis Siegriest.

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Page 1 5 4 V o n E i c h m a n in Central Park, N e w Y o r k , late 1 9 3 0 s . P h o t o g r a p h courtesy of Paul O z .

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Page 1 5 5 Bernard von E i c h m a n and f a m i l y in M i l l Valley, California, 1 9 5 2 . P h o t o g r a p h courtesy of N a t a l i e Spang. Page 1 6 2 A u g u s t G a y with his mural fishermen, 1 9 3 4 . P h o t o g r a p h by J u l i a n P. G r a h a m ; courtesy of Hawes Coleman. Page 1 6 3 A u g u s t G a y w i t h his mural Fishermen, painted for the C u s t o m H o u s e in Monterey, 1 9 3 4 . P h o t o g r a p h courtesy of the Tribune, O a k l a n d . Page 1 6 4 G u s G a y and B r u c e Ariss on a scaffold p a i n t i n g the Pacific G r o v e H i g h School mural. P h o t o g r a p h by S y b i l A n a k i e v ; courtesy of B r u c e Ariss. G u s G a y on the balcony of the Robert Louis

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Stevenson house, late 1 9 3 0 s . P h o t o g r a p h courtesy of Louis Siegriest. Page 1 6 5 W. H . C l a p p at his easel in the late 1 9 3 0 s , posing w i t h Summer Breakfast, painted c. 1 9 2 4 . Private collection. P h o t o g r a p h courtesy of T h e O a k l a n d Museum.

Chapter 8

Commemorating the Centennial of the American Watercolor Society. T h e M e t r o p o l i t a n M u s e u m of A r t , N e w Y o r k , 1 9 6 6 — 1 9 6 7 . Private collection. Louis Siegriest w i t h M e x i c a n mask. P h o t o g r a p h by H a r r y R e d l ; courtesy of Louis Siegriest. Page 1 7 7 Louis Siegriest. Miner Going to Church. 1 9 5 2 , m i x e d media, 2 9 X 2 4 V2 inches. P h o t o g r a p h by T h o m a s J . G i n t j e e ; courtesy of Louis Siegriest.

Page 1 7 0 M a u r i c e Logan, 1 9 5 0 s . Photograph courtesy of R i c h a r d Logan.

Page 1 7 8 E d n a , Louis, and L u n d y Siegriest. Photograph by H a n s N a m u t h ; courtesy of Louis Siegriest.

Page 1 7 5 Maurice L o g a n , Mission de Taos, 1 9 6 6 , watercolor on paper, 1 8 X 2 4 inches. E x h i b i t e d in Two Hundred Years of Watercolor Painting in America: An Exhibition

Page 1 8 3 Louis Siegriest p a i n t i n g out of doors, 1 9 7 0 s . P h o t o g r a p h by Peter B r o w n ; courtesy of Louis Siegriest.

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This bibliography consists of two parts, one on the Society of Six exclusively and a more general bibliography on the context of the artists' work. The Exhibition History (see page 210) contains exhibition catalogues for the Society of Six; several of major interest are repeated here. Reviews of exhibitions of the Society of Six or for the six individual artists are not listed here but are given in the Exhibition History.

The Society of Six Books and Exhibition Catalogues The Advent of Modernism: Post-Impressionism and North American Art, 1900—1918. Atlanta.: High Museum of Art, 1986. (Clapp) Albright, Thomas. Art in the San Francisco Bay Area, 1945—1980. Berkeley: University of California Press, 1985. Art of the Twenties: American Painting at the Crossroads. Flint, Mich.: Flint Institute of Arts, 1978. (Clapp, Logan, Siegriest) Baird, Joseph Armstrong, Jr., ed. Theodore Wores and the Beginnings of Internationalism in Northern California Paintings: 1874-1915. Davis: Library Associates, University of California, 1978. , ed. From Exposition to Exposition: Progressive and Conservative Northern California Painting, 1915— 1939. Sacramento: Crocker Art Museum, 1981. Baker, Victoria. Scenes of Charlevoix, 1784-1950. Montreal: Montreal Museum of Fine Arts, 1981. (Clapp) The Blue Four. New "Vbrk: Leonard Hutton Galleries, 1984. (Clapp) Clapp, William H. "Foreword," in The Blue Four. Oakland: Oakland Art Gallery, 1926. . "Foreword," in The Blue Four. Los Angeles: Los Angeles Museum, 1926. Davidson, Abraham A. Early American Modernist Painting, 1910-1935. New York: Harper & Row, 1981. Frontiers of American Art. San Francisco: M . H . de \bung Memorial Museum, 1939. (Cover by Siegriest) A Feast for the Eyes: The Paintings of Seiden Connor Gilè, a Retrospective Exhibition. Walnut Creek, Calif. : Civic Arts Gallery, 1983. Gerdts, William H. American Impressionism. Seattle: Henry Art Gallery, University of Washington, 1980. . American Impressionism. New ^ork: Abbeville, 1984. Harper, J. Russell. Painting in Canada: A History. Toronto: University of Toronto Press, 1966. (Clapp) Impressionism, The California View: Paintings 1890— 1930. Oakland: Oakland Museum, 1981. Jackson, Alexander "Young. A Painter's Country: The

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Autobiography ofAY. Jackson. Toronto: Clarke, Irwin, 1958. (Clapp) Lundy. Walnut Creek, Calif.: Civic Arts Gallery, 1986. McClelland, Gordon T., and Jay T. Last. The California Style: California Watercolor Artists, 1925—1955. Beverly Hills, Calif.: Hillcrest Press, 1985. (Logan) McMann, Evelyn de R. Royal Canadian Acadmy of Arts: Exhibitions and Members, 1880-1979. Toronto: University of Toronto Press, 1981. (Clapp) Monterey: The Artist's View, 1925-1945. Monterey: Monterey Peninsula Museum of Art, 1982. Murray, Joan. Impressionism in Canada, 1895—1935. Toronto: Art Gallery of Ontario, 1973. (Clapp) Orr-Cahall, Christina, ed. The Art of California: Selected Works from the Collection of The Oakland Museum. San Francisco: Chronicle Books, for The Oakland Museum, 1984. Painting and Sculpture in California: The Modern Era. San Francisco: San Francisco Museum of Modern Art, 1976. Plein Air Paintings: Landscapes and Seascapes from Santa Cruz to the Carmel Highlands, 1898—1940. Santa Cruz, Calif.: Sesnon Art Gallery, University of California, 1985. (Gay) Reid, Dennis. A Concise History of Canadian Painting. Toronto: Oxford University Press, 1973. (Clapp) St. John, Terry. Louis Siegriest Retrospective. Oakland: Oakland Museum, 1972. San Francisco Museum of Modern Art: The Painting and Sculpture Collection. New \brk: Hudson Hills Press, 1985. (Siegriest) Seavey, KentL. " 1910 —1930," in A Century of California Painting, 1870—1970. Los Angeles: Crocker Citizens National Bank, 1970. Society of Six. Oakland: Oakland Museum, 1972. Spangenberg, Helen. Yesterdays Artists on the Monterey Peninsula. Monterey: Monterey Peninsula Museum of Art, 1976.

Articles 'African Sketches by Maurice Logan." Art World Magazine (31 March 1925). Alexandria, Ray. "Maurice Logan and Color Art." The Poster (August 1929): 16—17, 'Artist Maurice Logan Dies." Oakland Tribune (23 March 1977). 'Artist Quits Bay Exhibits." San Francisco Chronicle (8 March 1927). (Gay) 'Artists Show Paintings." Post-Enquirer (Oakland) (19 December 1945), ill. (Clapp, Logan, Siegriest) "Birthday Greetings." San Francisco Examiner (23 October 1930), ill. (Clapp) "Bit of Handicraft." OaklandTribune, 23 December 1922, ill. (Gay) Butterfield, Jan. "Made in California." American Art Review {July 1977): 1 1 8 - 1 4 4 . "California Artist to Go to Africa." San Francisco Chronicleiii August 1924). (Logan)

Clapp, William H. 'Art and Artists in Oakland and Alameda County." Year Book, OaklandTribune (i925):3i. . Letter to the Editor. The Argus (April i9 2 9) : 4"Clubwomen Ask Removal of Art Nudes." Oakland Tribune (7 February 1927). See also OaklandTribune 8, 9, 10, 11 February. (Clapp, Gile, Logan, von Eichman) Cross, Miriam Dungan. "The Siegriests — Oakland's First Family of the Arts." OaklandTribune (2 August 1964). . "Watercolorist Maurice Logan Honored by National Academy." OaklandTribune (5 March 1961). Dungan, H.L. 'Artists and Their Work." Oakland Tribune (25 October 1925). (Clapp) . 'Artists and Their Work." OaklandTribune (29 August 1926). (Gile, Logan) . 'Artists and Their Work." OaklandTribune (27 February 1927). "Formal Rites Today for Retired Artist." Oakland Tribune (12 June 1947). (Gile) Fried, Alexander. "Siegriests Call Off Disputed Nude Art Show." San Francisco Examiner (11 June 1952). See also 'Artist Willing to Put New Title on Church-Going Nude," San Francisco Examiner (12 May 1952). Gartshore, Bonnie. "The Great Depression's Legacy of Art." The HeraldWeekend Magazine (Monterey) (7 April 1974). (Gay) "'Gus' Gay Succumbs." Monterey Peninsula Herald(9 March 1948). Lehre, Florence Wieben. "World of Art and Artists." OaklandTribune {10 July 1927). (Clapp, Gile, Logan) . "Artists and Their Work." Oakland Tribune (9 December 1928). (von Eichman) Lewis, Jeanette. "Pays Tribute To Her First Art Teacher." Monterey Peninsula Herald (29 October i960), ill. (Gay) Leydecker, Mary. "California's Van Gogh: He Died at Poor House." Independent-Journal (San Rafael) (1 July 1977), ill- (Gile) McCoy, Garnett. "Poverty, Politics and Artists." Art in America (August—September i965):88—107. (111. of Siegriest poster) McPhail, Mary. "Bernard von Eichman, Oakland Mason, Hailed as Outstanding Water Color Painter." Oakland Times (19 March 1928), ill. . "Hundreds Flock to Art League Show, Exhibit Born of Controversy Sets Mark." Oakland Times (13 February 1928). (Clapp, Gile, Logan, von Eichman) Maréchal-Workman, Andrée. "Modernism on the Coast: Louis Bassi Siegriest." Vanguard (Vancouver, B . C . ) (Summer i982):32—36, ill. "Maurice Logan." The Recorder {San Francisco) (July 1932). "Monterey Owes Debt to Oliver." Monterey Peninsula Herald {2^ October i960), ill. (Gay) "New Colony for Dreamers in Oakland." San Francisco

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Examiner (9 January 1925). (Clapp) "Oakland Art Gallery Move Postponed." San Francisco Examiner (17 February 1929). (Clapp) "Oakland Artist Wins High Honor." OaklandTribune (28 November 1954). (Logan) "Oakland Man Chosen Head of Art Society." Oakland Times (4 August 1928), ill. (Clapp) O'Hagan, Howard. "Maurice Logan and the Lions." Western Advertising {]une 1945). Powers, Laura Bride. "Municipal Art Gallery: Made Possible by One Man." Annual, OaklandTribune (January i920):40-4i. (Clapp) . "Will Bohemia Rise in Oakland?" Oakland Tribune (22 April 1917). (Clapp, Gile) St. John, Terry. "Louis Siegriest: A Painter's Topography" Currant (June-July i975):28—33, ill. Schoenfeld, Ed. "The Enduring Art of Maurice Logan." OaklandTribune(8 March 1959), ill. Shere, Charles. "A Warm Look at an Old Friend." OaklandTribune(24 December 1979), ill. (Siegriest) "Siegriest at 80: A Special Day for a Special Man." The Museum of California (Oakland) (February i979):cover, 7—8, ill. Sutliff, Curt. "Oakland Landscape Painter Bemoans Art Losses in Flood." OaklandTribune (21 October 1962), ill. (Logan) "Wise Men" in "The Knave," OaklandTribune (21 February 1934). (Gile, Logan) "Wood Carver Plies Art in Stevenson's Former Home." OaklandTribune (23 December 1932). (Gay) Woolfenden, John. "Monterey Guild Founder Tells How It All Began." Monterey Peninsula Herald(12 February 1968). (Gay) Unpublished Materials, Archival Sources, and Films Archives of Betty Hoag McGlynn. Carmel, California. Archives of California Art. Oakland Museum, Oakland, California. Ariss, Bruce. "Travels with Steinbeck." Monterey, California. Work-in-progress. Baird Archive of California Art. University Library, University of California, Davis. Doro, Edward. Docent Guide. Unpublished manuscript. Oakland Museum, c.1958. Gagnon, C . A . C.A. Gagnon Papers. McCord Museum, McGill University, Montreal. Galka Scheyer Blue Four Archive, Norton Simon Museum of Art, Pasadena. Hagemeyer, Johan. "Johan Hagemeyer, Photographer." Transcript of interview conducted by Corinne L. Gilb in 1955. Regional Oral History Office, Bancroft Library, University of California, Berkeley. Jeppson, Lawrence. "William Henry Clapp, the Gentle Impressionist." Unpublished manuscript, Bethesda, Maryland. Monterey Peninsula Public Library Archives. Monterey, California. Ryan, Beatrice Judd. "The Bridge Between Then and Now." Unpublished manuscript, n.d. Bancroft Library, University of California, Berkeley. Scantlebury, Jane. In the Open: The Art of Louis Siegriest. 16mm, 30 min. 1979. Jane Scantlebury, Oakland. Siegriest, Louis. "Louis B. Siegriest and Edna Stoddart Papers." Archives of American Art, Smithsonian Institution, Washington, D.C. and San Francisco. Siegriest, Louis and Lundy Siegriest. "Louis Bassi Siegriest Reminiscences." Transcript of an interview conducted by Corinne L. Gilb in 1953. Regional Oral History Office, Bancroft Library, University of California, Berkeley.

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General Bibliography

Fine Arts, French Section: Panama Pacific International Exposition, San Francisco, 1915. Paris: Librairie Centrale des Beaux-Arts, 1915. Books and Exhibition Catalogues First Exhibition of Painting and Sculpture by California Arkelian, Marjorie Dakin, and George Neubert. Artists. San Francisco: Golden Gate Park MemoGeorge Inness Landscapes: His Signature Years, 1884— rial Museum, 1915. 1894. Oakland: Oakland Museum, 1978. Freudenheim, Leslie Mandelson, and Elisabeth Art Gallery of the Oakland Public Museum in the MuniciSussman. Building with Nature: The Roots of the San pal Auditorium: Inaugural Exhibition. Oakland: Francisco Bay Region Tradition. Santa Barbara, The Art Gallery, 1916. Calif.: Peregrine Smith, 1974. Art in California. San Francisco: R.L. Bernier, 1916. Group ofSeven. Vancouver Art Gallery, 1954. Art Loan Exhibition, arranged by W. K . Vickery, San Guilbaut, Serge. How New York Stole the Idea of ModFrancisco: C.A. Murdoch, 1893. em Art. Chicago and London: University of Chicago Press, 1983. Art Loan Exhibition, arranged by W K . Vickery, San Francisco: W A . Woodward, 1895. Illustrated Catalogue of the Post-Exposition Exhibition in Art Loan Exhibition of Foreign Masters, arranged by the Department of Fine Arts, Panama-Pacific InternaW K . Vickery, San Francisco: W A . Woodward, tional Exposition. San Francisco: San Francisco Art 1891. Association, 1916. The Artist's Environment: West Coast. Fort Worth, Tex. : Inaugural Exposition of French Art in the California Amon Carter Museum ofWestern Art, 1962. Palace of the Legion of Honor. San Francisco: California Palace of the Legion of Honor, 1924. Baird, Joseph Armstrong, Jr., ed. France and California: The Impact of French Art and Culture on CaliforJones, Harvey L. Mathews: Masterpieces of the California Decorative Style. Santa Barbara: Peregrine nia. Davis: University of California, 1967. Smith, 1980. , ed. i977 Directory of the Principal Art and Jury Free Summer Exhibition of the Work of California Historical Institutions in Northern California. Davis: Artists. San Francisco: Palace of Fine Arts, 1916. Art Department, University of California, 1977. Keeler, Charles. The Simple Home. San Francisco: Paul , with Ellen Schwartz. Northern California Elder, 1904. Reprint. Santa Barbara: Peregrine Art: An Interpretive Bibliography to 1915. Davis: Smith, 1979. Library Associates, University of California, 1977. Maybeck, Jacomena. Maybeck: The Family View. BerBenedict, Burton, et al. The Anthropology of World1s keley: Berkeley Architectural Heritage AssociaFairs: San Francisco's Panama Pacific International tion, 1980. Exposition of 1915. Berkeley: Lowie Museum of Anthropology, University of California and Scolar McChesney, Mary Fuller. A Period of Exploration: San Press, 1983. Francisco 1940-1950. Oakland: Oakland Museum, 1973. Boyle, Richard J. American Impressionism. Boston: Miller, Richard A. (Bob). Fortune Built by Gun: The New York Graphic Society, 1974. Brinton, Christian. Impressions of the Art at the Joel Parker Whitney Story. Walnut Grove, Calif. : Mansion, 1969. Panama-Pacific Exposition. New York: John Lane, 1916. Moure, Nancy D.W. Artists' Clubs and Exhibitions in Southern California before 1930. Los Angeles: priBrown, Milton W American Paintingfrom the Armory vately printed, 1975. Show to the Depression. Princeton: Princeton University Press, 1955. Mullgardt, Louis Christian. The Architecture and Landscape Gardening of the Exposition. San Francisco: . The Story of the Armory Show. New York: Paul Elder, 1915. The Joseph H. Hirshhorn Foundation, 1963. Murray, Joan. The Best of the Group of Seven. EdmonC.S. Price, 1874—1950: A Memorial Exhibition. Portton, Alberta: Hurtig, 1984. land: The Portland Art Museum, 1951. Calder, A. Stirling. The Sculpture and Mural DecoraNeuhaus, Eugen. The Art of the Exposition. San Frantions of the Exposition. San Francisco: Paul Elder, cisco: Paul Elder, 1915. 1915. . The Galleries of the Exposition. San Francisco: Campbell, Sara, ed. The Blue Four Galka Scheyer CollecPaul Elder, 1915. tion. Pasadena: Norton Simon Museum of Art, New Deal Art: California. Santa Clara, Calif. : de Sais1976. set Art Museum, University of Santa Clara, 1976. Catalogue of an Exhibition of Contemporary French Art Official Catalogue, Department of Fine Arts: California Held in the Civic Auditorium, San Francisco: John Midwinter International Exposition 1894. San FranHenry Nash, 1923. cisco: Harvey, Whitcher and Allen, 1894. Catalogue officiel de la section française: Exposition univer- Official Catalogue of the Department of Fine Arts. selle et internationale de San-Francisco. Paris, 1915. Panama-Pacific International Exposition. San FranContemporary Bay Area Figurative Painting. Oakland: cisco: Wahlgreen, 1915. Oakland Museum, 1957. The Paintings ofYun Gee. Storrs: William Benton Museum of Art, University of Connecticut, 1979. Corn, Wanda M. The Color of Mood: American Tonalism, 1880-1910. San Francisco: M . H . de Reid, Dennis. A Reconstruction of the First Exhibition of Young Memorial Museum, 1972. the Group ofSeven. Ottawa: National Gallery of Canada, 1970. , and John Wilmerding. "The United States," in Post-Impressionism: Cross-Currents in Euro- Rosenblum, Roben. "The Primal American Scene," inMcShine, Kynaston, ed., The Natural Paradise: pean and American Painting, 1880—1906. Painting in America, 1800-1950. New York: Washington, D.C.: National Gallery of Art, Museum of Modern Art, 1976. 1980. Starr, Kevin. Americans and the California Dream, Cornelius, Brother. Keith, Old Master of California. 1850—1915. Santa Barbara and Salt Lake City: NewY>rk: Putnam's, 1942. Peregrine Smith, 1981. Diego Rivera. San Francisco: San Francisco Museum Steinbeck, John. Cannery Row. New York: Bantam of Art, 1940. Books, 1982. Duncan, Isadora. My Life. New York: Boni and Liveright, 1927. Trask, John, E . D . , and J. Nilsen Laurvik, eds. Catalogue De Luxe of the Department of Fine Arts, An Exhibition of Paintings by L Zuloaga. San Francisco: Panama-Pacific International Exposition. San FranPalace of Fine Arts, 1918. cisco: Paul Elder, 1915. 2 vols. Exhibition of Paintings, Drawings, Lithographs by Henri Matisse, Albert Marquet, EdouardVuillard, K.X. A Tribute to C.S. Price. Portland, Ore. : Portland Art Roussel, Pierre Bonnard. André Derain, Maurice Museum, 1976. Denis. San Francisco: California Palace of the Walker, Franklin. The Seacoast of Bohemia. Santa BarLegion of Honor, 1926. bara: Peregrine Smith, 1973. Ferlinghetti, Lawrence, and Nancy J. Peters. Literary Westphal, Ruth Lilly Plein Air Painters of California: San Francisco: A Pictorial History from Its Beginnings The Southland. Irvine, Calif.: Westphal, 1982. to the Present Day. San Francisco: City Lights and Wright, Willard Huntington. Modern Painting, Its Harper & Row, 1980. Tendency and Meaning. New York: John Lane, 1915.

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Discusses Modern A r t . " San Francisco Examiner N o v e m b e r 1 9 2 5 ) , ill.

' " B l u e Four' S h o w i n g P i g m e n t P r o b l e m s . " San Francisco Chronicle ( 1 2 A p r i l 1 9 3 1 ) . C u n n i n g h a m , J o h n . " C l a y t o n Price L a i d Foundation H e r e for H i s Later F a m e . " Monterey Peninsula Heraldi^i October 1 9 5 0 ) . Desgrey, J o h n M a x w e l l . " F r a n k Van Sloun: C a l i fornia's Master of the M o n o t y p e and E t c h i n g . " California Historical Quarterly ( W i n t e r 1 9 7 5 ) : 345-358. D o b b s , Stephen M a r k . "A G l o r i o u s Century of A r t Education: San Francisco's A r t Institute." Art Education ( J a n u a r y 1 9 7 6 ) : 1 3 - 1 8 . D o n o v a n , Ellen D w y e r . " C a l i f o r n i a Artists and T h e i r W o r k . " Overland Monthly ( J a n u a r y 1 9 0 8 ) : 2 5 - 3 3 , ill. D u n g a n , H . L. " A r t W a r in the U n f o r t i f i e d C i t y of O a k l a n d . " The Argus (February 1 9 2 8 ) : 7 K i s t l e r , A l i n e . " H e n r i Matisse H e r e on W a y to South Seas." San Francisco Chronicle ( 2 3 M a r c h 1 9 3 0 ) . Lavrova, N a d i a . "Prophetess of ' T h e B l u e Four'

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Monroe, Harriet. " B e d l a m in A r t : A S h o w T h a t C l a m o r s . " San Francisco Chronicle (2 March 1 9 1 3 ) , ill. " O a k l a n d A r t N u d e Canvases to F i n d Place in O a k land's A r t E x h i b i t . " San Francisco Chronicle ( 2 2 July 1929). Powers, Laura Bride. " R e v o l u t i o n a r i e s of the Past G r o w Soberer." San Francisco Chronicle ( 1 4 J a n u a r y 1923). R o b i n s o n , C . D . " A R e v i v a l of A r t Interest in C a l i f o r n i a . " Overland Monthly ( J u n e 1 8 9 1 ) : 649—652. R y a n , Beatrice J u d d . " T h e R i s e of Modern A r t in the B a y A r e a . " California Historical Society Quarterly (March 1 9 5 9 ) : 1 - 5 Wheeler, B e n j a m i n Ide. " A Forecast for C a l i f o r n i a and the Pacific C o a s t . " The Outlook ( 2 3 S e p t e m b e r 1 9 1 1 ) : 1 6 7 . Filed at the Bancroft Library, U n i versity of California, Berkeley. W i l l i a m s , Michael. " A Pageant of A m e r i c a n A r t . " Art and Progress {August 1 9 1 5 ) : 3 3 7 ~ 3 5 3 -

W i n c h e l l , A n n a Cora. "Specimens of the N e w A r t at H a n d . " San Francisco Chronicle ( 1 6 A p r i l 1 9 1 4 ) . W r i g h t , W i l l a r d H u n t i n g t o n . " T h e Seven A r t s . " The Bulletin (San Francisco) ( 1 5 F e b r u a r y - 2 6 A p r i l 1919)-

Unpublished Materials and Archival Materials R e g i o n a l Oral H i s t o r y Office, Bancroft Library, U n i v e r s i t y of California, Berkeley: C r a v a t h , R u t h . " T w o San Francisco Artists and T h e i r Contemporaries, 1 9 2 0 - 1 9 7 5 , " 1 9 7 4 - 1 9 7 5 . Haas, Elise (Stern). " T h e Appreciation of Quality," 1972. Martine2, Elsie ( W h i t a k e r ) . "San Francisco Bay A r e a Writers and A r t i s t s , " 1 9 6 2 - 1 9 6 3 . Morley, G r a c e Louise (McCann). " A r t , A r t i s t s , M u s e u m s and the San Francisco M u s e u m of Art," i960. N e u h a u s , E u g e n . " R e m i n i s c e n c e s : B a y A r e a A r t and T h e U n i v e r s i t y of California A r t D e p a r t m e n t , " 1961.

BIBLIOGRAPHY

Since the original p r i n t i n g of this book, several books, articles, and reviews have appeared and are presented here as a s u p p l e m e n t .

B o o k s and Exhibition Catalogues Boas, Nancy. " T h e Society of Six & the B i r t h of C a l i fornia M o d e r n i s m . " The Californians 6, no. 3 (May/ J u n e 1988): 2 5 - 3 3 . . " T h e M a g n i f i c e n t S i x . " Horizon 3 1 , no. 5 (June 1988): 3 8 - 4 0 . . California Colorists: Paintings by the Society of Six. San Francisco: T h e Fine Arts M u s e u m s of San Francisco, 1 9 8 9 . . " A u g u s t G a y : California M o d e r n i s t , " in H e r n a n d e z , J o Farb, ed., Wonderful Colors! The

Paintings of August François Gay. M o n t e r e y : Monterey Peninsula M u s e u m of A r t , 1 9 9 3 . Coran, J a m e s L., and Walter A . Nelson-Rees. If Pictures Could Talk: Stories about California Paintings in Our Collection. Oakland, Calif.: W I M Fine Arts, 1989. G e r d t s , W i l l i a m H . Art across America: Two Centuries of Regional Painting, I J 10—1920. Vol. 3. N e w Y o r k : A b b e v i l l e Press, 1 9 9 0 . N a s h , Steven A . , ed. Facing Eden: 100 Years of landscape Art in the Bay Area. San Francisco: Fine A r t s M u s e u m s of San Francisco; Berkeley and Los Angeles: U n i v e r s i t y of C a l i f o r n i a Press, 1 9 9 5 . Schenck, M a r v i n A . Maurice Logan: Artist and Designer. M o r a g a , Calif.: Hearst A r t Gallery, Saint Mary's College, 1 9 9 1 . W e s t p h a l , R u t h Lilly, ed. Plein Air Painters of Cali-

fornia: The North. Irvine, Calif.: W e s t p h a l P u b lishing, 1 9 8 6 .

Articles a n d R e v i e w s Baker, K e n n e t h . " T h e Defiant C a l i f o r n i a n s . " R e v i e w of The Society of Six. San Francisco Chronicle, Review (7 A u g u s t 1 9 8 8 ) , ill. B o n e t t i , D a v i d . "Society of Six's' Louis Siegriest Leaves C o l o r f u l Legacy." San Francisco Examiner (9 N o v e m b e r 1 9 8 9 ) . G h e n t , J a n e t . " A Portrait of the Artist as an O l d Man." The (Oakland) Tribune (7 March 1 9 8 9 ) , C 1 - 2 . P l a g e n s , Peter. " C a l i f o r n i a M o d e r n . " R e v i e w of The Society of Six. Art in America 7 7 , no. 5 (May 1 9 8 9 ) : 57-

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by Nancy Boas and S. Ann Lee Listed here are exhibitions of the Society of Six for which documentation has been found, and reviews of these shows. Where a catalogue is known to have been published, this fact is noted. The first section presents exhibitions in which the artists showed as the Society of Six. The documented exhibition career of each artist is presented individually in the succeeding six sections. Smaller cities without a state indicated are in California.

The Society of Six Exhibitions and Reviews 1923 Six Eastbay Artists, Oakland Art Gallery, 4—31 March; reviewed Oakland Tribune, 7 January, 11 March, illustrated, 18 March, 15 April; Post-Enquirer (Oakland), 29 March, illustrated. 1924 Second Annual Exhibition of the Society of Six, Oakland Art Gallery, 16 M a r c h - 1 6 April; reviewed Oakland Tribune, 26 March, 30 March. 1925 Third Annual Exhibition of the Society of Six, Oakland Art Gallery, opened 27 April (traveled to Los Angeles Museum, 11 J u l y - 3 0 August, catalogue); reviewed Oakland Tribune, 3 May, illustrated; 10 May; 9 August. 1926 Fourth Annual Exhibition of the Society of Six, Oakland Art Gallery, closed 29 April; reviewed Oakland Tribune, 4 April, illustrated; San Francisco Chronicle, 11 April. 1927 Fifth Annual Exhibition of the Society of Six, Oakland Art Gallery, 6 M a r c h - 5 April; reviewed Oakland Tims, 20 March; Oakland Tribune, 3 March, 13 March, 20 March, 27 March, illustrated. 1928 Sixth Annual Exhibition of the Society of Six, Oakland Art Gallery, 3 M a r c h - 6 April; reviewed Oakland Times, 9 March; Oakland Tribune, 4 March, n March, illustrated. 1972 Society of Six, Oakland Museum, 3 October—12 November, catalogue; reviewed San Francisco Chronicle, 4 October, illustrated; San Francisco Examiner, 6 October, illustrated; Berkeley Daily Gazette, 21 October; Oakland Tribune, 22 October, illustrated. 1976 Fainting and Sculpture in California: The Modern Era, San Francisco Museum of Modern Art, 3 Sept e m b e r - 2 1 November (traveled to National Collection of Fine Arts, Smithsonian Institution, Washington, D . C . , 20 May—11 September 1977),

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catalogue; reviewed This World, San Francisco Sunday Examiner and Chronicle, 29 August 1976; Art week, 18 September, illustrated; Art in Atnerica, M a y - J u n e 19771979 Society of Six, Paintings and Watercolors from 1915 through the 1930s. Charles Campbell Gallery, San Francisco, 18 April—26 May; reviewed San Francisco Examiner, 25 April, illustrated. 1981 From Exposition to Exposition: Progressive and Conservative Northern California Painting, 7 9 / 5 - / 9 3 9 , Crocker A r t M u s e u m , Sacramento, 5 September— 11 October, catalogue. Impressionism, The California View: Paintings 1890— 1930, Oakland Museum, 23 September-8 November, catalogue; reviewed, Review, San Francisco Sunday Examiner and Chronicle, 13 September; San Francisco Chronicle, 1 October.

Paintings in Oil by William H. Clapp, Oakland Art Gallery, 9 S e p t e m b e r - i October; reviewed Oakland Tribune, 10 September. 1934 Paintings by William H. Clapp, Watson Galleries, Montreal, March, catalogue; reviewed Montreal Star, 28 March. 1936 Berkeley Women 'j City Club, Berkeley, opened 5 November. 1942 Exhibition of Techniques & Media by William H. Clapp, Oakland Art Gallery, 3—22 February; reviewed Oakland Tribune, 8 February. 1944 "Visualism'' by William H. Clapp, Oakland Art Gallery, 7—28 May; reviewed Oakland Tribune. 7 May. 1947 Paintings by William H. Clapp, Oakland Art Gallery, 5—28 January; reviewed Oakland Tribune, 12 January.

William H. Clapp Solo Exhibitions 1914 Paintings byW.H. Clapp, A.R.C.A., Johnson's Art Galleries, Montreal, 27 February—28 March, catalogue. (Also shown at the Arts Club of Montreal.)

1954 William H. Clapp: Retrospective Exhibition of Paintings, Oakland Art Museum, 1 0 - 3 0 October. 1966 William H. Clapp, Laky Galleries, Carmel, 4 June—3 July, catalogue.

1917 William H. Clapp, Oakland Art Gallery, November—January; reviewed Oakland Tribune, 18 November.

1973 William H. Clapp, Northlight Gallery, Limfjord College, Nibe, Denmark, catalogue.

1920 William Clapp, Monotypes. Oakland Art Gallery, July.

Group Exhibitions

1922 William Clapp: Paintings, Monotypes, Pastels and Drawings, Oakland Art Gallery, February; reviewed Oakland Tribune. 22 February. 1927 William H. Clapp: Exhibition of Monotypes. Western Association of Art Museum Directors (traveled to Los Angeles Museum of History, Science and Art; Fine Arts Gallery of San Diego, September; Crocker Art Gallery, Sacramento, January—February 1928); reviewed San Diego Union, August; Oakland Tribune, 29 January 1928. 1930 William H. Clapp. Berkeley League of Fine Arts, Berkeley; reviewed San Francisco Chronicle, 17 August. 1933 Paintings by William H. Clapp, Louis Terah Haggin Memorial Galleries, Stockton, 2 - 2 9 April; reviewed Stockton Daily Evening Record, 8 April.

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1904 Universal Exposition, St. Louis, Missouri, catalogue. Annual Exhibition, Royal Canadian Academy of Arts, various venues (also 1908; 1909; 1910; 1 9 1 1 ; 1912 ; 1913 [reviewed Montreal Telegraph, 21 Oc tober ; Montreal Gazette, 2 November]; 1914; 1915; 1916; 1918), catalogues. 1906 Salon d'Automne, Paris, catalogue; reviewed he Journal des Arts, 3 November. Winter Exhibition of the American Art Association, Paris; reviewed New York Herald, 16 December. 1908 Spring Exhibition, Art Association of Montreal, reviewed Montreal Herald, 26 March; Montreal Gazette, 31 March (also 1909; 1910, reviewed Montreal Gazette, 13 April; 1 9 1 1 ; 1 9 1 2 , reviewed Montreal Star, 15 March; 1 9 1 3 , reviewed Montreal Witness, 26 March and Montreal Gazette, 26 March; 1914; 1915; 1918), catalogues.

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April 1929, reviewed San Francisco Examiner, 17 March; 23 March-23 April 1930), catalogues. Exhibition of Paintings by California Artists, Morcom Gallery, Oakland, 2—14 October.

1909 Annual Exhibition, Ontario Society of Artists, Toronto (also 1910; 1913; 1914). Canadian National Exhibition, Toronto (also 1912; 1913; 1915), catalogues.

1923 Annual Exhibition of the Society of Six, through 1928 (see "Society of Six" above, p. 210). Exhibition of California Artists, California Gallery of American Artists, San Francisco; reviewed Oakland Tribune, 29 October. Exhibition by California Artists, Jackson's Gift Shop, Oakland, November, catalogue.

1911 106th Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, 5 February—26 March, catalogue. Eighteenth Annual Exhibition of American Art, Cincinnati Museum, Ohio, 20 May—22 July, catalogue. Winter Exhibition, National Academy of Design, New "York, 9 December-7 January, catalogue.

1924 Impressionistic Paintings by Western Artists, Oakland Art Gallery, opened 29 June (traveled to Los Angeles Museum of History, Science and Art, 17 September— 14 October, catalogue; Friends of Art of San Diego, 21 October—23 November, catalogue, reviewed San Diego Union, 26 October). Selected Works by Western Painters: Third Annual Traveling Exhibition, 1924—25, Western Association of Art Museum Directors (traveled to Los Angeles Museum of History, Science and Art; Kansas City Art Institute, Missouri; Omaha Society of Fine Arts, Nebraska; Seattle Fine Arts Society, Washington), catalogue. Annual Exhibition, Berkeley League of Fine Arts, Berkeley (also 1927), catalogues.

1912 Sixteenth Annual Exhibition at the Carnegie Institute, Pittsburgh, Pennsylvania, 25 April—30 June, catalogue. Annual Exhibition, Canadian Art Club, Toronto (also 1913; 1914; 1915)» catalogues. Halifax Provincial Exposition (also 1913; 1915). Winnipeg Industrial Bureau, Winnipeg Museum of Fine Arts, 16 December—4 January (also JanuaryMarch 1914). Nine Canadian Painters, MacDowell Club, New York, March. 1917 Jury Free Exhibition of the Work of California Artists, San Francisco Art Association, Palace of Fine Arts, 28 November-28 February (also 10 May-19 June 1921), catalogues. 1918 TheJoint Exhibition of the Royal Canadian Academy ofArts and of the Ontario Society ofArtists, Art Museum ofToronto, opened 4 April, catalogue. Annual Exhibition of the San Francisco Art Association, Palace of Fine Arts, 22 March-22 May (also 21 March—4 May 1919 [reviewed The Bulletin, San Francisco, 29 March]; 16 April-23 May 1920; 25 M a r c h 8 April 1927, California School of Fine Arts; 26 March-2 May 1937, San Francisco Museum of Art), catalogues. 1919 Museum Loan Exhibition of Work by the California Group of Contemporary American Artists, Palace of Fine Arts, San Francisco, opened 24 January, catalogue. Exhibition of Monotypes, Oakland Art Gallery, 22 J u l y - 2 3 August. Drawings by California Artists, Oakland Art Gallery, 26 August-27 September. Summer Exhibition: Artists of California, Seattle Fine Arts Society, catalogue. 1920 Paintings by California Artists, Oakland Art Gallery, 20 October-2o November; reviewed Oakland Tribune, 31 October. 1921 Exhibition of California Painters, Oakland Art Gallery, opened 3 April; reviewed Oakland Tribune. 17 April. 1922 Opening Exhibition ofEastbay Painters, Claremont Hotel Art Gallery, Berkeley, c. January—February; reviewed Oakland Tribune, 22 January. Selected Work by Western Painters: First Annual Traveling Exhibition, Western Association of Art Museum Directors (traveled to Denver Art Association; Friends of Art of San Diego; Kansas City Art Institute; Los Angeles Museum of History, Science and Art, 22 February-19 March; Portland Art Association; San Francisco Museum of Art; School of American Research, Museum of New Mexico, Santa Fe; Seattle Fine Arts Society), 1922—1923, catalogue. Annual Exhibition, Oakland Art Gallery, 4 June—9 July; reviewed Oakland Tribune, 18 June (also 6 May— 8 June 1923; 2 November-27 December 1924, reviewed Oakland Tribune, 16 November; 5 February—4 March 1926, reviewed Oakland Tribune, 7 February; 4 February—3 March 1927; 6 March—6

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1925 Fourth National Exhibit of Fine Arts, Springville High School, (now Springville Museum of Art), Springville, Utah, April, catalogue. Exhibition of Painters and Sculptors of Southern California, Los Angeles Museum of History, Science and Art, 3 - 3 0 April (also 9 April-23 May 1926), catalogues. 1926 Works of Contemporary Painters, Claremont Hotel Art Gallery, Berkeley, opened 10 January; reviewed Oakland Tribune, 17 January. 1927 California State Fair, Sacramento, 3 - 1 0 September (also 3—10 September 1932; 31 August—9 September, 1935; 3-12 September 1937; 2 - 1 1 September 1938; 1—10 September 1939; 29 August—7 September 1941; 1949), catalogues. Etchings, Drawings, Woodcuts, Lithographs, Pastels and Water Colors byW.H. Clapp, John Emmett Gerrity, Hamilton Wolf, Arthur Segal, A. Jawlensky, Jr., Lyonel Feininger, Conway Davies, Edward Hagedorn, Preston McCrossen, Werner Drewes and Franz Marc, Berkeley Playhouse, Berkeley, closed 17 December. Oils, Water Colors, Monotypes. Etchings and Sculptures by Western Artists, East West Gallery of Fine Arts, San Francisco, 12—25 December, catalogue. 1928 Annual Statewide Art Exhibition, Santa Cruz Art League, Beach Auditorium, Santa Cruz, 1-15 February; reviewed Oakland Tribune, 12 February (also February 1929; 1-15 February 1931; 5-19 February 1933; 9 - 2 3 February 1936; 7-21 February 1937; 6 - 2 0 February 1938; 31 January—15 February 1943; 30 January—13 February 1944; 21 January—4 February 1945; 27 January—10 February 1946; 2 6 j a n u a r y - 9 February 1947; 25 J a n u a r y - 8 February 1948), catalogues. The Oakland Annual Exhibition of Paintings and Drawings, Oakland Art League, Mills College Gallery, 12 February—3 March; reviewed The Argus. March; catalogue. Paintings by California Artists, Utah State Agricultural College, Logan, 7—21 May (traveled to New Bigelow Hotel, Ogden, Utah, closed 12 June); reviewed San Francisco Chronicle, 20 May. Annual No-Jury Exhibition, Oakland Art League, Oakland Art Gallery, 17 June-17 July (also 28 July— 28 August 1929, reviewed Oakland Tribune, n August, and San Francisco Examiner, 25 August; 16 July-16 August 1930, reviewed Oakland Tribune, 20

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July; 5 June-16 July 1931, reviewed Oakland Tribune, 14 June; 4 September—2 October 1932; 17 J u l y - 7 August 1933, reviewed Oakland Tribune, 6 July), catalogues. Water Colors and Oils by William H. Clapp, Bernard von Eichman, andSelden C. Gile, Casa de Mañana, Berkeley, 16 December—14 January 1929; reviewed Oakland Tribune, 16 December, and The Argus, January and February 1929. 1929 Thirty-five Paintings by California Artists Selectedfrom the Second Santa Cruz Statewide Exhibition for the Western Association ofArt Museum Directors, Oakland Art Gallery, 10 April-10 May. 1932 Annual Exhibition of Works by Western Artists, Oakland Art Gallery, 1-31 March (also 5 March-9 April 1933), catalogues. 1934 Annual Exhibition of Paintings and Sculpture, Oakland Art Gallery, 4 March—3 April (also 10 March— 10 April 1935), catalogues. 1935 Annual Exhibition of Boy Region Art Association, Oakland Art Gallery, 10 November—9 December (also 8 November-8 December 1936; 6 November-7 December 1937; 5 November-6 December 1938; 11 November—11 December 1939; 16 November—16 December 1940), catalogues. 1936 Exhibition of Oil Paintings, Oakland Art Gallery, 8 March—8 April (also 7 March—4 April 1937; 6 March-3 April 1938; 5 M a r c h - 9 April 1939; 3-31 March 1940; 2—30 March 1941; 1—29 March 1942; 28 February-28 March 1943), catalogues. Exhibition of Artist Members, Bay Region Art Association, Oakland, opened 14 March, catalogue. 1939 Art Exhibition by California Artists, Golden Gate International Exposition, San Francisco, 18 February—2 December, catalogue. 1940 Art Exhibition by California Artists, Golden Gate International Exposition, San Francisco, 25 May—29 September, catalogue. California Art Today and California Art in Retrospect— 1850-1915, Golden Gate International Exposition, San Francisco, catalogue: Art: Official Catalog. 1944 Annual Exhibition of Oil Paintings and Sculpture, Oakland Art Gallery, 5 March-2 April (also 4 March—1 April 1945; 3—31 March 1946; 2—30 March 1947; 29 February-28 March 1948; 3 A p r i l 6 March 1949; 5 March-2 April 1950; 4 M a r c h - i April 1951; 9 March—6 April 1952), catalogues. 1948 Annual Exhibition of the Society of Western Artists, Oakland Art Gallery, 9 May—6 June (also 26 October—26 November, M . H . de Young Memorial Museum, San Francisco), catalogues. 1962 Hamilton Collects, Willistead Art Gallery, Windsor, Ontario, 21 March-18 April, catalogue. 1967 Prize Award Winners, 1908—1965 Spring Exhibitions, Montreal Museum of Fine Arts, 30 March-30 April, catalogue. 1969 The Dr. and Mrs. Bruce Friedman Collection, California Historical Society, San Francisco, 30 September— 15 November, catalogue. 1972 Society of Six (see "Society of Six" above, p . 210). Monotypes in California, Oakland Museum, 17 October—17 December, catalogue.

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1973 Drawings from Life and Studio Set-Hps, Oakland Museum, 14 March-6 May.

Annual Exhibition of the Artists of Carmel and the Peninsula, Carmel Club of Arts and Crafts, Carmel, 22 July-15 September, catalogue.

1974 Impressionism in Canada, 1895—1935, Art Gallery of Ontario, Toronto, 17 November - 5 January 1975 (traveled to Vancouver Art Gallery, British Columbia, 16 January—24 February; Edmonton Art Gallery, Alberta, 8 March-21 April; Saskatoon Gallery and Conservatory Corporation, Saskatchewan, 4 May—10 June; Confederation Art Gallery and Museum, Charlottetown, Prince Edward Island, 22 June—1 September; Robert McLaughlin Gallery, Oshawa, Ontario, 19 September-3 November), catalogue.

1923 Annual Exhibition of the Society of Six, through 1928 (see "Society of Six" above). Annual Exhibition, Oakland Art Gallery, 6 May-8 June, catalogue. Second Annual Exhibition of Paintings by California Artists, Peninsula Industries and Arts Exposition, Monterey, 31 August—3 September, catalogue. Exhibition by California Artists, Jackson's Gift Shop, Oakland, November, catalogue.

1976 Painting and Sculpture in California: The Modern Era (see "Society of Six" above, p. 210). 1977 Watercolors from the California Collection, Oakland Museum, 23 July-4 September. 1978 Art of the Twenties: American Painting at the Crossroads, Flint Institute of Arts, Flint, Michigan, 16 November—21 January 1979, catalogue. 1979 Society of Six: Paintings andWatercolors from 1915 through the 1930s (see "Society of Six" above, p. 210). The United States and the Impressionist Era, San Jose Museum of Art, 17 November—9 January 1980, catalogue.

1982 Monterey: The Artist's View, 1925-1945, Monterey Peninsula Museum of Art, Monterey, 6 November— 31 December, catalogue; reviewed Monterey Peninsula Herald, 21 November. 1984 All Ears: A Sound Investment, Civic Arts Gallery, Walnut Creek, 14 June—12 August. 1985 Plein Air Paintings: Landscapes and Seascapes from Santa Cruz to the Carmel Highlands, 1898101940, Mary Porter Sesnon Art Gallery, University of California, Santa Cruz, 14 April—12 May, catalogue.

1924 Annual Exhibition, Berkeley League of Fine Arts, Berkeley, catalogue.

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1925 Sixth Exhibition of Painters and Sculptors of Southern California, Los Angeles Museum of History, Science and Art, 3—30 April, catalogue.

Solo Exhibitions 1927 Northbrae Community Center, Berkeley, September; reviewed Oakland Tribune, 11 September.

1927 The Monterey Group, Galerie Beaux Arts, San Francisco, closed 23 May; reviewed Oakland Tribune, 15 May, and The Argus, June. Exhibition of Oil Paintings, Water Colors, Etchings, Monotypes and Sculpture, East West Gallery of Fine Arts, San Francisco, 12—24 December.

1928 Paintings by Seiden Connor Gile, Galerie Beaux Arts, San Francisco, 23 April-7 May; reviewed Oakland Tribune, 22 April; The Argonaut, 28 April; San Francisco Chronicle, 29 April; San Francisco Monitor, 5 May; The Argus, May. Water Colors by Seiden Connor Gile, Oakland Art Gallery, 2—26 September; reviewed The Argus, October; Oakland Tribune, 2 September, 28 September, illustrated.

1928 Annual Statewide Art Exhibition. Santa Cruz Art League, Beach Auditorium, Santa Cruz, 1 - 1 5 February; reviewed Oakland Tribune, 12 February, and The Argus, February (also 9 - 2 3 February 1936), catalogues. Exhibition of California Artists, Del Monte Art Gallery, Monterey, May.

1981 Canadian Painting: Selected Works from the Collections of the Art Gallery of Hamilton and the Kitchener-Waterloo Art Gallery, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, 19 February—29 March. i93i From Exposition to Exposition: Progressive and ConserMonterey County Fair, Monterey. vative Northern California Painting, 1915-1939 (see "Society of Six" above, p. 210). 1934 Impressionism, The California View: Paintings 1890Fifteenth Annual Exhibition of Painting and Sculpture, 1930 (see "Society of Six" above, p. 210). Los Angeles Museum of History, Science and Art, Artists of the Americas, M. Newman Ltd., London, 4 May—17 June, catalogue. 26 October-6 November, catalogue. Adams-Danysh Gallery, San Francisco, 1 7 24 June. 1986 Exhibition of Black and Whites, Carmel Art AssociaEarly California Art: Twenty-fifth Anniversary tion, Carmel, 15 October-15 November, catalogue. Exhibit, Kerwin Galleries, Burlingame, 12 April— 1939 3 May. Decorative Arts, Golden Gate International Exposition, San Francisco, catalogue.

August François Gay Solo Exhibition 1929 Etchings by August Gay, Asilomar, Pacific Grove, il—31 July; reviewed San Francisco Chronicle, 28 July; The Carmelite (Carmel-by-the-Sea), 17 July.

1930 Water Colors by Seiden Connor Gile, Paul Elder Gallery, San Francisco, 12-31 May; reviewed Mill Valley Record, 16 May; San Francisco Chronicle, 18 May. 1946 Paintings by Seiden Connor Gile, Village House, Belvedere. 1956 Marin Free Library, Belvedere, January; reviewed IndependentJournal (San Rafael), January. 1969 Seiden Connor Gile, Villa Montalvo, Saratoga, 8 April-4 May.

1951 Peninsula Painters before 1920, Carmel Art Association, Carmel, March.

1972 Seiden Gile Exhibit: Oils and Water Colors, Scenes of Belvedere-Tiburon in the Early 1900s, BelvedereTiburón Landmarks Society, Old St. Hilary's, Tiburón, 9 April—29 May; reviewed IndependentJournal (San Rafael), 15 April, illustrated.

1962 Salute to the Past, American Federation of rhe Arts, Carmel Chapter, Carmel, November-io December. 1972 Society of Six (see "Society of Six" above).

Group Exhibitions 1916 Annual Exhibition of the San Francisco Art Association, California Palace of the Legion of Honor, San Francisco, io November—10 December (also 23 April-i June 1925 ; 20 April-6 May 1928, California School of Fine Arts, reviewed The Argus, May; 18 January—3 March 1935, San Francisco Museum of Art), catalogues.

1929 Paintings by Seiden Connor Gile, Women's City Club, Oakland, July-15 August; reviewed Oakland Tribune, 21 July. Paintings by Seiden Connor Gile, Casa de Mañana, Berkeley, 1—15 September.

1975 Seiden Gile (1877-1947): "Society of Six" Landscapes of Northern California, Charles Campbell Gallery, San Francisco, 2 - 1 8 January; reviewed Oakland Tribune, 15 January; San Francisco Chronicle, 17 January, illustrated; San Francisco Examiner, 7 January, illustrated. Seiden Connor Gile, North Point Gallery, San Francisco, 18 J u l y - 6 August.

1976 Painting and Sculpture in California: The Modern Era (see "Society of Six" above). 1979 Society of Six: Paintings andWatercolors from 1915 through the 1930s (see "Society of Six" above). Images of Animals, College of Notre Dame, Belmont, 25 April-27 May.

1921 ThirdJury Free Exhibition of the Work of California Artists, San Francisco Arc Association, Palace of Fine Arts, 10 May—19 June, catalogue.

1981 From Exposition to Exposition: Progressive and Conservative Northern California Painting, 1915—1939 (see "Society of Six" above). Artists of the Monterey Peninsula, 1875-1925, Monterey Peninsula Museum of Art, Monterey, 4 September— 1 November, catalogue. Impressionism, The California View: Paintings 1890-1930 (see "Society of Six" above).

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June; IndependentJournal (Son Rafael), 17 June, illustrated.

Exhibition by California Artists, Jackson's Gift Shop, Oakland, November, catalogue.

Association, San Francisco Museum of Art, ^ S e p t e m b e r - ^ October, catalogue.

1978 Exhibition of Paintings by Seiden Connor Gih. North Point Gallery, San Francisco, 6 January-18 February; reviewed The Ark (Belvedere), i February. Seiden Gile (1877-1947): Paintings, Falkirk Community Cultural Center, San Rafael, 3 April-12 May; reviewed IndependentJournal (San Rafael), 28 July, illustrated. Seiden Connor Gile, 1877-194 7: Oils and Watercolors, Tower Art Gallery, Claremont Hotel, Berkeley, 3 May—24 June.

1924 Impressionistic Paintings by Western Artists, Oakland Art Gallery, opened 29 June (traveled to Los Angeles Museum of History, Science and Art, 17 September14 October, catalogue; Friends of Art of San Diego, 21 October-23 November, catalogue, reviewed San Diego Union, 26 October).

1936 Annual Exhibition of Oil Paintings, Oakland Art Gallery, 8 March-8 April (also 7 March-4 April 1937; 2—30 March 1941), catalogues.

1980 Seiden Gile and Louis Siegriest: Paintings of the Twenties, Charles Campbell Gallery, San Francisco, 13 August-13 September. 1982 Paintings by Seiden Connor Gile, 1877—1947: An Exhibition of Paintings in Oil and Water Color from the Collection of James L. Coran and Walter A. Nelson-Rees, Sohlman Art Gallery, Oakland, 5 December-31 January 1983, catalogue; reviewed Artweek, 15 January 1983, illustrated. 1983 A Feast for the Eyes: The Paintings ofSeiden Connor Gile, A Retrospective Exhibition, Civic Arts Gallery, Walnut Creek, 9 June-10 July, catalogue; reviewed Contra Costa Times (Walnut Creek), 11 June, illustrated; OaklandTribune, 1 July, illustrated. 1984 Seiden Connor Gile (1877-1947). California Modernist: Paintings and Watercolors, North Point Gallery, San Francisco, 23 October—15 December; reviewed San Francisco Chronicle, 10 November, illustrated. G r o u p Exhibitions 1917 Spring Exhibition by East Bay Artists: Paintings, Drawings and Sculpture, Oakland Art Gallery, 18 March—14 May, catalogue. 1919 Annual Exhibition of the San Francisco Art Association, Palace of Fine Arts, 21 March-4 May (also 16 April-23 May 1920; 25 March—8 April 1927 [California School of Fine Arts]; 3 May-i June 1930 [California Palace of the Legion of Honor]; 26 April—31 May 1931 [California Palace of the Legion of Honor]; 18 January—3 March 1935 [San Francisco Museum of Art]), catalogues. Exhibition of Monotypes, Oakland Art Gallery, 22 July—23 August.

1921 Exhibition of California Painters, Oakland Art Gallery, opened 3 April. ThirdJury Free Exhibition of the Work of California Artists, San Francisco Art Association, Palace of Fine Arts, 10 May-19 June, catalogue. 1922 Annual Exhibition, Oakland Art Gallery, 4 June—9 July (also 6 M a y - 8 June 1923; 2 November-27 December 1924, reviewed OaklandTribune, 16 November; 6 February—4 March 1926; 4 February-3 March 1927; 6 March—6 April 1929, reviewed San Francisco Examiner, 17 March, and The Argus, April; 23 March-23 April 1930), catalogues. 1923 Annual Exhibition of the Society of Six. through 1928 (see "Society of Six" above). Annual Exhibition, Berkeley League of Fine Arts, Berkeley (also 1924; 1925), catalogues.

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1970 Marin Artists of Yesterday, Marin Museum Association, Marin Civic Center, San Rafael, 23 March— 1926 Seventh Exhibition of Painters and Sculptors of Southern 16 May. A Century of California Painting, 1870—1970: An California, Los Angeles Museum of History, Science Exhibition Sponsored by Crocker-Citizens National Bank in and Art, 9 April—23 May, catalogue. Commemoration of Its One Hundredth Anniversary, Crocker-Citizens National Bank, Los Angeles, 1—30 1928 June (traveled to Fresno Art Center, 6 - 2 6 July; Santa The Oakland Annual Exhibition of Paintings and Barbara Museum of Art, 3 August-3 September; Drawings, Oakland Art League, Mills College GalCalifornia Palace of the Legion of Honor, San Franlery, 12 February—3 March, catalogue; reviewed Oakcisco, 11 September-8 October; de Saisset Museum, landTribune, 19 February. University of Santa Clara, 13 October-5 November; Paintings by California Artists, Utah State AgriculE.B. Crocker Art Gallery, Sacramento, 10 Novemtural College, Logan, Utah, 7-23 May (traveled to ber—10 December; Oakland Museum, 15 December— New Bigelow Hotel, Ogden, Utah, closed 12 June); 10 January 1971), catalogue. reviewed San Francisco Chronicle, 20 May. Annual No-Jury Exhibition, Oakland Art League, 1972 Oakland Art Gallery, 17 June-17 July (also 28 J u l y Society ofSix (see "Society of Six" above). 28 August 1929, reviewed OaklandTribune, 11 Monotypes in California, Oakland Museum, 17 August, San Francisco Examiner, 25 August, illusOctober—17 December, catalogue. tated, and The Argus, July-August; 4 September-2 October 1932), catalogues. '975 Water Colors and Oils by William H. Clapp, Bernard Works on Paper, Charles Campbell Gallery, San von Eichman. and Seiden C. Gile, Casade Mañana, Francisco, 17 September-18 October. Berkeley, 16 December-14 January 1929; reviewed OaklandTribune, 16 December, and The Argus, Janu1976 ary and February 1929. Painting and Sculpture in California: The Modem Era (see "Society of Six" above). 1929 Group Show, Charles Campbell Gallery, San FranAnnual State-Wide Art Exhibition, Santa Cruz Art cisco, 1-24 December. League, Beach Auditorium, Santa Cruz, February 1977 (also 1930; 1932; 1934, reviewed OaklandTribune, 18 Watercolors from the California Collection, Oakland February), catalogues. Thirty-five Paintings by California A rtists Selectedfrom Museum, 23 July-4 September. the Second Santa Cruz Statewide Exhibition for the Western •979 Association ofArt Museum Directors, Oakland Art GalSociety of Six: Paintings and Watercolors from 1915 lery, 10 April-10 May. through the 1930s (see "Society of Six" above). Second Annual Exhibition of California Art, Artists Guild ofVallejo, Hotel Casa de Vallejo, 23 1981 November-December. California: The State of Landscape, 1872—1981, NewAnnual Exhibition, Marin Art Association, Marin port Harbor Art Museum, Newport Beach, 13 Junior College, Kentfield, 8 - 2 3 June (also 14-28 March—3 May (traveled to Santa Barbara Museum of June 1930, San Anselmo). Art, 25 July—6 September), catalogue. Artists of the Monterey Peninsula, 1875—1925, Mon1931 terey Peninsula Museum of Art, Monterey, 4 SepAnnual Exhibition of Works by Western Artists, Oak- tember— 1 November, catalogue. land Art Gallery, 1-31 March (also 1-31 March From Exposition to Exposition: Progressive and Conser1932; 5 March—9 April 1933, reviewed Oakland vative Northern California Painting, 1915—19^9 (see Tribune, 19 March, illustrated), catalogues. "Society of Six" above). Impressionism, The CalifomiaView: Paintings 1890— 1932 1930 (see "Society of Six" above). California State Fair, Sacramento, 3-10 September (also 3—12 September 1937), catalogues. 1982 Monterey: The Artist's View, 1925-1945, Monterey 1933 Exhibition of Western Oils, Faulkner Memorial Art Peninsula Museum of Art, Monterey, 16 November— Gallery, Santa Barbara, opened 4 January (traveled 31 December, catalogue. to California Palace of the Legion of Honor, San Fran1984 cisco, October; [organized by] Oakland Art Gallery, The Seasons: American Impressionist Painting, Madii—13 December 1934). son Art Center, Madison, Wisconsin, 8 December— 1934 3 February 1985, catalogue. Annual Exhibition of Paintings and Sculpture, Oak1985 land Art Gallery, 4 March—3 April (also 10 March— 10 April 1935), catalogues. California: A Celebration of the Land, California State College, Stanislaus, 8 April-9 May, catalogue. Annual Exhibition Water Colors, Pastels, Drawings and Prints, Oakland Art Gallery, 2—31 October (also 1986 4 October-i November 1936), catalogues. Bay Area Seen II: One Hundred Artists Paint the Bay Area, Arts Council of San Mateo County, Belmont, 1935 First Graphic Arts Exhibition of the San Francisco Art 18 July—28 August, companion exhibition at Gallery

1920 Paintings by California Artists, Oakland Art Gallery, 20 October—20 November; reviewed Oakland Tribune, 31 October.

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1925 Fourth National Exhibit of Fine Arts, Springville High School (now Springville Museum of Art), Springville, Utah, April, catalogue.

1937 Annual Exhibition by Artist Members of the Bay Region Art Association, Oakland Art Gallery, 6 November—7 December (also 16 November—16 December 1940), catalogues.

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30, San Mateo (also at Hall of Flowers, Golden Gate Park, San Francisco, 5—13 July). Recollect tons: 125 Years of California Artists at Gump's, 1861—1986, Gump's Gallery, San Francisco, 6 October-1 November, catalogue. The Roaring Twenties: American Works on Paper from the Permanent Collection, Achenbach Foundation for Graphic Arts, California Place of the Legion of Honor, San Francisco, 22 November—15 February 1987.

Maurice Logan

1948

Exhibition of watercolors, Fine Arts Gallery of San Diego, October—November. 1950 Maurice Logan Water Colors, Breuner's Art Gallery, Oakland, 9 October-11 November, catalogue. Paintings by Maurice Logan, Bosko's Gallery, Oakland, December. 1951 3.5 Watercolors by Maurice Logan, Lodi Public Library, Lodi. 1953

Solo Exhibitions 1918 Helgeson Galleries, San Francisco; reviewed San Francisco Chronicle, 24 November. 1932 Maurice Logan, Water Colors, Oakland Art Gallery, closed 12 May; reviewed Oakland Tribune, 8 May, illustrated. 1933 Maurice Logan: An Exhibition of Water Colors, Courvoisier Galleries, San Francisco, 20 November—2 December, catalogue; reviewed San Francisco Examiner, 19 November. 1934 Watercolors by Maurice Logan, Guest of Honor 1934, Oakland Art Gallery, 2-31 January. 1935 Exhibition of watercolors, Louis Terah Haggin Memorial Galleries, Stockton, 20 January-16 February; reviewed Stockton Daily Evening Record, 19 January. 1936 Water Colors by Maurice Logan, Gump's Gallery, San Francisco, April; reviewed San Francisco Examiner, 12 April, illustrated. 1937 Water Colors by Maurice Logan, Oakland Art Gallery, 31 January—28 February; reviewed Oakland Tribune, 7 February, illustrated. 1938 Tempera Paintings by Maurice Logan, Gump's Gallery, San Francisco, 23 May—6 June. Paintings by Maurice Logan, Oakland Art Gallery, 28 August-25 September. 1940 Watercolors by Maurice Logan, San Francisco Museum of Art, 14 February—13 March. California College of Arts and Crafts, Oakland, closed 15 October. 1941 Retrospective Exhibition of Oils & Watercolors by Maurice Logan, Oakland Art Gallery, 5-29 January; reviewed Oakland Tribune, 12 January, illustrated. Watercolors by Maurice Logan, E.B. Crocker Art Gallery, Sacramento, 2—31 March. 1943 Paintings by Maurice Logan, Oakland Art Gallery, 28 January—17 February; reviewed Oakland Tribune, 7 February, illustrated. 1944 Oils and Watercolors by Maurice Logan, Oakland Art Gallery, 5—30 January. Exhibition of watercolors, San Jose State College, 6—18 February. 1946 Paintings by Maurice Logan, Oakland Art Gallery, 1-29 December.

Exhibition of watercolors, Louis Terah Haggin Memorial Galleries, Stockton, March. 1954 Maurice Logan, N.A. [sic], Oakland Art Museum, 3 December-4 January 1955; reviewed Oakland Tribune, 12 December, illustrated. 1955 Paintings of Maurice Logan, A.N.A., Rosicrucian Art Gallery, San Jose, 25 October-14 November. 1957 An Exhibition of Oils and Watercolors by Maurice Logan, Maxwell Galleries, San Francisco, 20 January-13 February, catalogue. Maurice Logan, M . H . de "Young Memorial Museum, San Francisco, 21 February-24 March, catalogue; reviewed San Francisco Examiner, 3 March, illustrated.

I93I Annual Exhibition of Works by Western Artists, Oakland Art Gallery, 1-31 March (also 1—31 March 1932; 5 March—9 April 1933), catalogues. Annual Exhibition of the San Francisco Art Association, California Palace of the Legion of Honor, 26 April—31 May (also 18 January—3 March 1935 [San Francisco Museum of Art]), catalogues. 1933 Annual State-Wide Art Exhibition, Santa Cruz Art League, Beach Auditorium, Santa Cruz, 5—19 February, catalogue. Annual Exhibition Water Colors, Pastels, Drawings and Prints, Oakland Art Gallery, 8 October-5 November (also 2 - 3 1 October 1934; 6 October-3 November 1935; 4 October-1 November 1936; 3—31 October 1937; 2-30 October 1938; 8 October-5 November 1939; 29 September-27 October 1940; 5 October-2 November 1941; September 1942; 3-31 October 1943; 8 October-5 November 1944; 7 October-4 November 1945; 6 October—3 November 1946; 5 October-9 November 1947; 3 October-7 November 1948; 2 October—6 November 1949; 8 October-5 November 1950; 7 October-4 November 1951 ; 5 October—9 November 1952, reviewed Oakland Tribune, 12 October; 4 October-2 November 1953 [Oakland Art Museum]), catalogues.

1960 Maurice Logan, A.N.A., Cowie Galleries, Los Angeles, March, catalogue (traveled to Laguna Beach Art Gallery, Laguna Beach April-May).

1934 Annual Exhibition of Paintings and Sculpture, Oakland Art Gallery, March (also 10 March—10 April 1935), catalogues.

1961 California College of Arts and Crafts, Oakland, 28 February-24 March.

1935 Annual Exhibition of Bay Region Art Association, California Palace of the Legion of Honor, San Francisco, May (also 10 November—9 December 1935; 8 November—8 December 1936; 6 November—7 December 1937; 5 November—6 December 1938; 11 November—11 December 1939; 16 November—16 December 1940 [Oakland Art Gallery], reviewed Oakland Tribune, 8 December), catalogues. First Graphic Arts Exhibition of the San Francisco Art Association, San Francisco Museum of Art, 14 September-13 October, catalogue.

1975 An Exhibition ofWatercolors by Maurice Logan, Bohemian Club Art Gallery, San Francisco, 29 September—31 October, catalogue. 1976

Maurice Logan, University Club, San Francisco, February. Watercolors by Maurice Logan, Dooley Gallery, Carmel, closed 20 January 1977; reviewed Monterey Peninsula Review, 9 - 1 5 December, illustrated. G r o u p Exhibitions 1914 Annual Spring Exhibition of Paintings and Sculpture by California Artists, San Francisco Art Association, San Francisco Institute of Art, 3-30 April, catalogue. 1923 Annual Exhibition of the Society of Six, through 1928 (see "Society of Six" above). Annual Exhibition, Oakland Art Gallery, 6 May-8 June (also 4 February-3 March 1927; 6 March-6 April 1929, reviewed The Argus, April; 23 March-23 April 1930), catalogues. 1924 Impressionistic Paintings by Western Artists. Oakland Art Gallery, opened 29 June (traveled to Los Angeles Museum of History, Science and Art, 17 September14 October, catalogue; Friends of Art of San Diego, 21 October-23 November, catalogue, reviewed San Diego Union, 26 October). Annual Exhibition, Berkeley League of Fine Arts, Berkeley, catalogue.

Exhibition of watercolors, Louis Terah Haggin Memorial Galleries, Stockton, November.

1928 The Oakland Annual Exhibition of Paintings & Drawings, Oakland Art League, Mills College Gallery, 12 February-3 March, catalogue; reviewed The Argus. March.

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Paintings by California Artists, Utah State Agricultural College, Logan, 7—21 May (traveled to New Bigelow Hotel, Ogden, Utah, closed 12 June); reviewed San Francisco Chronicle, 20 May.

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1936 Annual Exhibition of Oil Paintings, Oakland Art Gallery, 8 March—8 April (also 7 March-4 April 1937; 6 March-3 April 1938; 5 March-9 April 1939, reviewed This World, San Francisco Chronicle, 26 March; 3-31 March 1940; 2 - 3 0 March 1941; 1-29 March 1942; 28 February—28 March 1943), catalogues. International Water Color Exhibition, Art Institute of Chicago, 12 March-10 May. Fall Exhibition of the San Francisco Art Association: Watercolors, Pastels, Tmpera on Paper, San Francisco Museum of Art, 5 November—7 December, catalogue. 1937 Annual Exhibition of Works by Artists of the Bohemian Club, Bohemian Club, San Francisco, 14-28 February (also 12—26 February 1938; 11—25 February 1939; 16-31 March 1940; 15—31 March 1941; 14-29 March 1942; 1 - 1 5 April 1943; 6 - 2 0 April 1946; 2 - 1 7 May 1947; 2 - 1 7 April 1948; 16-30 April 1949; 14—29 April 1950; 13—28 April 1951; 18 April-3 May 1952; 9-23 April 1955; 7 - 2 1 April 1956; 6 - 2 0 April 1957; 29 March—1 May 1958; 17 April—8 May 1959; 25 April—14 May i960; 24 April—12 May 1961; 4—31 May 196259—24 May 1963; 2-23 May 1964; 2-21 May 1966; 8-26 May 1967), catalogues. Exhibition by the Thirteen Watercolorists (through 1947; not documented). 1938 California State Fair, Sacramento, 2-11 September

(also I - I O September 1939; 29 A u g u s t - 7 September 1941; 1947; 1948; 1949; 1951; 1952; 1953; 1954; 1955; 1962; 1963), catalogues. Annual Exhibition of Water Colors, Foundation of Western A r t , Los Angeles, December-28 January 1939 (also 1941, reviewed Los Angeles Times, 16 February, illustrated).

6 - 2 4 April 1955; 1956; 1957; 1958, reviewed New YorkTimes, 3 April, illustrated; 2—19 February 1959; i960; 1961; 1962; 2 - 1 9 April 1964; 8 - 2 5 April 1965; 6 - 2 3 April 1967; 4 - 2 1 April 1968), catalogues. 1954 Spring Annual Exhibition of Oil Painting and Related Media, Oakland Art Museum, 7 March—5 April, catalogue.

1939 Contemporary Art, Golden Gate International Exposition, San Francisco, catalogue. Annual Review of California Art, Foundation of Western Art, Los Angeles, 1 June-15 July (also 17 J u n e - 2 o J u l y 1940), catalogues. Exhibition by Members of the San Francisco Branch of the National Society for Sanity in Art, Inc., California Palace of the Legion of Honor, August (also 10 August—6 October 1940; 1 November 1941—4 January 1942), catalogues.

1955 Annual Exhibition, National Academy of Design, N e w York (also 1958; 1959; 1 9 6 0 - 1 9 6 8 ) , catalogues. Western Painters' Annual Exhibition, Oakland A r t Museum, 10 December—8 January 1956, catalogue. 1956 Special Exhibition: Contemporary Prints and Watercolors, National Academy of Design, N e w "Vork, 15 November—2 December, catalogue.

1940 California Water Colors, Foundation of Western A r t , Los Angeles, 4—30 March, catalogue. Art Exhibition by California Artists, Golden Gate International Exposition, San Francisco, 25 May—29 September, catalogue.

1961 East Bay Artists' Association, San Leandro C o m m u nity Library Center, San Leandro, February; reviewed Oakland Tribune, 5 February. All California Invitational Exhibit, Los Angeles County Fair Association, Pomona, 15 September—1 October, catalogue.

1942 Annual Exhibition, California Water Color Society (also 1943-1951; 1954; 1955), catalogues.

1962 Oakland Art Association Annual Art Exhibition, Oakland A r t Museum, 22 June—15 July (also 30 April—28 May 1966), catalogues. All California Invitational Exhibit: Oil, Watercolor, Sculpture, Laguna Beach Festival of Arts, Laguna Beach, I 4 j u l y - i 2 August, catalogue.

1944 Annual Exhibition of Oil Paintings and Sculpture, Oakland A r t Gallery, 5 M a r c h - 2 April (also 4 M a r c h - i April 1945; 3 - 3 1 March 1946; 2 - 3 0 March 1947; 29 February-28 March 1948; 6 M a r c h 3 April 1949; 5 March—2 April 1950; 8 March—5 April 1953), catalogues. 1945 The Critics' Choice of Contemporary American Painting, Cincinnati Art Museum, 10 March—8 April, catalogue. Exhibition of Contemporary American Painting, California Palace of the Legion of Honor, San Francisco, 17 May—17 June (also 24 January—2 March 1952), catalogues. Annual Watercolor Exhibition, San Francisco A r t Association, San Francisco Museum of A r t , 15 May— 10 June, catalogue. 1946 Fall Opening, Pasadena Art Institute, Pasadena, opened 16 October, catalogue. Maurice Logan, Werner Philipp, Amy FImming, Rotunda Gallery, San Francisco, 9 October—2 November; reviewed San Francisco Examiner, 27 October.

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1963 20th Century Realists, San Diego Fine Arts Festival, San D i e g o Art Institute, 2 0 - 2 6 February, catalogue. Exhibition of Recent Art Accessions, Reading Public Museum and A r t Gallery, Reading, Pennsylvania, 3 - 2 4 February, catalogue. 1966 Ninth Annual Exhibition, Oakland Art Association, Oakland Art Museum, 30 April—28 May, catalogue. Two Hundred Years of Watercolor Painting in America: An Exhibition Commemorating the Centennial of the American Watercolor Society, Metropolitan Museum of A r t , N e w York, 8 D e c e m b e r - 2 9 January 1967, catalogue. Transparent Watercolor Paintings by Members of the West Coast Watercolor Society, Otis Art Institute of Los Angeles County, Los Angeles, 13 November—23 December, catalogue.

1933 Exhibition of India Inks, G u m p ' s Gallery, San Francisco, September; reviewed San Francisco Examiner, 17 September. 1946 Paintings in Tempera of Virginia City by Louis Siegriest, Gump's Gallery, San Francisco, 3 - 3 0 April; reviewed San Francisco Examiner, 5 May. Exhibition of Paintings by Louis Siegriest and Photographs by Johan Hagemeyer, Fenner Fuller Gallery, Oakland, 20 A u g u s t - 2 5 September. Paintings by Louis Siegriest, E . B . Crocker A r t Gallery, Sacramento, 1 - 3 1 October.

1948 Paintings by Alexander Nepote and Louis Bassi Siegriest, Oakland A r t Gallery, 4 January— 1 February. An Exhibition of Louis Siegriest's Paintings of the Historic Comstock Lode (Virginia City, Nevada), Bullock's Pasadena, Pasadena, 16—28 February, catalogue. Louis B. Siegriest, A r t League of Califorriia, San Francisco, 20 November-31 December; reviewed San Francisco Chronicle, 12 December; The Trumpeteer, December, illustrated. 1949 Exhibit of Oil Paintings by Louis Siegriest and Louis Lundy Siegriest, Bosko's Gallery, Oakland, 15 A p r i l 16 May. Twin Cities Art Exhibition — Gold and Ghost Towns: Paintings by Louis Siegriest, St. George Hotel, Volcano, Calif., closed 26 June.

Louis and Lundy Siegriest, Fenner Fuller Gallery, Oakland, July; reviewed Oakland Tribune, 29 July, illustrated. 1952 Exhibition of Paintings by Louis and Lundy Siegriest, San Jose Art League, San Jose Public Library, opened 30 June; reviewed San Jose Mercury News, 29 June, 16 July, 7 September.

1972 Society of Six (see "Society of Six" above). 1976 California White Paper Painters: 1930s—1970s, California State University, Fullerton, 25 April—20 May, catalogue. Painting and Sculpture in California: The Modern Era (see "Society of Six" above).

1954 Louis B. and Lundy Siegriest Exhibition of Paintings, H u m b o l d t State College, Areata, closed 31 March; reviewed Humboldt Times, March, illustrated. Louis Siegriest, Paintings and Collages, Oakland Art Museum, 11-25 April; reviewed Oakland Tribune, 25 April.

1977 Watercolors from the California Collection, Oakland Museum, 23 July—4 September. 1978 Art of the Twenties: American Painting at the Crossroads, Flint Institute of Arts, Flint, Michigan, 16 November—21 January 1979, catalogue.

1953 Annual Exhibition, American Watercolor Society, National Academy Galleries, N e w "York, 26 February-15 March (also 25 February-15 March 1954;

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1951

Pacific Art Festival, Oakland Exposition Building, 1—5 October; reviewed Oakland Tribune, 3 October.

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1947 Rotunda Gallery, San Francisco, 5 - 2 9 November.

1967 Art Exhibition, Society of Western Artists, Palace of Fine Arts, San Francisco, 29 September-8 October, catalogue.

1948 Annual Exhibition of the Society of Western Artists, Oakland Art Gallery, 9 May—6 June; reviewed Vallejo Times-Herald, 30 May, illustrated (also 26 O c t o b e r 26 November 1949; 17 November—17 December 1950 [ M . H . de Young Memorial Museum, San Francisco], 24 O c t o b e r - 2 4 November 1951; 23 October— 23 November 1952; 1 6 - 2 7 April 1955 {Oakland A r t Museum]; 27 October—27 November 1955 [de Young]; 24 October-25 November 1956; 6 November—8 December 1957; 14 January—15 February 1959; 3 February-6 March i960; 19 April—21 May 1961; 31 O c t o b e r - 2 December 1962; 1 A p r i l - 3 May 1964; 11 May—13 June 1965; 24 O c t o b e r - 2 0 November 1966, reviewed San Francisco Chronicle, 28 October), catalogues.

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1981 From Exposition to Exposition: Progressive and Conservative Northern California Painting, 1913—1939 (see "Society of Six" above). Impressionism, The California View: Paintings 1890— 1930 (see "Society of Six" above).

Louis Bassi Siegriest

1958 East Bay Artists' Association, Richmond A r t Center, Richmond, 8 J u l y - 3 August.

1941 National Watercolor Exhibition, Fine Arts Gallery of San Diego, 2 3 j u n e - i September.

through the 1930s (see "Society of Six" above).

1957 Paintings by Louis and Lundy Siegriest, Richmond A r t Center, Richmond, 4 - 3 1 January. 1958 Louis and Lundy Siegriest, Bohemian C l u b , San Francisco, January.

1979 Society of Six: Paintings and Watercolors from 1915

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1959 Louis Siegriest and Lundy Siegriest, Father and Son, Chico State College, Chico, 13-27 October. 1960 Paintings by Louis B. Siegriest, Bohemian Club, San Francisco, March—April. Major Works by Louis Siegriest, Fredric Hobbs Gallery, San Francisco, opened 13 November; reviewed Weekend Magazine, San Francisco News-Call Bulletin, 19 November; San Francisco Chronicle, 4 December. Louis Siegriest: Guest of Honor Retrospective Exhibition, Oakland Art Museum, 7 - 2 6 December; reviewed Oakland Tribune, 4 December, illustrated; 18 December. 1961 Fredric Hobbs Gallery, San Francisco, 11 November-8 December; reviewed This World, San Francisco Sunday Chronicle, 12 November; San Francisco Examiner, 19 November. 1962 Paintings by Louis Siegriest and Edna Stoddart, Mecca Gallery, San Jose, 4—24 February. Lou Siegriest: Mexico in the 50s and California '62, Lloyd Clark Studio Gallery, Oakland, 1-27 October; reviewed Vallejo Times-Herald, 14 October, illustrated. 1963 Louis Siegriest, University Art Gallery, University of Nevada, Reno, 13 October—2 November, catalogue; reviewed Nevada StateJournal {Reno), 20 October, illustrated. Paintings by Louis and Lundy Siegriest, San Jose State College, 4—27 November. 1964 Louis Siegriest: Major One Man Exhibition ofNew Paintings, San Francisco Art Center, 16 March-8 April; reviewed San Francisco Chronicle, 31 March. Louis and Lundy Siegriest: New Paintings, Gallery de Silva, Santa Barbara, closed 14 November; reviewed Santa Barbara News-Press, 25 October, 1 November. 1965 Louis Siegriest Relief Paintings, Twentieth Century West Galleries Limited, New York, 20 April-8 May. Louis Siegriest, A Retrospective Exhibition: 1918— 1965, San Francisco Art Institute, 8—29 May, catalogue; reviewed Oakland Tribune, 14 May; San Francisco Chronicle, 16 May; San Francisco Examiner, 18 May, illustrated. 1966 Paintings by Jack Carigg and Louis Siegriest, Triangle Gallery, San Francisco, January; reviewed San Francisco Chronicle, 24 January. The Works ofOakland Artist, Louis Siegriest, College of Notre Dame, Belmont, September. 1968 Louis Siegriest "Spacescapes," Trutton Gallery, San Francisco, January; reviewed Oakland Tribune, 14 January, illustrated. 1969 Paintings by Louis Siegriest, Santa Rosa-Sonoma County Free Public Library, Santa Rosa, 8 March5 April. Louis Siegriest, Triangle Gallery, San Francisco, 5 May—7 June; reviewed San Francisco Chronicle, 9 May; San Francisco Examiner, 11 May, illustrated. 1970 Louis Siegriest, Triangle Gallery, San Francisco, 16 February-4 April; reviewed San Francisco Chronicle, 12 March. 1971 Louis Siegriest, Triangle Gallery, 28 July—n September; reviewed San Francisco Chronicle. 7 August. 1972 Louis Siegriest, Triangle Gallery, San Francisco, 9 October—18 November.

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Louis Siegriest Retrospective, Oakland Museum, 10 October-12 November, catalogue; reviewed Oakland Tribune, 8 October, illustrated; 29 October, illustrated; San Francisco Examiner, 8 October, illustrated; San Francisco Chronicle, 26 October, illustrated. 1973

Louis Siegriest, Triangle Gallery, San Francisco, 15 November—5 January 1974; reviewed San Francisco Chronicle, 22 November; Oakland Tribune, 24 December. 1975 Louis Siegriest, Triangle Gallery, San Francisco, 2 June—12 July; reviewed San Francisco Chronicle, 5 June; Berkeley Daily Gazette, 7 June. Louis Siegriest, Selected Paintings, San Francisco Art Commission, Capricorn Asunder Gallery, 24 September-24 October, catalogue; reviewed San Francisco Chronicle, 27 September. 1976 Louis Siegriest, Landscapes 1918—1976: A Survey of Direct and Studio Work, College of Notre Dame, Belmont, 7 March-9 April. 1979 Louis Siegriest, Triangle Gallery, San Francisco, 5 February—10 March; reviewed San Francisco Chronicle, 10 February; Art News, Summer. Louis Siegriest: Recent Mount Diablo Series Paintings, Oakland Museum, 24 February-18 March. Louis Siegriest Paintings from the Sixties and Seventies. Santa Rosa Junior College Art Gallery, Santa Rosa, 11 November-14 December; reviewed Oakland Tribune, 2 December, illustrated. 1980 Selden Gile and Louis Siegriest: Paintings of the Twenties, Charles Campbell Gallery, San Francisco, 13 August—13 September. 1981 Louis Siegriest, Triangle Gallery, San Francisco, 24 February—28 March; reviewed San Francisco Chronicle, 23 March. 1983 Louis Siegriest, Triangle Gallery, San Francisco, 18 January—5 March. Louis Siegriest, The Virginia City Years, Sheppard Fine Arts Gallery, University of Nevada, Reno, 1 July-18 August; reviewed Gazette-Journal (Reno), 3 July, illustrated. 1984 Louis Siegriest, Triangle Gallery, San Francisco, 21 February—24 March.

14 October, catalogue; Friends of Art of San Diego, 21 October-23 November, catalogue). Annual Exhibition, Berkeley League of Fine Arts, Berkeley (also 1925; 1927), catalogues. 1926 Wisconsin 'Painters and Sculptors Association Annual Exhibition, Milwaukee Art Institute, through 1932; not documented. 1933 Annual Exhibition Water Colors, Pastels, Drawings and Prints, Oakland Art Gallery, 8 October—5 November (also 6 October-3 November 1935; 4 October-i November 1936; 2-30 October 1938; 27 September—1 November 1942; 3—31 October 1943; 8 October-5 November 1944; 7 October-4 November 1945; 6 October—3 November 1946; 5 October-9 November 1947; 3 October-7 November 1948; 2 October—6 November 1949; 8 October—5 November 1950; 7 October-4 November 1951; 4 October—2 November 1953 {Oakland Art Museum]), catalogues. 1934 Courvoisier Galleries, San Francisco. 1940 California Art Today, Golden Gate International Exposition, San Francisco, catalogue: Art: Official Catalog. Annual Exhibition of Oil Paintings, Oakland Art Gallery, 3-31 March (also 2-30 March 1941; 1 - 2 9 March 1942; 29 February-28 March 1943), catalogues. Art Exhibition by California Artists, Golden Gate International Exposition, San Francisco, 25 May-29 September, catalogue. Annual Exhibition of the San Francisco Art Association, San Francisco Museum of Art, 18 September—15 October (also 11 September—5 October 1941; 15 October-8 November 1942; 20 October-14 November 1943; 21 September-15 October 1944; 28 February-8 April 1951; 21 February-23 March 1952; 5 February-i March 1953; 18 February-28 March 1954, reviewed Oakland Tribune, 3 February; 29 March—6 May 1956; 24 March—24 April i960; 30 March—30 April 1961; 21 March-21 April 1963), catalogues. 1943 Annual Watercolor Exhibition of the San Francisco Art Association, San Francisco Museum of Art, 4—30 May (also 22 March-16 April 1944; 15 May-iojune 1945; J 5 October—15 November 1953; 30 September—24 October 1954), catalogues.

1944 Annual Exhibition of Oil Paintings and Sculpture, Oakland Art Gallery, 5 March—2 April (also 4 March—1 April 1945; 3 — 3 1 March 1946; 2-30 March 1947; 29 February-28 March 1948; 6 March3 April 1949; 5 March-2 April 1950; 4 March-i 1986 April 1951; 9 March-6 April 1952; 8 March-5 April Fields of Vision: Paintings by Louis and Lundy Siegriest, 1953), catalogues. Civic Arts Gallery, Walnut Creek, 15 January9 March. 1945 Louis Siegriest, Triangle Gallery, San Francisco, 18 Annual Exhibition of Contemporary A?nerican PaintFebruary-29 March; reviewed San Francisco Chronicle, ing., California Palace of the Legion of Honor, San 15 March. Francisco, 17 May-17 June (also 25 November 19501 January 1951, reviewed San Francisco Examiner; 28 November; San Francisco Art Association Bulletin, Group Exhibitions December, illustrated; and Oakland Tribune, 10 December, illustrated; 24 January—2 March 1952), 1923 catalogues. Annual Exhibition of the Society of Six, through 1928 (see "Society of Six" above). 1947 Annual Exhibition, Oakland Art Gallery, 6 May—8 California State Fair. Sacramento (also 1948; 1951; June (also 2 November-27 December 1924). 1952; 1953; 1954, reviewed Territorial Enterprise and Exhibition by California Artists. Jackson's Gift Shop, Virginia City News, 3 September), catalogues. Oakland, November, catalogue. 1950 1924 Fifteenth Anniversary Exhibitions, San Francisco Impressionistic Paintings by Western Artists, Oakland Museum of Art, 12 January—5 February, catalogue. Art Gallery, opened 29 June (traveled to Los Angeles Water Colors by David Scott, Oils by Muriel Branegan Museum of History, Science and Art, 17 SeptemberBacon, Oils by Louis Siegriest, Rotunda Gallery, San 1985 Louis Siegriest, Triangle Gallery, San Francisco, 24 February—30 March; reviewed Oakland Tribune, 24 February, illustrated.

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Francisco, 14—29 April, catalogue; reviewed This 'World, San francisco Chronicle, 23 April, illustrated; Valle jo Times-Herald, 23 April, illustrated. Annual Drawing and Print Exhibition of the San Francisco Art Association, San Francisco Museum of Art, 24 May-18 June (also 9 September-6 October 1957), catalogues. A Centennial Gala Exhibition of Paintings and Sculpture, Rotunda Gallery, San Francisco, 3-28 October, catalogue; reviewed San Francisco News. 7 October. 1951 Twenty-second Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art, Washington, D . C . , 1 April-13 May, catalogue. 1952 First Annual Terry National Art Exhibit, Terry Art Institute, Miami, 24February-2 March, catalogue. Annual Exhibition: Oil and Sculpture, Richmond Art Center, Richmond, 28 October-28 November (also 5 November—6 December 1953; 1—30 November 1956; 30 October-6 December 1959), catalogues. American Water Colors, Drawings and Prints, 1952: A National Competitive Exhibition, Metropolitan Museum of Art, New York, 5 December-25 January 1953, catalogue. 1953 Annual Exhibition: Watercolor, Print, Decorative Arts, Richmond Art Center, Richmond, 1 - 3 0 April (also 6 April-6 May 1954; 24 March-27 April 1955 * 7 August-14 September 1958), catalogues. Fifty-six Artists of the Rotunda Circle, Rotunda Gallery, San Francisco, December—4 January 1954; reviewed San Francisco Chronicle, 23 December; Oakland Tribune, 27 December. 1954 Spring Annual Exhibition of Oil Painting and Related Media, Oakland Art Museum, 7 March—5 April, Annual Exhibition of Western Art, Denver Art Museum, 14 June—1 August (also 19 July-22 August 1965), catalogues. Western Painters' Annual Exhibition, Oakland Art Museum, 5 - 3 0 November, catalogue. 1955 Exhibition of Paintings in Polymer Tempera by Louis Siegriest and Lundy Siegriest, and Pastels by Helen Salz, Rotunda Gallery, San Francisco, 3-28 March, catalogue; reviewed San Francisco Chronicle, 9 March; San Francisco News, 11 March. Exhibition of the Collection of Esther Torosian Fuller, Oakland Art Museum, October—6 November; reviewed Oakland Tribune, 23 October. 1956 East Bay Artists Association Inaugural Exhibition, Oakland Art Museum, 5 October—12 November, catalogue. 1957 California Painters' Exhibition, Oakland Art Museum, 9—31 March (also 8 January—2 February 1958; 16 January—7 February i960, reviewed OaklandTribune, 24 January), catalogues. Annual Exhibition of Works by Artists of the Bohemian Club, Bohemian Club, San Francisco, 6—20 April (also 29 March-i May 1958; 17 April-8 May 1959; 25 April-14 May i960; 24 April—12 May 1961; 4—31 May 1962; 9—24 May 1963; 2—23 May 1964; 2 - 2 1 May 1966; 8 - 2 6 May 1967), catalogues. California Artists, San Jose State College, May, catalogue. Annual Watercolor, Drawing and Print Exhibition of the San Francisco Art Association, San Francisco Museum of Art, 19 September-6 October, catalogue. 1958 153rd Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, January-March, catalogue.

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St. John. Peter Brown, Triangle Gallery, San Francisco, 8 January—10 February; reviewed San Francisco Chronicle, 15 January; Artweek, 5 February. 1978 Landscapes "Done in the Open": Lou and Lundy Siegriest, Roy Schmaltz, Peter W. Brown and Terry St. John, Adlai Stevenson College, University of California, Santa Cruz, 12 November-io December. Art of the Twenties: American Painting at the Crossroads, Flint Institute of Arts, Flint, Michigan, 16 November—21 January 1979, catalogue. 1979 Society ofSix: Paintings and Watercolors from 1915 through the 1930s (see "Society of Six" above). Images of Animals, College of Notre Dame, Belmont, 25 April—27 May Scenes from the Visual Arts, Center for the Visual Arts, Oakland, 18 May-15 June. A Sense of Place: The Artist and the American Land, Joslyn Art Museum, Omaha, and Sheldon Memorial Art Gallery, Lincoln, Nebraska, 22 September—28 October, catalogue. 1980 The Siegriests in the 5 os and 60s: Louis B. Siegriest, Lundy Siegriest, Edna Stoddart, Center for the Visual Arts, Oakland, 14 February—15 March; Sunday Magazine, Oakland Tribune, 24 February; San Francisco Chronicle, 3 March, illustrated; Oakland Tribune. 4 March\ Artweek, 8 March. The Siegriests: A Family ofArtists and Their Work, Richard L. Nelson Gallery, University of California, Davis, 11 November—12 December (traveled to Redding Museum and Art Center, Redding, 3 March—12 April 1981; Baxter Art Gallery, California Institute ofTechnology, Pasadena, 2oMay-28June 1981; San Jose Museum of Art, 17 July—30 August 1981), catalogue. 1981 Alumni Exhibition, California College of Arts and Crafts, Oakland, 16 January—10 February From Exposition to Exposition: Progressive and Conservative Northern California Painting, 1915—1939 (see "Society of Six" above). Impressionism, The California View: Paintings 18901930 (see "Society of Six" above). 1982 The Landscape Show, Triangle Gallery, San Francisco, 19 January—27 February. Rolling Hills and Purple Cows: California Landscapes in a Painterly Tradition, Civic Arts Gallery, Walnut Creek, 17 June—15 August; reviewed Contra Costa Tims, 11 June; San Francisco Chronicle, 13 July 1983 Directions in Bay Area Painting: A Survey of Three Decades, 1940s—1960s, Richard L. Nelson Gallery and Memorial Union Art Gallery, University of California, Davis, 12 April-20 May, catalogue. 1985 California: A Celebration of the Land, California State College, Stanislaus, 8 April—9 May, catalogue. 1986 Bay Area Seen II: One Hundred Artists Paint the Bay Area, Hall of Flowers, Golden Gate Park, San Francisco, 5—13 July (traveled to Arts Council of San Mateo County, Belmont, 18 July—28 August). Recollections: 125 Years of California Artists at Gump's, 1861—1986, Gump's Gallery, San Francisco, 6 October-1 November, catalogue.

Bernard von Eichman Solo Exhibitions 1928 Water Colors by Bernard von Eichman, Oakland Art Gallery, 2 - 2 6 September; reviewed OaklandTribime, 2 September; 9 September, illustrated; The Argus. October.

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1927 Annual Exhibition of the San Francisco Art Association, California School of Fine A r t s , 25 March—8 A p r i l (also 20 A p r i l - 6 May 1928; reviewed The Argonaut 28 A p r i l ; The Argus, May; 4 - 2 8 A p r i l 1 9 2 9 ; 24 A p r i l - 2 9 May 1 9 3 2 {California Palace of the Legion of Honor]), catalogues.

1930 Water Colors by Bernard von Eichman, O a k l a n d A r t Gallery, M a y ; reviewed Oakland Tribune, 25 May, illustrated. J

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Watercolors by Bernard von Eichman (1899—1970), Monterey Peninsula M u s e u m of A r t , Monterey, 7 A u g u s t - 1 September; reviewed Monterey Peninsula Review, 1 - 7 A u g u s t .

Group Exhibitions 1923 Annual Exhibition of the Society of Six, through 1 9 2 8 (see "Society of Six" above). Annual Exhibition, O a k l a n d A r t Gallery, 6 May—8 J u n e (also 2 N o v e m b e r - 2 7 D e c e m b e r 1 9 2 4 , reviewed Oakland Tribune, 1 6 N o v e m b e r ; 4 F e b r u a r y - 3 M a r c h 1 9 2 7 ) , catalogues. 1924

SUPPLEMENTAL

EXHIBITION

N o v e m b e r , catalogue. 1972 Society of Six (see "Society of Six" above). 1976 Painting and Sculpture in California: (see "Society of Six" above).

The Modern Era

1928 The Oakland Annual Exhibition of Paintings and Drawings, O a k l a n d A r t League, M i l l s C o l l e g e Gallery, 12 February—3 March, catalogue; reviewed Oakland Tribune, 19 February.

1977 Watercolors from the California Collection, O a k l a n d M u s e u m , 23 J u l y - 4 September, catalogue.

Annual No-Jury Exhibition, O a k l a n d A r t League, O a k l a n d A r t Gallery, 17 June—17 July, catalogue; reviewed The Argus, July—August. Water Colors and Oils by William H. Clapp, Bernard von Eichman, and Selden C. G He, Casa de Mañana, Berkeley, 1 6 D e c e m b e r - 1 4 January 1 9 2 9 ; reviewed Oakland Tribune, 1 6 D e c e m b e r ; The Argus, January, February 1 9 2 9 .

Society of Six: Paintings and Watercolors from 1915 through the 1930s (see "Society of Six" above). 1981 From Exposition to Exposition: Progressive and Conservative Northern California Painting, 1915-1939 (see "Society of Six" above).

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Annual Exhibition, Berkeley League of Fine A r t s , Berkeley (also 1 9 2 5 ; 1 9 2 6 ; 1 9 2 7 ) , catalogues.

and Drawings, O a k l a n d A r t Gallery, 8 October—5

1979

933 First Annual Exhibition

Water Colors, Pastels, Prints

HISTORY

Since the original printing of this book, several exhibitions have taken place and are presented here as a supplement. 1989 Louis Siegriest, Triangle A r t Gallery, 7 F e b r u a r y 11 March; reviewed Antiques & Fine Art 6, no. 4 (May/June): 6 5 . California Colorists: Paintings by the Society of Six, T h e Fine A r t s M u s e u m s of San Francisco, 1 6 S e p t e m b e r - 3 1 December, brochure; reviewed San Francisco Examiner, 15 September, ill.; San Francisco Chronicle, 24 September, ill.; Sacramento Bee, 1 October, ill.; The Journal of Art 2, no. 2 (November); The Christian Science Monitor, 28 December, ill. 1990 If Pictures Could Talk: A Collection of California Paintings, Gallery Concord, Concord, and Hearst A r t Gallery, St. Mary's C o l l e g e , M o r a g a , 11 March—22 A p r i l , catalogue.

California Modernists: The Society of Six, Crocker A r t M u s e u m , Sacramento, 17 N o v e m b e r - 2 7 January 1 9 9 1 ; reviewed Artweek 22 (24 January 1 9 9 1 ) : 14, ill. 1991 Maurice Logan: Artist and Designer: A Retrospective of Paintings from the "Society of Six" Years to the 1960s, Hearst A r t Gallery, St. Mary's C o l l e g e , M o r a g a , 14 July—15 September, catalogue; reviewed San Francisco Chronicle, 3 September 1 9 9 1 , ill. 1992 In the Mist of the Golden Coast: Artists of the North, Fleischer M u s e u m , Scottsdale, Arizona, 1 J u n e - 3 1 A u g u s t , brochure. 1993 Wonderful Colors! The Paintings of August Francois Gay, Monterey Peninsula M u s e u m of A r t , 30 J a n u a r y - 3 0 May, (traveled to Hearst A r t Gallery, St.

Mary's C o l l e g e , Moraga, I 3 j u n e - I 2 September; Laguna A r t M u s e u m , Laguna Beach, 1 6 May— r6 O c t o b e r 1994), catalogue. Selden C. Gile: California Colorist, BelvedereT i b u r ó n Landmarks Society Gallery, Belvedere, 1 A p r i l - M a y 22. 1995 Facing Eden: 100 Years of Landscape Art in the Bay Area, Fine A r t s M u s e u m s of San Francisco, 25 June— 26 N o v e m b e r , catalogue; reviewed San Francisco Chronicle, 23 June; San Francisco Examiner, 25 June, ill.; Sacramento Bee, 2 J u l y ; Antiques & The Arts Weekly, 22 September, ill. 1996 Louis Siegriest Paintings, 1948-1973, Shasta C o l l e g e Gallery, R e d d i n g , 16 January—28 February. A Painter's Paradise: Artists and the California Landscape, Santa Barbara M u s e u m of A r t , 29 N o v e m b e r — 1 6 February 1 9 9 7 , catalogue.

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William H. Clapp

Exhibition. Appoints Galka Scheyer as European representative of the Oakland Art Gallery.

1879

1926

Born 29 October in Montreal, Canada. 1885 Moves to Oakland, California; attends Oakland public schools until his family's return to Montreal sometime before 1900. 1900 Enrolls at Montreal Art Association school; studies four years with William Brymner. Spends summers 1900—1904 traveling and painting in Charlevoix and Beaupré Counties with Clarence A . Gagnon and other artist friends. 1901 Wins two-year scholarship at Montreal A r t Association school. 1904-1908 Studies in Paris for four years at the Académie Julian with Jean-Paul Laurens, Lucien Simon, and Tony Robert-Fleury; also studies at Académie Colarossi and Ecole de la Grande Chaumière.

Holds first Blue Four museum exhibition. 1928

1935-1938 Paints Federal Arts Project mural for Pacific Grove H i g h School with Bruce Ariss.

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1941 State purchases Stevenson House for Robert Louis Stevenson museum. Gay builds house in Carmel.

Marries Gertrude Schroder. 1939

Retires from Oakland Art Gallery. 1954 Dies 21 April at age 74 in Piedmont, California.

August François Gay

1901

Spends six months in N e w York.

Invited to join Canadian Art Club. 1915 Moves to Isle of Pines, Cuba. 1917 Moves to 222 Sunnyside Avenue, Piedmont, near Oakland. Meets Gile. Instructor of life drawing at California School of Arts and Crafts. 1918 Appointed acting director, Oakland Art Gallery. Conducts Clapp School of Painting and Drawing in Oakland for six years. 1919 Named director, Oakland Art Gallery. Florence Wieben Lehre joins gallery as assistant. 1923 First of six annual Society of Six exhibitions. 1925 Named to three-person jury for Pan-American

Selden Connor Gile 1877 Born 20 March in Stow, Maine. 1899

1908 Returns to Montreal. Awarded Jessie Dow Prize for Maming in Spain, Montreal A n Association.

1912

1948 Dies 9 March at age 57 in Carmel, California.

Juror in Golden Gate International Exposition. 1952

1890

1910

1934 Marries Marcelle Chaix. Begins painting murals under auspices of Public Works of Art Project.

Elected President of Western Association of A r t Museum Directors. 1931 Florence Lehre dies at age 33.

1906-1909 Travels to Spain and Belgium. Reportedly studies at art school of the Prado Museum, Madrid.

1908-1914 Paints, teaches, and exhibits in Montreal.

Devotes almost full time to woodworking and gilding. Price and others of the Monterey Group disperse.

Born 11 J u n e in Rabou, near G a p , France.

Arrives with sister Olympe to join their father in Oakland, California. Attends school in Alameda. 1910-1919 Meets Gile. Stays at G i l e s home in Oakland intermittently. During these years works as a warehouseman and foodchecker at Palace Hotel in San Francisco and at H u n t , Hatch and Co. fruit cannery in Oakland. Attends occasional classes at California School of Arts and Crafts, Berkeley. 1918 Attends night school at California School of Fine Arts, San Francisco, through J u n e 1919. 1919 Moves to Monterey. Works in fishing canneries. Meets C . S . Price. The two live and paint together at the Stevenson House. Paints with Armin Hansen and artists of the Montery Group.

Graduates from Shaw's Business College, Portland, Maine. c. 1901 Arrives in California. Wbrks as paymaster and clerk on J . Parker Whitney's ranch near Sacramento. 1905 Lives in Oakland. Begins work at Gladding McBean and C o . , Oakland. c. 1910 Meets August Gay, who lives at G i l e s home intermittently for nine years. Meets Maurice Logan during this period. (Later claims to have spent occasional art class/studio time with E. Spencer Macky, Xavier Martinez, Perham Nahl, Frank Van Sloun, and W . H . Clapp during the following decade.) c. 1915 Meets Louis Siegriest and Bernard von Eichman. Attends Panama-Pacific International Exposition. c. 1916 Moves to 7027 Chabot Road — the "Chow House."

1923 First of six annual Society of Six exhibitions.

1917

c. 1925—1927 Monterey Group painters exhibit in Monterey and San Francisco.

1923 First of six annual Society of Six exhibitions.

1927 Gay removes paintings from fifth annual Society of Six exhibition in dispute. 1928 Does not participate in final Society of Six show.

Meets W . H . Clapp.

1927 Retires from Gladding McBean and Co. Moves to Tiburon, Marin County, to paint full-time. 1928 Solo exhibition in San Francisco at Galerie Beaux Arts. Moves to Beach Road, Belvedere.

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93I Sells "Chow House"; Siegriest burns many of Gile's paintings stored there. Travels to Southwest with Logan, and again in 1934.

1963 Wife Bertha dies.

c- 1 9 3 5 Paints a mural of Belvedere under WPA auspices.

1966 Takes painting trip to Southwest and Mexico.

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947 Dies 8 June at age 70, Lucas Valley, California.

Maurice Logan 1886 Born 21 February. Place of birth given variously as San Francisco, Calistoga, Oakland. Lives at Lake Temescal, Oakland. c. 1898 Art lessons with Clara Cuff in Oakland. c. 1902 Studies with Richard Partington at Partington Art School in San Francisco. 1907-1913 Attends newly reopened San Francisco Institute of Art. Studies with Theodore Wores, Perham Nahl, Frank Van Sloun. Meets Siegriest and Gilè. 1915 Marries Bertha Kipke. Works in San Francisco as a freelance commercial artist. Moves to 7 1 1 7 Chabot Road, Oakland. Attends Panama-Pacific International Exposition. 1919 Works one year in Chicago for Charles Everett Johnson Company commercial art agency. Attends evening classes at School of the Art Institute of Chicago; studies with Wellington J . Reynolds. 1923 First of six annual Society of Six exhibitions. 1924-1925 - Sent by Los Angeles Museum of Natural History, Science and Art to British East Africa to make sketches for dioramas. Visits Europe on return trip. Resumes freelance commercial art work in San Francisco. 1926 Travels in Southwest with Gilè, and again in early 1930s. 1933 Teaches portrait and plein-air painting at the Académie of Advertising Art, now the Academy of Art College, San Francisco, for three years. T

935 Founds commercial art business, Logan, Staniford and Cox. Teaches life drawing until 1944 at California School of Arts and Crafts, Oakland. 1954 Named Associate of the National Academy of Design. 1956 Receives Honorary Doctorate of Fine Arts from California College of Arts and Crafts. i960 Named full Academician of National Academy of Design.

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1966 Travels in Russia. Edna Stoddart Siegriest dies during trip to Mexico.

1965 Marries Ruth Trevalier.

1968 Stops painting due to stroke.

1968 Travels in Spain. 1987 Awarded Honorary Doctorate of Fine Arts, California College of Arts and Crafts.

1977 Dies 19 March at age 9 1 , Orinda, California.

1989 Dies 7 November at age 90 in Berkeley, California.

Louis Bassi Siegriest

Bernard von Eichman

1899 Born 24 February in Oakland, California.

1899 Born 4 October in San Francisco, California,

c. 1 9 1 2 Meets Maurice Logan. 1914 Attends California School of Arts and Crafts, Berkeley; studies with Perham Nahl. 1915 Meets Bernard von Eichman at art school. Meets Selden Gile and August Gay. Attends PanamaPacific International Exposition. Wins scholarship to California School of Arts and Crafts evening classes. 1916 Transfers to California School of Fine Arts, San Francisco; studies with Frank Van Sloun through spring 1 9 1 7 . 1917 Meets W. H. Clapp. Enrolls in Van Sloun School in San Francisco in fall, along with von Eichman; remains until school closes in 1 9 1 9 . 1921-1922 Works as poster artist in Seattle. Marries Mabel Lundy. 1923 Returns to Oakland. Works as poster artist for Foster and Kleiser. First of six annual Society of Six exhibitions. 1926-1931 Moves to Dallas for a brief time, then to Chicago and Milwaukee. Works in commercial art. Hand injury restricts ability to work for several years. Teaches postermaking at Layton Art School, Milwaukee, until 1 9 3 1 . 1

I93 Leaves Wisconsin. Travels in Midwest and Southwest. Returns to Oakland. Works for advertising art department of San Francisco Chronicle for two years; also freelances in commercial art during decade. 1938-1939 Employed by the WPA/FAP, and later by the Indian Arts and Crafts Board to design a series of posters for the Indian Court of the Golden Gate International Exposition. 1942-1944 Works in Northern California designing camouflage for the United States Army Corps of Engineers. 1945 Moves to Virgnia City, Nevada. Divorces. 1948 Returns to Oakland. Teaches at Art League of California in San Francisco until 1 9 5 1 . r

955 Yearly travels to Mexico through 1959; also 1964, 19 66, 1970. 1958 Marries Edna Stoddart.

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c. 1 9 1 2 Forced to leave school to earn living. During his teenage years works variously as a bricklayer and merchant marine. 1915 Attends California School of Arts and Crafts where he becomes friends with Louis Siegriest. Meets Selden Gile, August Gay, Maurice Logan. Attends Panama-Pacific International Exposition. 1916 Transfers to California School of Fine Arts, San Francisco, with Siegriest to study with Van Sloun. 1917 Meets W. H. Clapp. Transfers to Van Sloun School with Siegriest in fall. 1921 Sails out of Seattle on S. S. Edgehill to China; stranded in China for two years. 1923 Returns to San Francisco. First of six annual Society of Six exhibitions. 1926 Marries Vivian Fräser Boos. 1928 Departs for New York to pursue art career. Marriage ends. 1930-1940 Works as window display designer in New York. 1933 Marries Mildred Stazer in New York. 1942 By this time has abandoned painting. Returns to California alone to find work. Contacts Siegriest once. Works in shipyards in Sausalito and Vallejo during World War II. 1943-1944 Family joins him in California. T

945 Works as housepainter; remodels houses for resale. Lives in Vallejo. 1946 Moves to Mill Valley. c. 1954 Moves with family to Monterey; continues work as housepainter and renovator. 1968 Sells house in Monterey. Burns most of his paintings. In ill health, travels with Mildred to various small northern California towns. 1970 Dies 4 November at age 7 1 in Santa Rosa, California.

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Page numbers of illustrations are in italics.

Abstract Expressionism, 178, 185 Abstraction, 9, 13, 63, 92, 109, 146, 151, 187, 201 n2, 202 n2; Gile and, 65, 77; Price's, 83, 139; Siegriest and, 90, 146, 176, 177-178, 181 Académie Colarossi, 47 Académie Julian, 47 Aerial perspective, 175-176 Albright,Thomas, 132, 175, 197 n i 4 , 202 ni^ Albro, Maxine, 145, 201 n3 Alexander, Henry, 19 American Scene painters, 144 American Watercolor Society, 170 Archipenko, Alexander, 106, 134, 199 n i 7 Architecture, 16-17; Bay Region Style, *46; Panama-Pacific International Exposition, 55, 197 n i l

Braque, Georges, 60, 63, 101 Brinton, Christian, 53 Brissey, Forrest, 134 Brown, Arthur, Jr., 55 Brown, Milton, 59, 60 Brown, Peter, 182, 202 n6 Brown, William Theo, 186 Brushstrokes, 80—81, 83, 94—95, 198 n23 Bruton, Esther, 135—137, 145; Helen, 135, 137, 140, 145, 161, 165, 194-, The Party, Margaret, 135-137; Portrait ofAugust Gay, ji Brymner, William, 46 Burbank, Luther, 196 n i 2 Burnham, Daniel/Burnham Plan, 55

Arensberg, Walter and Louise, 200 n 16 Ariss, Bruce, 161, 162-164; Jean, 161, 163 Armory Show (1913), New York, 10, 50, 59—63, 66, 106, 197 n i 4 , 198 n i 5 , 16 Amautoff, Victor, 145, 201 n3 'Art in Action," 166 Art Association of Montreal, 46, 47 Art League of California, 177 Art Loan Exhibition (1891), 14 Arts Club, Montreal, 50, 197 n4i Arts and Crafts movement, 17, 22, 145—146 AshcanSchool, 3 9 , 9 3 , ! 9 8 n i 3 Atkins, Arthur, 19 Austin, Mary, 19, 135

Caldwell, John, 95 California: art in, 13-17, 22—23, 39» 7 1 . geography and isolation of, 10, 13-15, 18, 19, 51, 139, 165, 187, 196 n 1 ; history of, 15. See also San Francisco California Academy of Sciences, African Hall, 127 California College (formerly School) of Arts and Crafts, 25, 38, 43, 102, 151, 170, 177, 183 California Decorative style, 23, 35, 66, 146 California Midwinter International Exposition (1894), 14, 196 n4 California Palace of the Legion of Honor, 67—68, 102, 107, 201 n5, 9 "California school," of watercolorists, 150, 151 California School of Fine Arts, 32, 39, 102, 134, 144, 146, 178, 185; California School of E>esign, 196 n i 9 ; Mark Hopkins Institute of Art, 19, 23; San Francisco Institute of Art, 25, 35-36; name changes of, 196 n 19 California Society of Artists, exhibition (1902), 23 California Watercolor Society, 150, 170, 201 n i 6 Camoin, Charles, 61 Canada: Clapp in, 45—50, 191 ; Group of Seven in, 9.47.79.95, i 9 8 n i 3 Canadian Art Club, 47, 191 Carey, Paul, 182, 201 n i 9 , 202 n6 Carmel, 19-22, 135, 136 Carmel Art Association, 140 Carmel Summer School of Art, 135, 200 n 31 Carnegie Institute, International Exhibition of, 50 Catalogue De Luxe of the Department of Fine Arts (PPIE), 59, 60 Censorship, 132-134, 177,202 m l Cézanne, Paul, 46, 59, 62—63, 69, ^9. r37> 199 n 1, 3; Le golfe de Marseille, vu de l'Estaque (LEstaque, a village near Marseilles), 62—63, 66, 69 Chase, WilliamMerritt, 65, 135, 200 n3i Chase School, N e w a r k , 39 Chow House, 73-75, 101, 112, 125, 129 Clapp, William Henry, 9, 10, 25, 45-51, 53, 73, 7 4 , 9 4 - 9 9 , 132-135, 151, 157-161, 165, 190, 191, 194; Birdnesting, 48, 50, 83, 95, 159; in Canada, 4 5 - 5 0 , 191, 197; Children Wading, 45, 48, 83; and color, 83, 115, 132, 159; The Depression and, 141, 143. 157-159; Estuary Dwellings, 95, 97, 115; Gile and, 29, 46, 50, 73,

Back-to-nature movement, 16-18, 135 Barbizon school, 14, 15, 16,46, 1 9 6 ^ 3 Barnes, Matthew, 121, 146 Bauhaus, 104, 158, 201 n28 Baumeister, Willi, 109 Bay Area figurative expressionists, 10, 116, 185186, 187 Bay Region architectural style, 146 Beach Chalet murals, 145 Beckmann, Max, 146, 178 Bellows, George, 6 7 , 6 9 , 128, 135, 137, 198 n2}, 199 n8, 200 n3i Belvedere, see Gile, in Marin County Belvedere Land Company, 169, 190 Benson, Elmer, 169, 170, 190 Benton, Thomas Hart, 144 Berkeley League of Fine Arts, 158 Besnard, Albert, 16 Bierce, Ambrose, 18, 19, 35, 196 n i o Bierstadt, Albert, 13, 16, 135 Bischoff, Elmer, 116, 185, 186 Black artists, Oakland Art Gallery and, 103-104 Blue Four, 104-109, n 6 , 139, I 9 9 n n - i 4 , 17, 200 n i 6 , 201 n5, 28 Bohemian Club, 18, 39, 127, 151, 170-173 Bohemians, 17-22, 31, 34-35, 51, 135-136, 144 Bonnard, Pierre, 46, 61, 69, 102, 137, 199 n i , 3 Books, art, 196 n5, 199 n40 Boudin, Eugène, 14, 16, 102, 196 n4 Boyd, Edward F., 46

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87—88,95, 115, 132, 169; and Golden Gate International Exposition, 159, 165-167; Happiness, 113—114; Houses Along the Estuary, 40, 95; and Impressionism, 1 0 , 4 8 - 5 0 , 51, 8 1 - 8 2 , 94—95, 115, 143, 167, 191, 200 n2o; In the Orchard, 48; and Lehre, 42, 104, 141, 158-159; Lumber Boats, 48; manifesto formulated by, 95— 99; Morning in Spain, 20-21, 47; The New Church, 4 8 - 5 0 ; TheNeu.' Church. Sketch, 33, 50; Oakland Art Gallery director, 51, 95, 103-109, 132-134, 141, 157—159, 188, {seealso Oakland Art Gallery); in Oakland Art Gallery shows, 113-119; Portrait of Man with Pince-Nez and Moustache, 47; Sailboat in the Sun, 44, 132; and sketches, 50, 81; Summer Landscape, St. Sulpice, 48; The Village Laundry, France, 17, 47; Water Scene, 87, 96, 115; white pigment study of, 159 Clapp family, 4 5 - 5 0 , 159, i 9 9 n i o CoitTower murals, 145, 201 n4 Colonies, art, 79, 135—136, 198 n i 4 Color, 10, 71, 8 3 - 8 4 , 9 0 - 9 1 , 107, h i , 113, 114, 116, 121, 137. See also Clapp, Gay, etc. Conservatism, 16, 66—67, 93~94> 101-102, 115; in Carmel, 136; Clapp's, 46, 115; earthquake and, 22; Exhibition of Contemporary French Art, 101, 199 n 1; Inaugural Exposition of French Art, 102, 199 113; Lehre and, 104, 158; Logan's, 151, 170171; Oakland Art Gallery and, 101, 103, 132134, 159; Panama-Pacific International Exposition, 55-56, 58, 59, 6 1 - 6 3 , 66, 68; San Francisco Institute of Art, 35; of Society for Sanity in Art, 151 Constable, John, 81 Construedvists, European, 109 Coppa's restaurant, 39—40 Corn, Wanda, 14 Corot, Jean BaptisteCamille, 14, 16 Courbet, Gustave, 16 Cox, Willard, 124 Crocker, Charles, 19 Crocker, Ethel and W . H . , 14, 16, 19, 196 n 3 Cubism, 15, 58, 63, 67, 146 Cuff, Clara, 34 Cullen, Maurice, 47, 197 n40 Cuneo, Rinaldo, 199 n4 Curry, John Steuart, 144

Dadaists, ioi, 198 n i 3 , 199 ni7 Danysh, Joseph, 145 Dasburg, Andrew, 71, 200 n i 3 Davies, Arthur B., 114, 198 n25 Davis, Stuart, 61 Degas, Edgar, 16, 167 Delacroix, Eugène, 16 Delaunay, Robert, 60 deLimur, Charles, 16, 22 del Mue, Maurice, 40 Demuth, Charles, 67 Denis, Maurice, 8 2 - 8 3 , 102, 199 n3 Depression (1930s), 141, 143-167 Derain, André, 63, 102, 199 ni, 14

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de Young, M. H., 1 4 de Young (M. H.) Memorial Museum, 1 7 0 , 1 7 7 d'Harnoncourt, René, 1 5 2 Diebenkorn, Richard, 7 7 , 1 7 5 , 1 8 6 , 1 8 7 , 1 9 4 Dixon, Maynard, 1 9 , 2 3 , 4 0 , 7 1 , 1 0 2 , 107 Doro, Edward, 95 Dove, Arthur, 1 4 4 Duchamp, Marcel, 59, 63; Nude Descending a Staircase, No. 2, 22, 1 3 4 , 1 9 7 n i 3 Duncan, Isadora, 1 8 Dungan, H. L., 1 0 1 , 1 1 5 , 1 1 9 Durand-Ruel, Paul, 1 4 , 1 9 6 n4 Duveneck, Frank, 58, 65—66

Earthquake (1906), 1 8 - 2 2 , 29, 3 5 , 38, 5 4 - 5 5 École de la Grande Chaumière, 47 École des Beaux-Arts, 47 Eichman, see von Eichman Eight, the, 39, 93, 198 n i 3 Elkinton, Amelie Waldo, 1 6 1 - 1 6 2 Elkins, Frances, 1 6 1 , 2 0 1 n37 Emerson, Ralph Waldo, 1 4 European artists, 1 0 9 , 1 4 6 , 1 9 9 n i 7 . See also French artists; German artists Exhibition of Contemporary French Art ( 1 9 2 3 ) , Polk Hall, 1 0 1 , 1 0 7 , 1 9 9 ni Expressionism, 58, 82, 1 0 9 , 1 2 5 , 139—140, Figurative, 1 0 , r 16, 1 8 5 - 1 8 6 , 1 8 7 ; German, 63, 1 0 2 , 1 9 9 n 1 7 , (see also Blue Four). See also Abstract Expressionism

Fauvism, 1 5 , 46, 4 7 , 63, 7 5 , 1 0 2 , 1 0 6 , 1 0 7 , Society of Six styles and, 82, 88, 1 0 2 , 1 0 7 , 1 2 4 - 1 2 5 Federal Art Project (FAP), 1 4 4 , 1 4 5 , 1 5 2 , 1 6 2 - 1 6 3 Feininger, Lyonel, 104, 1 0 6 , 1 0 9 , 1 4 6 , 1 9 9 n i 4 , 1 6 , 1 7 , 2 0 1 n28 Fetherstonhaugh, Olive, 1 6 9 , 1 7 0 Fire: San Francisco, 18—22; von Eichman and, 44 Fisher, Bud, Mutt andJeff \ 38 Fitzgerald, James, 1 6 2 Fortune, E. C., 22, 66, 6 9 - 7 1 , 1 2 9 , 1 4 0 , 1 6 1 , 1 9 8 n23, 200 n 3 i ; Mending Nets, 71 Foster and Kleiser, 40, 1 2 4 , 1 2 7 Fraser (Boos) von Eichman, Vivian, 1 2 4 French artists, 1 8 5 ; Barbizon, 1 4 ; Bay Area displays of, 1 4 , 1 0 1 , 1 0 2 , 1 0 7 ; Ethel Crocker's collection of, 16; Gay and, 3 3 , 40, 88; Japanese aesthetics and, 84—85; Post-Impressionist, 1 0 1 — 1 0 2 , 1 0 7 , 1 3 9 ; von Eichman and, 43. See also Fauvism; French Impressionism French Impressionism, 1 4 - 1 5 , 1 6 , 3 3 , 6 9 - 7 1 , 7 3 , 87, 1 0 2 ; Panama-Pacific International Exposition, 10, 1 4 , 5 3 , 59, 6 2 - 6 3 , 6 9 - 7 1 , 1 2 9 ; and studio reworking, 80 Friends of Art League, 1 3 4 Frieseke, Frederick, 69 Frontiers of American Art Exhibition, 1 5 2 , 1 6 5 Futurism, 58, 6 0 - 6 1 , 1 9 7 n20, 198 n24, 1 3

Gagnon, Clarence A., 46—47 Galleries, art: Beaux Arts, 1 0 2 , 1 3 1 - 1 3 2 , 1 3 4 , 1 3 5 , 140; Courvoisier, 1 5 0 ; Del Monte, 2 3 , 1 3 5 , 1 4 0 , 200 n30; East-West, 1 9 9 n5; Hatfield (William H.), 149; Johnson's, 50; Macbeth, 149; Modern, 1 9 9 n6; Paul Elder, 1 5 0 ; Print Room, 1 0 1 ; Shreve, 1 9 6 n3; Vickery, Atkins, and Torrey, 1 9 7 n i 3 Garber, Daniel, 69 Gaskin, William, 66 Gauguin, Paul, 2 3 , 46, 6 0 - 6 1 , 63, 69, 83, 1 0 1 , 1 3 7 , 1 9 9 m , 3, 1 4 , 1 7 ; Faa Ikeibe, 62, 63 Gaw, William, 1 2 1 , 200 n2 Gay, August François, 9, 25, 2 9 - 3 0 , 3 1 - 3 3 , 74, 8 8 - 8 9 , 9 5 , 1 3 4 - 1 4 1 , 1 5 1 , 1 8 6 , 190, 1 9 1 - 1 9 4 ; and Blue Four, 109, 1 3 9 - 1 4 0 ; and color, 3 2 - 3 3 , 68, 88—89, 1 1 4 - 1 1 6 , 1 3 7 - 1 4 0 , 1 6 0 , 1 6 2 ; The Depression and, 1 4 3 , 1 6 1 ; and Exhibition of Contemporary French Art, 1 0 1 ; Fishermen, 1 6 2 , 1 6 3 ; Fishermen's Houses in Old Monterey, Fishing Boats from the Water Side, 173 ; Front View of Stevenson

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House, Monterey, 774, 184; Garden Scene, 6 3 , 1 1 5 , 1 3 7 , 186; and Gile, 2 9 - 3 2 , 8 8 - 8 9 , *34> in Golden Gate International Exposition, 1 6 2 , 1 6 5 ; and Hansen, 69, 88, 1 3 6 - 1 3 7 , 1 6 1 , 166; Monterey, 1 4 0 , 1 7 9 ; in Monterey, 7 1 , 89, 1 1 5 — 1 1 6 , 1 2 1 , 1 3 4 — 1 4 1 , 161—165; Monterey Pier, 1 4 0 , 168, 776; murals by, 1 4 3 , 1 6 1 , 162—163, 764; and Oakland Art Gallery shows, 1 1 4 - 1 1 9 , 1 3 9 ; Old Marsh's Studio, 757; Old Wharf, Monterey, 1 4 0 , 772; Outward, 114, 1 3 7 ; and Panama-Pacific International Exposition, 53, 68—71; Ranch in Carmel Valley, 1 1 6 , 1 3 7 , 738; Reflections of Three Small Skiffs on Water, 1 6 2 , 772; Self-Portrait (1924), 766; Self-Portrait (1926), 1 3 9 , 760; A Slice of Life, 188; Stevenson House, Monterey, 1 4 0 , 774; Untitled {Carmel Valley), 7 38; Untitled (Farm House, Rolling Hills), 137, 1 3 9 ; Untitled (Monterey Houses), 140, 777; Untitled (Stevenson House), 28, 3 3 ; Vada, 1 6 5 ; View of Old Monterey from Rooftop of Stevenson House, 1 5 6 ; Woman in the Garden, 24, 3 3 , 41, 88—89; woodworking by, 1 4 0 , 1 6 1 — 1 6 2 , 164, 1 6 5 Gay family, 3 1 - 3 2 , 7 5 , 1 6 1 , 1 6 4 Gay, Marcelle Chaix, 7 5 , 1 6 1 , 1 6 4 Genthe, Arnold, 1 8 , 1 9 , 1 3 5 Geography: California, 1 0 , 1 3 , 14—15, 1 8 , 1 9 , 1 3 9 , 1 8 7 , 1 9 6 n i ; San Francisco, 1 9 Gerdts, William H., 1 9 8 n2 3 German artists, 63, 1 0 2 , 2 0 1 n9. See also Blue Four G I Bill, 1 7 7 , 1 8 5 Gile, Selden Connor, 9, 25, 2 6 - 3 1 , 7 3 - 7 5 , 8 4 - 9 0 , 1 3 9 , 1 7 5 , 186, 1 9 0 , 1 9 4 - 1 9 5 ; alia prima working of, 7 3 , 80, 84; Bernard von Eichman Painting in His Yard, 61; and Blue Four, 109; Boat and Barn, 80, 70 3; Boat and Yellow Hills, 98, 1 2 9 , 1 3 9 ; Bridge, 29, 8 4 - 8 5 ; California arrival of, 27; Chow House of, 7 3 - 7 5 , 1 0 1 , 1 1 2 , 1 2 5 , 1 2 9 ; Circular Walk, 112; Clapp and, 2 8 - 2 9 , 4^» 5°> 7 3 ' 8 7 - 8 8 , 94, 1 1 5 , 1 3 2 , 169; and color, 30, 68, 7 5 , 83, 84, 87—88, 90, 98, 1 0 9 , h i , 1 1 4 , 1 1 5 , 1 1 6 , 1 2 9 , 1 3 1 , 148, 1 5 2 , 1 8 7 , 194; The Depression and, 1 4 3 , 1 4 7 ; Dinner, 7 5 , 1 0 9 , 1 2 9 , 186; drinking problem of, 1 4 7 , 1 4 8 , 2 0 1 n i o ; Fair Sailing, 146, 149; Farm Scene, 27; figures in art of, 8 5 - 8 7 ; Five Cows and Pond, j8, 86, 1 4 7 ; and Gay, 30, 3 1 , 32, 8 8 - 8 9 , I 3 4 ' 1 3 9 ; Green Fish, ioy, Joaquin Miller Home, 37, 84; Landscape with White Barn, 3 0 ; Lehre on, 1 3 1 , 200 n i 9 ; Letters to Siegriest by, 79, 1 2 6 , 1 2 7 - 1 2 8 , 1 3 1 — 1 3 2 , 1 3 4 , 1 4 3 , 1 4 7 , 149, 1 9 5 , 198 n i 5 ; Letters to sister by, 1 2 1 , 1 4 7 , 149; and Logan, 34, 36, 87, 90, 1 2 7 - 1 2 8 , 1 4 7 , 1 5 1 ; in Marin County, 36, 79, 98, 1 2 1 , 1 2 9 - 1 3 2 , 1 4 1 , 1 4 6 - 1 5 0 , 169, 190; Marin Dairy, 70; and Monterey Group, 1 3 7 , 1 3 9 ; murals by, 1 4 3 , 148, 1 6 9 , 1 7 0 ; and Oakland Art Gallery, 1 1 2 - 1 1 9 , 1 2 2 , 1 3 1 , 1 3 2 , 1 3 4 ; and Panama-Pacific International Exposition, 3 1 , 53, 5 8 - 5 9 , 6 8 - 7 1 , 84, 1 2 9 ; Portrait of Red von Eichman, 56; A Pueblo, Arizona, 1 2 8 , 787; Quarry, 80, 88; The Red Earth, 1; The Red Tablecloth, 7 7 0 - 7 7 7 , 115, 1 2 9 - 1 3 1 ; Red von Eichman, 65, 87, 109; Sailboat, 8 1 , 707; Sausalito, 12, 3 6 ; Society of Six started by, 9, 95; The Soil, 85, 1 2 9 , 142, 148; Still Life, 1 2 9 , 777; Still Life tn Chabot Garden, 60; Sycamore Trees, 1 1 4 ; Tiburon Houses, 85, 1 4 8 ; Tiburon Housetops, 708; Tree, 81; Tree and Hill, 78; Trees, 49; Untitled (Country Scene), 82, 186; Untitled (Cows and Pasture), 72, 7 6 - 7 7 , 80, 86, 186; and Van Sloun, 29, 39; and von Eichman, 88, 9 2 - 9 3 , 1 2 2 , 1 2 5 ; Woman and Child, 705, 1 1 5 , 1 2 9 ; Woman of Taos, 148, 783; and women, 29, 7 5 , 104, 1 6 9 - 1 7 0 , 197 n4 Gile family, 26, 27, 1 2 1 , 1 4 7 , 1 4 9 Glackens, William, 62 Gladding McBean and Company, 29, 1 4 7 Golden Gate International Exposition ( 1 9 3 9 ) , 1 4 6 , 1 5 2 - 1 5 4 , 1 5 9 , 1 6 2 , 1 6 5 - 1 6 7 , 2 0 1 n50 Goldin, Leon, 1 7 8 Gold Rush, 1 5 Goya y Lucientes, Francisco de, 90, 180 Greek revival, 1 8 Gregory, Dane, 30 G r i s , J u a n , 63, 1 0 1 Gropius, Walter, 1 0 4 "Group of Independent Artists," 1 9 8 n i 3

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Hagedorn, Edward, 133—134 Hahn, William, i 6 Hailey, Gene, 1 3 3 - 1 3 4 Hall, Elizabeth, 1 9 0 Halpert, Samuel, 6 1 Hamilton, John McLure, 66 Hannah, Jay, 86, 1 7 0 Hansen, Armin, 2 3 , 66, 69, 7 1 , 88, 1 3 6 - 1 3 7 , 1 6 1 , 1 6 4 - 1 6 5 , 2 0 1 n40 Harte, Bret, 1 8 Hartley, Marsden, 1 0 , 60, 67, 7 1 , 1 0 9 , 1 4 0 , 1 4 4 Hassam, Childe, 6 5 , 67, 69, 92, 1 2 8 , 200 n 3 i Havens, Frank, 35 Heade, Martin Johnson, 1 3 Hébert, Henri, 46 Henri, Robert, 39, 62; 1 9 8 n23 Hill, Thomas, 1 3 - 1 4 , 1 6 , 53 Hinkle, Clarence, 2 3 Hofmann, Hans, 1 4 6 , 201 n9 Hopkins, Henry, 1 8 7 , 1 8 8 Hopper, Edward, 60, 1 4 4 Hopps, Walter, 1 8 8 Howard, Charles, 1 4 6 Howard, Robert V., 1 3 5 , 1 3 6 , 1 3 7 , 1 3 9 Hudson River school, 1 3 , 1 4 , 1 6 Hughes, Louis, 1 2 4 Huntington, Collis P., 1 9

Impressionism, 2 3 , 1 0 6 , 1 3 6 , 188; American, 53, 6 2 - 7 1 , 80, 94, 1 0 2 , 1 9 1 , 1 9 8 n 2 3 , 200 n20, 3 1 ; Canadians and, 4 7 , 50; Society of Six and, 1 0 , 3 3 , 4 3 , 4 8 - 5 0 , 5 1 , 69, 80, 82, 94, 99, 1 1 4 , 1 1 5 , 1 4 3 , 1 6 7 , 1 8 8 , 1 9 1 . See also French Impressionism Inaugural Exposition of French Art ( 1 9 2 4 - 1 9 2 5 ) , 1 0 2 , 1 0 7 , 1 9 9 n3 Inness, George, 1 4 , 1 9 6 n3 Isolation: artistic, 1 0 , 5 3 , 68, 7 1 , 93—94, 1 9 9 n4o; California, 1 3 - 1 5 , 1 8 - 1 9 , 1 6 5 , 1 9 6 ni

Jackson, A . Y . , 4 7 , 48, 50, 1 9 7 n36 Japanese aesthetics, 84 Jawlensky, Alexej, 104—106, 1 0 7 - 1 0 9 , 1 9 9 n i 4 , 1 7 Jessie Dow Prize, 47 Johnson, Sargent, 1 4 5 , 1 9 9 n4 "Joyist" style, 82 "Joy of vision," 99 Kadish, Reuben, 1 4 6 Kahlo, Frida, 1 4 4 , 1 4 6 Kandinsky, Wassily, 60, 63, 1 0 4 , 1 0 6 - 1 0 9 , 1 4 0 , 199 n i 4 , 1 7 , 200 n i 6 Keeler, Charles, The Simple Home, 1 7 Keith, William, 13—14, 15-16, 1 9 , 30, 35, 5 3 , 66, 1 9 6 n3, 1 0 , 1 8 , 1 9 8 n23, 200 n30 Kirchner, Emst Ludwig, 60 Kistler, Aline, 80 Klee, Paul, 1 0 4 , 1 9 9 n i 4 , 1 7 ; Barbarians' Venus, 1 0 7 ; Maid of Saxony, 1 0 9 Kokoschka, Oskar, 60, 1 0 6 , 1 9 8 n24, 1 9 9 ^ 1 4

Labaudt, Lucien, 1 4 5 , 2 0 1 n3 Lake Temescal area, 1 9 , 3 4 - 3 5 , 36 Landscape, California, 10, 1 3 , 1 4 , 1 8 , 5 1 , 7 1 , 7 7 , 80 Lapp, Maurice, 1 7 8 Laurens, Jean-Paul, 47 Laurent, Ernest-Joseph, 47 Laurvik, J . Nilsen, 60, 63, 66, 1 9 8 n20 Lawson, Ernest, 6 2 , 67, 69 Léger, Fernand, 1 4 6 , 1 7 8 Lehre, Florence, 82, 104, 1 1 5 , 1 5 8 - 1 5 9 ; and Clapp, 4 2 , 1 0 4 , 1 4 1 , 158—159; on Gile, 1 3 1 , 200 n i 9 ; and von Eichman, 4 2 , 44, 1 0 4 , 1 2 1 — 1 2 2 , 1 2 4 Lewis, Phillips, 1 3 5 Light, 1 0 , 1 3 - 1 4 , 80, 83, h i , 1 5 9

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MacAgy, Douglas, 185, 200 n2 McBean, Atholl, 147 McComas, Francis, 23, 66, 198 n23, 201 n40 Macdonald-Wright, Stanton, 63, 145, 198 ni3, 199 n8 MacDowell Club, New York, 50 Macky, E. Spencer, 29 McPhail, Mary, 115, 122 Magazines, art, 1 5 , 9 4 , I 0 2 > 196115, l99 n 4 ° ; The A rgus : A Journal ofArt Criticism, 102, 104 \ Art Digest, 104; Arts and Decoration, 196 n5; Craftsman, 196 n5, International Studio, 15, 94, I 9 6 n 5 , I99n40; Overland Monthly, 196 n^; Vanity Fair, 94 Manguin, Henri, 61 Manifestoes, 198 n 13; of Society of Six, 95-99 Marc, Franz, 106, 109 Maréchal-Workman, Andrée, 38 Marin, John, 10, 61, 67, 69, 71, 144 Marin County, see Gile, in Marin County Mark Hopkins Institute of Art, see California School of Fine Arts Marquer, Albert, 61, 69, 102, 199 n3 Martinez, Xavier, 17, 19, 23, 29, 40, 196 n 10, 200 n30 Mathews, Arthur, 16, 2 2 - 2 3 , 53' 66, 145, 146, 187, 196 ni8, 198 n23, 200 n3o; Lucia, 22, 145, 146, 187 Matisse, Henri, 46, 60, 63, 67, 83, 101, 102, 196 ni6, 199 m , 14, 201 n9; Pierre, 102 Maurer, Alfred, 61, 199 n 18 Maybeck, Bernard, 16—17, 55' 146 Meissonier, Ernest, 16 Melchers, Gari, 66 Miller, Joaquin, 17, 19, 35, 196 n 10 Millet, Jean François, 16 Mills, Paul, 186, 190 Mills College, 146, 178, 200 n2, 201 n28; Art Gallery, 102, 134 Milne, David, 61 Modernism, 83, 107, 114, 136, 139, 175, 177, 186, 188, 191; American (New York), 15, 59, 129; in Armory show, 5 9 - 6 0 , 66; in Bay Area, 1 0 1 - 1 0 2 , 103, 106-107, 1 3 3 - 1 3 4 , 158, 159, 191; PanamaPacific International Exposition and, 53, 59—60, 6 1 - 6 2 , 66, 197 ni3 Moholy-Nagy, Laszlo, 109, 146 Mondrian, Piet, 49, 63 Monet, Claude, 14, 16, 46, 69, 80, 92, 167, 196 n3, 198 n23, 199 m, 3; Vétheuilseries, 69, 129 Monterey, 19-22, 23, 71. See also Gay, August Monterey Custom House, 162

Monterey Group, 1 3 5 - 1 4 1 Monterey Guild, 140, 146, i6r, 162, 165 Monterey High School, 162 Montgomery Block, 1 7 - 1 8 , 19, 40, 144 Montreal, 46, 47—50 Montreal, Art Association of, 46, 47; Thirtieth Spring Exhibition 0 ^ 1 9 1 3 ) , 50 Moran, Thomas, 1 3 - 1 4 Morgan, M. DeNeale, 200 n3i Morley, Grace McCann, 187 Morrice, James Wilson, 47 Morris, Carl, 187 Morris, William, 22, 145 Muir,John, 14, 16 Mullgardt, Louis Christian, 55 Munch, Edvard, 60, 61, 198 n24 Munich School, 35, 65 Murals, 23, 144-145, 1 6 2 - 1 6 3 ; Coit Tower, H5» 2or n } , 4; by Gay, 143, 161, 162—163, 164; by Gile, 143, 148, 169, 170; by Rivera, 121, 144— 145, 163, 166, 196 ni2, 201 n^-6 Nahl, Charles, 16 Nahl, Perham, 29, 35, 38, 84-85 National Academy of Design, 39, 170 National Collection of Fine Arts, Smithsonian Institution, 188 National Gallery of Canada, Ottawa, 47 Nepote, Alexander, 201 n26 Neubert, George, 1 8 8 - 1 9 0 Neuhaus, Eugen, 54—55, 62, 200 n30 Neumeyer, Alfred, 146 New Mexico painters, 71, 200 n i } New York Times, 170 Nolde, Emil, 106, 129 Nordfeldt, B . J . O . , 71 Nudes, 38, 47, 132, 1 3 3 - 1 3 4

Oakland, 10; earthquake felt in, 38; Lake Temescal area in, 19, 34-35, 36 Oakland Annual Exhibition, 101, 102, 127, 1 3 2 134, 159, 200 m Oakland Art Gallery, 101, 102, 159, 186, 199 n7, 8, 12, 14, 17, 18, 33, 201 n28; Clapp director of, 51, 95, 103-109, 1 3 2 - 1 3 4 , 141, 157-159, 188; The Depression and, 141, 156, 159; Oakland Free Library, Board of Directors and, 103, 132, 134, 158, 159, 197 n42, 200 n25; Society of Six showing at, 51, 95, 103, 112—119, 122—123, 131, 139, 140, 186 Oakland Art League, 134 Oakland Museum, 95; Contetnporary Bay Area Figurative Painting ( 1957), 186; Impressionism : The California View (1981), 188 Oakland Post-Enquirer, 112, 113, 199 n20 Oakland Tribune, 104, 112—113, 114, 115, 116—119 Oldfield, Otis, 199 n6 Oliveira, Nathan, 178 Oliver, Myron, 140, 161, 201 n50, 51 Orozco, José Clemente, 144, 201 n3 Osbourne (Stevenson), Fanny, 136 Oz, Paul (von Eichman), 155, 157, 201 n22

Pacific Grove High School Library, 1 6 2 - 1 6 3 , Painting, technical aspects of, 8 0 - 8 1 , 83, 90, 9 4 95, 198 n23; alia prima work, 80, 84; sketch, preference for, 50, 81. See also Plein-air painting Palace of Fine Arts, 58, 59, 62, 67, 197 n n , 198 n20; Annex, 58, 66, 198 n24 Panama-Pacific International Exposition (1915), io, 22, 23, 25, 51, 53-71, 129; Futurists at, 58, 6 0 61,62, 198 n24; Impressionism at, 10, 1 4 , 5 3 , 5 9 - 7 1 , 129, 198 n23; murals for, 20on3i;PostExposition Exhibition (1916), 66—67; the Six and, 31, 53, 62, 66, 68—71, 84, 90, 129 Park, David, 159, 178, 185, 186, 199 n8 Partington, Richard, 35, 127 Partridge, Roi, 102 Pascin, Jules, 60, 67 Pennell, Joseph, 66

Pennsylvania Academy of Fine Arts, Annual International Exhibition (1911), 50 Perham Story, Ina, 135 Peters, Charles Rollo, 22, 196 nio, 200 n}0 Photography: Oakland Art Gallery and, 103; San Francisco fire and, 19 Piazzoni, Gottardo, 13, 2 3 , 4 0 , 101, 135, 137, 145, 197 n20, 199 ni, 4, 200 n30, 42 Picabia, Francis, 60, 67, 198 n25 Picasso, Pablo, 46, 59, 63, 67, 101, 198 n25, 199 n8, 14 Pierce, Lucy, 135 Pilot, Robert W., 197 n4i Pissarro, Camille, 14, 16, 47, 67, 69, 167, 196 n3, 4, 199 n3; Les toils tvuges, 66, 69 Plein-air painting, 1 0 , 4 6 , 151, 182, 198 n 14; by Society of Six, 10, 29-30, 46, 73, 79-83, 150, 182, 203 n6 Pointillism, 83, 115, 132 Polk, Willis, 55 Pollock, Jackson, 185, 202 n2 Poor, Henry Varnum, 40 Post-Impressionism, 15, 82; American, 10, 69; in BayAreashows, 62, 69, 1 0 1 - 1 0 2 , 107, 1 9 9 m , 3, 18, 201 n27; Canadians and, 47, 48, 50; French, 101—102, 107, 139 Powers, Laura Bride, 101, 113, 115, 200 n40 Prado Museum, 47 Prendergast, Maurice, 47, 61, 67, 69 Price, ClaytonS., 83, 101, 135-/39, 140, 187, 200 n42 Public Works of Art Project (PWAP), 144, 145, 162 Puvis de Chavannes, Pierre, 16, 23, 196 n3 Pyle, Howard, 66

Railroad, transcontinental, 13 Raphael, Joseph, 66, 69-71, 198 n23 Realism, 13, 14, 143, 176, 191; Ashcan School, 39; Munich School, 35, 65; romantic, 14; Social, 144 Redfield, Edward W., 65 Redon, Odilon, 60 Regionalists, 144, 201 n2 Reid, Dennis, 198 1113 Reinhardt, Ad, 185 Renoir, Auguste, 14,47, 167, 196 n4, 199 m Reynolds, Wellington J . , 127 Rinehardt, AureliaHenry, 134 Rivera, Diego, 102, 1 4 4 - 1 4 5 , 147, 162, 196 n i 2 , 199 n5, 201 n4—6; murals by, 121, 144— 145, 163, 166 Robert-Fleury, Tony, 47 Robinson, Charles Dormon, 196 n3 Romanticism, of Panama-Pacific International Exposition, 56 Rosenblum, Robert, 186, 202 n2 Rothko, Mark, 185, 202 n2 Rouault, Georges, 60 Rousseau, Theodore, 14 Roussel, KerXavier, 102 Royal Canadian Academy of Arts, 50 Russell, Morgan, 63, 199 n8 Ryan, BeatriceJudd, 102, 194, 199 n4, 33 Ryder, W^rth, 146, 201 n26

St. John, Terry, 116, 139, 187, 201 ni9, 202 n6 Salinger Carlson, Jehanne Bietry, 102 Salon dAutomne, 46—47 San Francisco, 14—19, 22; earthquake in, 18—19, 29, 3 5 - 3 8 , 54, 55, 196 ni3 and Panama-Pacific International Exposition, 54-56, 197 n n ; reconstruction of, 1 8 - 1 9 , 22, 29, 36, 54, 197 n n San Francisco Art Association, 19, 23, 68, 102, 140, 150, 196 n 19; Annual Exhibitions, 32, 36, 200 ni, 201 n27 San Francisco Chronicle, 133—134, 152 San Francisco Examiner, 106, 115 San Francisco Institute of Art, see California School of Fine Arts San Francisco Museum of [Modern} Art, 68, 103, 159; Painting and Sculpture in California ( 1976), 188

223

San Francisco Public Library murals, 145 San Francisco State College, 145 San Francisco Stock Exchange Club, 144, 196 n i 2 , 201 n5 Santa Cruz Art League, Annual State-Wide Art Exhibition (1929, 1932, 1933), 150 Sargent, John Singer, 66, 89, 151 Scheyer, E m m y (Galka), 102, 1 0 4 - 1 0 9 , 131, 146, 149, 1 5 7 - 1 5 9 , 199 n i 2 , 17, 200 n i 6 Schlemmer, Oskar, 1 0 9 Schmidt, Rudolph, 39, 4 3 - 4 4 , 183 School of the Art Institute of Chicago, 127 Schroder, Donn, Gertrude, and Jack, 159 Schwitters, Kurt, 106, 109 Scott, Irving, 196 n3 Seven Arts Festival, (1919), 68 Sheeler, Charles, 67 Shere, Charles, 1 7 7 - 1 7 8 , 181, 202 n i 5 Siegriest, Edna Stoddart, 178, 179, 190, 202 n i 5 Siegriest, Louis Bassi, 9, 25, 37—42, 73, 79, 90—91, 95, 1 2 4 - 1 2 6 , 12 9, 1 5 2 - 1 5 4 , 1 7 5 - 1 8 3 , 186, 190, 194, 196 n5, 198 n i 5 , 35, 202 n i 1; and abstraction, 90, 146, 176, 178, 182; asphalt method of, 182; and black, 90, 152, 180; on Blue Four, 109; camouflage, 175—176; Chow House, 113; and Chow House gatherings, 74, 75, 125; on Clapp, 74, 104, 132; and color, 9 0 - 9 1 , 1 2 4 - 1 2 6 , 152, 180, 194; The Depression and, 143, 152; desertscapes of, 90, 175, 176, 177—178; and Duchamp's Nude, 197 n i 3 ; Farmyard, 64, 90; and Gay, 32, 33, 89, 90, 136, 164, 200 n37, 40; on Gilè, 28—29, 85—88, 90, 125, 147, 201 n i o ; Gilè letters to, 7 9 , 126, 1 2 7 - 1 2 8 , 1 3 1 - 1 3 2 , 134, 143, 147, 149, 195, 198 n i 5 ; in Golden Gate International Exposition, 1 5 2 - 1 5 4 , 165; gypsum method of, 1 7 7 - 1 7 8 , 182; and Logan, 89, 151, 170, 173; Midwest move of, 121, 125—126; Miner Going to Church, 177; and Monterey Group, 136; My Garage, 68, 125, 1 9 9 200 n33; and Oakland Art Gallery shows, 1 1 4 119, 124; Oak/and Quarry, 42, 90, 97; Old Warehouse, 42, 89; Outside, 52, 69, 124, 1 9 9 - 2 0 0 n33; and Panama-Pacific International Exposition, 53, 61, 68—71, 90; posters, 4 0 - 4 2 , 1 5 2 - 1 5 4 ; Quiet landscape, 192; on sketches, 81; and Society of Six formation, 9, 95; spacescapes of, 181; Steel Mill, 152, 189; Stormy Sky, 193; Tiburon Buildings, 67, 91; Tipping Houses, 109, 199 n i 6 ; Untitled (House), 64; Untitled (House and Garden), 49, 90; and von Eichman, 3 9 - 4 4 , 74, 9 2 , 9 3 - 9 4 , 116, 124, 156, 177, 191; Von Eichman in Gile's Yard, 56—57, 125; Yellow House, 125, 153, 199—200 n33 Siegriest family, 3 7 - 3 8 , 124, 178 Siegriest, Lundy, 124, 152, 173, 177, 178, 179, 183, 201 n i 9 , 202 n i 5 , 6 Signac, Paul, 46, 61, 69, 199 n i , 18 Simon, Lucien, 47 Siquieros, David, 144, 201 n3 Sisley, Alfred, 14, 69, 167, 196 n4 Sketch, preference for, 50, 81 Sloan, John, 61, 67, 71, 200 n 13 Smith, Hassel, 185, 200 n2, 201 n7 Society for Sanity in Art, San Francisco, 151 Society of Six: annual exhibitions by, 112—119, 121; at Chow House, 7 3 - 7 4 , 75—79, 112, 129;

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California Colorists: Paintings by The Society of Six, 183; critiquing sessions, 9, 73, 7 5 - 7 9 , 8 7 - 8 8 , 121; disbanding of, 146—147; European influences, 66, 6 9 - 7 1 , 81, 89, 1 0 4 - 1 0 9 , 1 1 6 , 139; formation of, 25, 31, 51, 68, 7 3 , 95, 199 n2o; Gile's leadership of, 7 3 , 95, 146—147; manifesto, 9 5 - 9 9 ; nature as subject matter, 9, 39, 4 6 , 4 7 , 71, 80, 8 5 , 8 6 , 87, 113, 128; newspaper reviews, 4 8 , 5 0 , 112—113, 114, 115, 1 1 6 - 1 1 9 , 170; as outsiders, 9, 10, 23, 51, 102; painting, technical aspects of, 50, 80—81, 83, 84, 90, 9 4 - 9 5 , 198 n2 3. See also Pleinair painting Sorolla, Joaquin, 89, 151 Spreckels, Mr. and Mrs. Adolph, 6 8 Stackpole, Ralph, 23, 101, 102, 145, 199 n i , 4, 5, 201 n3 Stanford, Leland, 19 Stanton, John A., 35 Starr, Kevin, 16 Stein, Gertrude, Michael, and Sarah, 196 n i 6 Steinbeck, John, 163—164; Cannery Row, 164 Sterling, George, 17, 18—19, 2 2 > 35' 4 ° » r 3 5 Stern, Max, 13 Stern, Mrs. Sigmund, 145, 201 n6 Sterne, Maurice, 200 n2 Stevenson, Robert Louis, 18, 135—136 Stevenson House, 1 3 5 - 1 3 6 , 161, 164, 174 Still, Clyfford, 185, 202 n2 Stock market crash (1929), 141, 147, 154, 157 Stoddart, Edna, see Siegriest, Edna Sunset magazine covers, 27, 28, 151 Surrealism, 146 Swedenborgian philosophy, 16 Synchromists, 63 Tarbell, Edmund, 58, 65 Tavernier, Jules, 17, 18, 135, 196 n i o Temko, Allan, 178 Ten American Painters, the, 65, 198 n i 3 , 200 n 3 i Thiebaud, Wayne, 40, 49, 83, 88—89, 93> I 0 5 > 1 1 187, 191, 198 n23 Thirteen Watercolorists of San Francisco, 150 Thoreau, Henry David, 14 Tirrell, George, 13 Tobey, Mark, 187 Tonalism, 14, 2 2 - 2 3 , 53> 65, 69, 71, 80, 151, 198 Torrey, Frederic C., 197 n i 3 Toulouse-Lautrec, Henri de, 199 n i , 3 Transcendentalism, 14 Trask, John E. D., 196 n i 8 Twachtman, John H., 65, 114 Twain, Mark, 18 University of California, Berkeley, 145, 201 n6, 9; Art Department, 102, 146, 178, 201 r\~¡ Vallotton, Felix-Édouard, 61, 199 n3 van Gogh, Vincent, 59, 63, 83, 92, 102, 199 n3 Van Sloun, Frank, 29, 39, 4 3 , 69, 93, 143 Velázquez, Diego R. de Silva y, 180 Vickery, W. K . , 196 n3 Victorianism, 16, 5 5 - 5 6 , 75 Virginia City, Nevada, 37, 176, 177 Vlaminck, Maurice de, 60, 63, 199 n i , 18

von Eichman, Bernard, 9, 25, 37, 38—40, 42—45, 74, 9 1 - 9 5 , 109, 1 2 1 - 1 2 4 , 1 5 4 - 1 5 7 , 1 9 0 , 1 9 1 , 1 9 4 , 199 n4o; Alley in China, 178; Arrangement in Black and Grey,/19; China Street Scene #7, 120. 730; China Street Scene #2, 755, Chinatown, 113; Chinese Market, i2y, and color, 92—94, 113; The Depression and, 143, 154; destruction of work, 156—157; Gile and, 88, 9 2 - 9 3 , 122, 125; Harlem paintings of, 93, 154, 166, 789; Hong Kong, 12 y, Hong Kong Scene, 92—94, 113, 778; Impromptu Concert in Harlem, 789; Industrial Buildings, 94, 122; Inside, 779; Landscape, 9 1 , 149; and Lehre, 4 2 , 44, 104, 1 2 1 - 1 2 2 , 123—124, marriages of, 75, 124, 1 5 4 155, 201 n22; New York move of, 124, 141, 154— 155; In Oakland Art Gallery shows, 113—119, 122—123, 131; and Panama-Pacific International Exposition, 53, 68—71; Self-Portrait, 777; Shopping, 124, 182; Siegriest and, 39—44, 74, 92, 116, 124, 156, 177, 191; Studio, 124, 787; Summer Day in Harlem, 780; White Sails, 122 von Eichman family, 42—43, 154—157, 201 n22 Vuillard, Edouard, 4 6 , 102, 199 n3 Watercolor: Gile and, 147, 150; Logan and, 90, 150, 151, 170—175, 194, 201 n i 6 ; von Eichman and, 9 1 - 9 2 , 113, 122 Watkins, Carleton, 19 Weaver, Rene, 151 Weber, Max, 67 Weeks, J a m e s , 186 Weir, J . Alden, 58 Wentworth, Marshall, 27, 197 n4 Westaway, Dewey, 38 Western Association of Art Museum Directors, 116, 1 5 7 - 1 5 8 , 199 n33, 201 n28 Weston, Edward, 103, 200 n i 6 Wheeler, Benjamin Ide, 196 ni Whistler, J a m e s Abbott McNeill, 23, 35, 65 Whitaker, Herman, 19 Whitney, Beryl, 27, 2 8 - 2 9 , 197 n4; Joel Parker, 27 W h o r f . J o h n , 201 n i 6 Wight, Clifford, 145, 201 n3 Williams, Virgil, 13, 18 Winchell, Anna Cora, 22, 196 n i 7 , 197 n i 3 Wisconsin Painters and Sculptors, 126, 152 Wonner, Paul, 186 Wood, Grant, 144 Wood, Walter, 34 Worcester, Joseph, 16; house of, 75 Wores, Theodore, 35, 8 4 - 8 5 Works Progress Administration (WPA), 144 World's Columbian Exposition (1893), 14 World War I, 56, 198 n 2 o World War II, 170, 1 7 5 - 1 7 6 , 185 WPA art, 1 4 4 - 1 4 5 , 148, 154, 161, 162, 169, 201 N29 Wright, Willard Huntington, 68, r 12, 199 n i 9 Yosemite, paintings and photographs of, 13 Yun Gee, 199 n6 Zakheim, Bernard, 145, 201 n3 Zorach, Marguerite and William, 61 Zuloaga, Ignacio, 90, 177, 1 7 9 - 1 8 0 ; Sepulveda, 90