By Bruce Weber
Rudolf and Margaret Wetterau
(1891-1953 and 1894-1989)
Map of Woodstock Artists Houses, 1926
Photo Engraving
Collection of Paula Nelson
and John Kleinhans
Meed Wetterau with Coco and Lady,
On Sled, Shady,
winter 1949/1950
Wetterau Family Archives
In August 2022, I traveled to the home of Meed Wetterau Barnett and her husband Robert Lowe Barnett in Canada in quest of learning about the art and lives of Rudolf and Margaret Wetterau. Since beginning the Learning Woodstock Art Colony website in August 2020 the Wetteraus' map of 1926 of the houses of Woodstock artists has served as a “bible” for delving into the rich and layered history of the historic Woodstock art colony. At the Barnett’s home I had the opportunity to see the range of their art and spend time talking with Meed about her recollections of her grandparents (known to all in town as “Wett and Marg”).
Meed Wetterau Barnett
Wett’s Studio in Woodstock,
c. January 2023
Collection of Meed and Robert Barnett
Meed continues to draw inspiration from her grandfather. She has been active as a painter as well as a jeweler, forging organic shapes out of copper, sterling silver, brook stones and other objects. In recent years she has created a series of autobiographical sketchbooks, which include writing and watercolor and colored pencil drawings referring to her memories of growing up in Woodstock. This three-part essay explores the lives, careers and cooperative ventures of the Wetteraus, and includes a final post written by Barbara Carlson relating her thoughts and memories of the Wetterau map, and about her uncle Robert Eric Carlson and the map he created in 1995 that touches on the art life of the town.
This effort was made possible due to the generous and thoughtful help provided by the Barnetts. I would also like to thank other people who have provided valuable assistance, including Barbara Carlson, Paula Nelson, John Kleinhans, Arthur Anderson, JoAnn Margolis, Emily Jones, Collection Manager and Archivist, Woodstock Artists Association, Lawrence Webster, Kim Apolant, Librarian, Woodstock Public Library, Stephanie Cassidy, Head of Research and Archives, Art Students League of New York, Lewis Arlt, Janine Mower, James Cox, Kate Wetterau Lipka, Lisa Chaplin Woodward, Jonathan Elwyn, Sondra Howell, D. J. Stern, and Thad Wetterau.
Rudolf Wetterau, circa 1930-1935
Meed Wetterau Collection
Martin Rudolf Wetterau, Jr. was born in Nashville, Tennesse on May 25, 1891, the son of Martin R. and Jennie Edmondston Wetterau. For over forty years his father conducted a retail grocery at the corner of Fifth Avenue and Jefferson Boulevard. In his free time he created wooden furniture-- pieces of his finely crafted furniture remain in the family. Rudolf’s mother Jennie grew up in Union City, Tennessee, where her family was among the early settlers of the western part of the state.
Cover Design by W. A. Daniel,
J. W. Biggers and Rudolf Wetterau,
98th Anniversary of Tennessee’s
Oldest Daily Newspaper
The Nashville American,
June 25, 1910, p. 11
Following graduation from Hume-Fogg High School, Rudolf Wetterau was employed by The Nashville American as an artist and engraver. He collaborated with J. W. Biggers and W. A. Daniel on a cover design for the newspaper in June 1910. The Nashville Tennessean commended the series of engraved heads which appeared in The Nashville American that same month, and also announced that the young Rudolf Wetterau planned to begin studies in dentistry at Vanderbilt College in the autumn, and that his “argument in turning aside from what would promise to be a fine artistic career is the statement that artists of all kinds are plentiful, too numerous to make the calling profitable except to a very few, while, from his observation, he has reached the conclusion that the services of good dentists are always in demand. One thing in connection with his future is assured – whatever he undertakes will be done artistically.” (1)
Rudolf Wetterau (1891-1953)
Explaining that Message from Mars,
c. 1913
Collier’s Magazine,
December 27, 1913, p. 22
During the summer of 1910, Wetterau changed course and likely propelled by his love of nature decided to pursue an artistic career. He accepted a position as an engraver at the Christopher Engraving Company in Richmond, Virginia, which was followed by employment in the art department of the Brandon Printing Company in Nashville.(2). By 1913, Wetterau was working in New York City as a free lance illustrator. His earliest known published illustration, Explaining that Messenger from Mars, appeared in the December 27, 1913 issue of Collier’s Magazine, a leading periodical of the day, whose contributing illustrators included Howard Chandler Christy, James Montgomery Flagg, Charles Dana Gibson, and Maxfield Parrish.
Louis Royl (?-?)
Sketch of the Lincoln Arcade Building, 1916
The New York Times, October 22, 1916
George Dannenberg (1882-1978)
Art Students League Summer School of Landscape Painting, c. 1908
Collection of the
Art Students League, New York
By 1914, Wetterau was living at the Lincoln Arcade Building at 1947 Broadway, a legendary building for aspiring artists, musicians, and actors. Among the others who resided there early in the century were artists George Bellows, Thomas Hart Benton, Stuart Davis, and Marcel Duchamp, writer Eugene O’Neill (who roomed with Bellows), and actor Lionel Barrymore.
Wetterau attended classes at the Art Students League of New York.(3) By the summer of 1914 he had saved enough funds to attend the League’s Woodstock School of Landscape Painting, studying with John F. Carlson. He met his future wife, Margaret, in the class, and they married the following summer.(4)
Margaret Chaplin Wetterau (1894-1989)
Self-Portrait, 1915
Collection of Meed and
Robert Lowe Barnett
Margaret Chaplin Wetterau was born on January 22, 1894 in New York City. She was a member of a family of noted theologians, writers and artists. Her great grandfather was the reformed Baptist theologian and minister Jeremiah Chaplin, Sr., the first president of Colby College in Maine (then called Waterville College). Margaret’s grandfather Jeremiah Chaplin, Jr., was the author of a biography of abolitionist Charles Sumner, and her grandmother was the author and abolitionist Jane Dunbar Chaplin, writer of popular religiously oriented books for children published by the American Tract Society.
Harper Pennington (1854-1920)
Poultney Bigelow, 1896
Charcoal on paper
Private Collection
Margaret’s mother Mary Bigelow Watts was born in Malden-on-Hudson, a hamlet of Saugerties, some 15 miles east of Woodstock. Her family members included her mother’s first cousin Poultney Bigelow who lived nearby in a 2 ½ story English style frame house on the banks of the Hudson. Bigelow founded Outing, the first American magazine devoted to amateur sports, which included the work of illustrators Alfred Parsons, Thure de Thulstrup, R. F. Zogbaum, and Frederick Remington, who was a personal friend. Bigelow was a familiar figure in the art colony of Woodstock, where he was a close associate of artist Birge Harrison and Byrdcliffe founder Ralph Radcliffe Whitehead.
Stewart Chaplin, c. 1880
Wetterau Family Archives
Mary Bigelow Watts moved with her family to New York City as a child. In 1893, she married Stewart Chaplin, a probate lawyer and author of books on a variety of legal subjects. Meed (born four years after Stewart died) was told that her great-grandfather was literate, witty and seriously interested in drawing. The family resided in a three story brownstone on West 22nd Street, between 9th and 10th avenues.
Christine Chaplin Brush (1842-1892)
Flowers, c. 1890s
Watercolor
Margaret’s interest in becoming an artist may have been spurred on by stories she heard about her aunt Christine Chaplin Brush, who studied in the 1860s in Paris with Charles Chaplin and Henri Harpignies, and later taught drawing at the State Normal School in Framingham, Massachusetts. Christine specialized in painting watercolors of flowers, and her pictures Petunias and Nasturtiums were the source of chromolithographs by Louis Prang. In 1890 she authored One Summer’s Lessons in Practical Perspective, published by Roberts Brothers of Boston, a slim charmingly written book on artistic perspective composed with young aspiring artists in mind. Brush was also active as a novelist, short story writer and poet, contributing to the Atlantic Monthly, Harper’s Monthly, Youth’s Companion, and other periodicals. Her novel The Colonel’s Opera Cloak met with instant popularity. She married Reverend Alfred H. Brush, pastor of the Reformed Church of New Utrecht, and died in Brooklyn, New York in 1892, two years before Margaret was born.
Margaret studied art at Syracuse University’s College of Fine Arts from 1909-1912, where she was one of the top students in the art department. A review of an exhibition at the university in June 1910 lauded the freshman’s drawings from casts and of a child and a man on the waterfront with sea and boats in the background. The newspaper further announced that the “sensation of the exhibit is likely to be achieved by Miss Margaret Chaplin’s six little landscapes.”(5) Margaret was awarded a senior scholarship to Europe, and studied art in Paris from the fall of 1912 through the end of 1913, with a break in summer.
Garden of the American Girls’ Club,
Paris, 1894
Scribners Magazine, November 1894
In Paris, Margaret resided at the American Girls’ Club, a boarding house for young American women located at 4 Rue de Chereuse.(6) The boarders generally studied at the Académie Julian and Académie de la Grand Chaumiere, and Margaret likely followed suit. She exhibited at the club’s annual exhibition in December 1913, where students received critiques from prominent French artists.(7) She had spent the summer of 1913 travelling and painting in Germany and Italy.(8)
Mary Watts Chaplin and Stewart Chaplin
with Family in Front of Chaplin House,
Woodstock, summer 1946
Wetterau Family Archives
Following her return to America, Margaret split her time between her parent’s home in Manhattan and summers in Woodstock at the house they built close to the Glasco Turnpike. Between 1913 and 1915, the Chaplins acquired four parcels of land along the Turnpike, across from the property of artist, textile designer and teacher William H. Arlt. Mary was familiar with the area due to her family’s connection to Malden-on-Hudson.
Wilfred Floing, 1924
Following the Wetteraus marriage in December 1915, they settled in Detroit. Shortly before the wedding Rudolf had taken a job as an illustrator in the emerging motor city, where he worked in the advertising firm of Wilfred Floing.(9) A leading creative artist in the field of automotive advertising, Floing handled advertising layouts for the country’s top automobile firms. He ran advertising studios simultaneously in Detroit, Chicago and New York.
Rudolf Wetterau (1891-1953)
Cover of Motor Life, July 1918
Rudolf Wetterau (1891-1953)
Globe Cords Advertisement, 1920
Saturday Evening Post,
January 31, 1920, p. 125
In the years ahead Rudolf created cover illustrations for Motor Life Magazine, a popular magazine for automobile enthusiasts, as well automobile related ads for other periodicals. The publication began as Motor Print in 1906 and was incorporated with Motor Life in November 1914, about the time of Rudolf’s move to Michigan. The Wetteraus time in Detroit was marked by the tragic death of their infant daughter in October of 1916. Margaret suffered eclampsia during her first pregnancy and their premature daughter did not survive.
Margaret, Rudolf and Alan Wetterau, 1923
Wetterau Passport Application
Margaret Chaplin Wetterau (1894-1989)
Scene from Barcelona, n.d.
Collecton of Lisa Chaplin Woodward
The Wetteraus hoped to travel to Europe following their marriage, but the continuation of World War I led to postponement of their plans. They revived them again in 1923, when their passport application issued in March reveals plans to travel to France and Italy for two years of study. They are known to have travelled for a period to France - evidenced by a showing by each of them of a group of watercolors of Brittany in the Fourth Intenational Water Color Exhibition held at the Art Institute of Chicago from March 20th-April 22nd, 1924. According to an article in the Tampa Bay Times, the Wetteraus spent eight months abroad in 1927 in France, Germany, Italy and Algiers. (10) At some point in time they also traveled to Spain.
By June 1917, the Wetteraus moved to Chicago where Rudolf was employed as an illustrator at the Wilfred Floing Company’s office in the city.(11) The Wetteraus were living in New York City by May 1919, the time of their son Alan’s birth. They are listed in the 1920 census as living at the Chaplins home on West 22nd Street.
Former House of Rudolf and Margaret Wetterau, Glasco Turnpike, Woodstock
Meed Wetterau Barnett
The house that Wett Built (front), Showing Studio Window, 2024
Collection of Meed and Robert Barnett
Meed Wetterau Barnett
The House that Wett Built (back), Showing Raised Bluestone Terrace and Tulip Garden, 2024
Collection of Meed and Robert Barnett
In October, the couple acquired the deed from the Chaplins to the property adjacent to their house in Woodstock. They built a modest-sized house at what today is 2303 Glasco Turnpike, a short distance west of the crossroads of Glasco Turnpike and Meads Mountain Road.
The house originally had a large studio window on the north side, as well as a raised bluestone terrace in the rear. Rudolf cared for the gardens which surrounded the house. There were magnificent flower beds and flowering shrubs. Above is a photograph of the house as it appears today, and drawings by Meed, in ink and ink/colored pencil, of how the property looked when she was a young child.
United New Pictures
Rudolf, Alan and Margaret Wetterau,
Woodstock, January 1925
Wetterau Family Archives
United News Pictures
Henry Mattson, Rudolf Wetterau,
Alan Wetterau and Margaret Wetterau
in front of Woodstock House,
January 1925
Wetterau Family Archivesm
At first the Wetteraus spent summers in Woodstock and visited during the winter months. In early January 1925, United News Pictures photographed the Wetteraus at their mountain retreat on a snowy afternoon. Woodstock painter Henry Mattson (who lived close by) appears in a photograph of the time taken in front of their house. Mattson also appears in a photograph of the Wetteraus and Beatrice Faggi, wife of sculptor Alfeo Faggi, taken at the Maverick Festival in West Hurley in about the summer of 1925. All were all close friends.
The Wetteraus appear to have resided in Woodstock for most of the 1930s.(12) They are listed as living in town in the 1930 census, and ten years later they are recorded as residing at 16 East 9th Street, between 5th Avenue and University Place, in downtown Manhattan. This would be followed by moves to 24 East 10th Street and 62 Washington Mews; the alley originally housed horse stables for the wealthy residents of Washington Square North, which in the early 20th century were converted into carriage houses where many artists kept studios.
Rudolf Wetterau (1891-1953)
Welch's Grapelade Advertisement, 1921
Ladies' Home Journal 38 (March 1921): 12
Following the Wetteraus initial move to New York City in 1919, Rudolf worked as a freelance illustrator for various advertising agencies, and produced magazine ads for a variety of products. He had a long-term contract with the Welch’s Food Company. An ad for the product includes a “Wave Edge” knife by Tiffany & Company, a piece from the service the Wetteraus received as a wedding present from Marg’s parents. On occasion, Margaret assisted her husband in his advertising assignments. An article in the Kingston Daily Freeman relates that following his laying out the page she would work “on the painting until her husband is ready to put in the final touches [and has proven] to be a helpmate to her husband in more ways than the artistic. When his agency was working on an ad for a well-known baking company, Wetterau brought to Woodstock 20 cakes to be used as models for paintings. When the paintings were completed the cakes were thoroughly stale. The ingenious Wetteraus however, softened them up with custards, sauces, whipped cream and other fixings and invited their friends in for a party.”(13)
Rudolf Wetterau (1891-1953)
Glasco Turnpike and Meads
Mountain Road, c. 1930s
Collection of Meed and Robert Barnett
Rudolf Wetterau (1891-1953)
Still Life with Fruit and Art Deco Vase,
c. 1935
Collection of Meed and Robert Barnett
Rudolf Wetterau (1891-1953)
Nude, c. 1926
Hue and Cry, 1926
Rudolf sought to devote the greater part of his time in town to painting landscapes, still life’s, genre scenes and an occasional nude or street scene. He was a member in the Woodstock Artists Association, regularly exhibiting there, and serving on its board. The houses of many of his fellow board members in 1929 appear on the Wetterau map; Alice Wardwell, Eugene Speicher, Frank Swift Chase, Paul Rohland, Judson Smith, Neil McDowell Ives, Carl Eric Lindin, Henry Billings, Konrad Cramer, Henry Lee McFee, Carl Walters, Henry Mattson, Charles Rosen, John Carroll, Arnold Blanch, Charles Bateman, Hermon More, Orville Peets, as well as that of himself and his wife Margaret.(14)
Rudolf Wetterau (1891-1953)
Alan, c. 1923
Collection of Kate Wetterau Lipka
Outside of Woodstock, Rudolf exhibited paintings at the Society of Independent Artists, the Art Institute of Chicago, and the Salmagundi Club in New York City, among other places. He also showed at the Society of American Illustrators, and in 1937 co-juried an exhibition with William Zorach at the Akron Art Institute. A reproduction of Rudolf’s portrait of his son Alan (pictured above) appears in Richard Le Gallenne’s Woodstock: An Essay, which was published by the Woodstock Artists Association in 1923. In 1927 a large unidentified portrait exhibited at the association was commended as “a fine piece with great strength and vividness . . . .” (15)
Rudolf Wetterau (1891-1953)
Winter Farmland, c. 1920s
Collection of Michael Towar Stern
Rudolf Wetterau (1891-1953)
Rondout Roofs, 1927
Arts, April 1927
Rudolf Wetterau (1891-1953)
Reservoir Road, c. 1947
Collection of Meed and Robert Barnett
Rudolf Wetterau (1891-1953)
A Man Must Love a Long Long Time
(St. Luke’s Place), 1945
The Saturday Evening Post, May 26, 1945
Wetterau painted numerous snow scenes of the Catskills, including a farmland scene distinguished by its gentle light, subdued palette and Cézanesque distorted perspective. Among his finest landscapes are Rondout Roofs, reproduced in Arts magazine in April 1927, and Reservoir Road, awarded the Edith Ellison Prize for Best Landscape Painting at the Hudson Valley Art Association in 1947.(16) Wetterau considered his painting of St. Luke’s Place in Greenwich Village to be the “most gratifying” of his pictures.(17) The work served as an illustration in the Saturday Evening Post issue of May 26, 1945.
Margaret Chaplin Wetterau (1894-1989)
Home in the Hills, c. 1925
Collection of Meed and Robert Barnett
Margaret Chaplin Wetterau (1894-1989)
Landscape with Arlt Homestead and OverlookMountain, c. 1925-1930
Collection of Lewis and Juli Arlt
Margaret Chaplin Wetterau (1894-1989)
Tulips, c. 1947
Collection of Meed and Robert Barnett
Margaret’s efforts as a painter were curtailed during the times she was raising her sons Alan and Robin (born in 1930).(18) When the children started school she returned to painting. She exhibited paintings at the Woodstock Artists Association and participated in an exhibition held in August 1929 at the Minneapolis Art Institute that included 25 artists, most of whom were associated with Woodstock.(19) Margaret had joint exhibitions with her husband in November 1946 at the Bronxville Women’s Club, and in May 1952 at the Town House in Woodstock. The shows featured landscapes and still life’s by Rudolf and portraits of children by Margaret, who was also active as a landscape and still life painter. Among her landscapes is the view north across the road from her house in Woodstock which includes part of the property of her neighbor William H. Arlt, and a glimpse of Overlook Mountain.
Margaret Chaplin Wetterau (1894-1989)
Alan, 1926
Hue & Cry, 1926
Margaret Chaplin Wetterau (1894-1989)
Portrait of a Boy, c. 1925
Historical Society of Woodstock,
Gift of Ira Brandes
Margaret Chaplin Wetterau (1894-1989)
Meed Wetterau, c. 1946
Collection of Meed and Robert Barnett
Margaret’s greatest interest was in the field of children’s portraiture. She was known to make friends with children easily, knew how to entertain them, and could bring out their most engaging qualities. She kept her subjects amused by telling stories from the classics. Marg told stories of the ancient Greek gods from memory. Sometimes she would stop “to play a game with [the child] or catch a quick sketch of a likely attitude. From many sketches she [made] the completed portrait.”(20)
Margaret’s success as a painter of children developed after she painted a portrait in New York City of a doctor’s child, whose parents were so enthusiastic about the resulting likeness they spread word to other local doctors.(21) For her joint exhibition with her husband at the Town House in 1952 she produced a portfolio containing photographs of some of her likenesses of children.
Rudolf Wetterau (1891-1953)
Cover of Woodstock Almanac, 1924
Woodstock Library District
Attribruted to Peggy Bacon (1895-1983)
Masthead of The Hue and Cry,
August 23, 1923
Historical Society of Woodstock
In 1924, Rudolf collaborated with the writer and wood carver Ernest Brace on the creation of the Woodstock Almanac, which the two had hopes of being the first of a series of comic almanacs.(22) The publication followed the arrival in June 1923 of the satirical publication Hue and Cry, which was initially edited by the artists Peggy Bacon and Alexander Brook, and sponsored financially by Maverick art colony founder and leader Hervey White. Art historian Patricia Phagan has pointed out it was in the early 1920s that woodcuts and linocuts surged locally in popularity and were employed in small art publications produced in the Woodstock area as well as in individual prints.(23)
Margaret Chaplin Wetterau (1894-1989)
Puzzle Picture No. 12, 1924
Linocut
From Woodstock Almanac
Woodstock Library District
Rudolf and Margaret Wetterau
(1891-1953 and 1894-1989)
The Woodstock Zoo, 1924
Linocut
Woodstock Library District
From Woodstock Almanac
For the Woodstock Almanac of 1924, Rudolf provided the cover, title page, and several linocuts. Margaret contributed Puzzle Picture No, 12, collaborated with Rudolf on The Woodstock Zoo, and assisted with the printing for John Striebel’s Woodstock Zoo (Continued). Linocuts and woodcuts were also contributed to the book by Woodstockers Henry Mattson, Lucille Blanch, Arnold Blanch, Reeves Brace, Florence Ballin Cramer, William Arnt, and Wetteraus’ fellow illustrators in town Cushman Parker, H. L. Drucklieb, and Miska and Maud Petersham. The book contains writings by Brace, townsman Bide Snyder, artist John Carroll, metalworker Edward "Ned" Thatcher (under the pen name Iddie Flitcher), and Maverick art colony writer Henry Morton Robinson.
Rudolf Wetterau (1891-1953)
Title Page, Woodstock Almanac, 1924
Woodstock Library District
Rudolf Wetterau (1891-1953)
Repose, 1924
Linocut
Woodstock Library District
From Woodstock Almanac
Rudolf Wetterau (1891-1953)
Woodstock in 1925, 1924
Linocut
Woodstock Library District
From Woodstock Almanac
The title page of the Woodstock Almanac features the feet of three people warming themselves by a pot bellied stove. It comically announces that the publication contains “useless misinformation concerning man and beast.” For the book Rudolf Wetterau created Repose and Woodstock in 1925, which includes mention of the fictional news that oil had been discovered in the nearby town of Ashokan, and that drilling is “to commence immediately.” The composition includes six oil wells, an artist working at an easel on a rooftop before which a woman poses in the nude, a sign for a cider mill, a train in motion, a woman looking down at the street with a telescope, and skyscrapers looming in a crowded and chaotic arrangement.
Earle B. Winslow (1884-1969)
Tannery Brook, 1928
Woodstock Artists Association
and Museum
Woodstock in 1925 influenced the painter and illustrator Earle B. Winslow’s humorous series of pictures of the later 1920s that turn Woodstock into a Cubo-Futurist village where every pictorial element is fair game to be shifted in space, tilted at will, or turned into a geometric shape or form.Wetterau and Winslow were good friends. Upon meeting in Chicago in 1918, Wetterau informed Winslow that his idol George Bellows was teaching at the Art Students League in New York. Winslow moved to Manhattan to study with Bellows. Not long thereafter Wetterau invited Winslow to Woodstock, where his friend and fellow illustrator bought a house on today’s Schoonmaker Lane.
(1) “Artist Will Be Dentist,” Nashville Tennessean. June 26, 1910, p. 138. Wetterau may have felt obligated to his father to seek a "more respectable" career than as an artist. In an email of July 18, 2024, Robert Lowe Barnett remarked that " Wett's father Martin Rudolf had a childhood that makes an interesting tale. Martin, Sr's father Johannes Conrad Wetterau (1826-1860) had emigrated at about age 22 from the Hesse region to America in 1849. We have copies of the pages of his memory book signed by his friends wishing him well on his next adventure. The fact that he left in that year makes it likely that he was part of a mass exodus after the liberal/communist revolutions of 1848 failed. Students who had shown anti-imperial tendencies were blacklisted and had reduced career potental. In 1857 he married Mary Achtzehner. He was her second husband. We dont' know just when Mary arrived to America from Europe, but she married her first husband, Charles Scharrenberger, in Ohio, Oct 1848. Charles has one child from am earlier marriage, and they had three more children before Charles died in Jun 1854. After marrying Johanne Conrad Wetterau in Dec 1857, Martin Rudolf (Sr) was born 16 Oct 1859. Martin was to be their only child because he died 11 days before Martin's first birthday. Mary married a third time in Aug 1863 to Charles Kircher, and they had three more children before 1870."
(2) “Brief Mention,” Nashville Banner, October 22, 1910, p. 5; “Nashville Native Dies After Illness,” Nashville Tennessean, May 18, 1953, p. 20.
(3) The Art Students League of New York has no official record of Wetterau’s attendance there. The League’s past attendance records often are spotty.
(4) “Wetteraus Hold Joint Show at Town House,” Catskill Mountain Star, June 6, 1952. p. 3.
`(5) “The Painting Exhibit,” The Post-Standard, Syracuse, June 6, 1910, p. 4
(6) For a study of the club see Marlea Caudill Dennison, “The American Girls' Club in Paris: The Propriety and Imprudence of Art Students, 1890-1914," Woman’s Art Journal, vol. 26, no. 1 (Spring - Summer, 2005), pp. 32-37.
(7) See American Art Club Artists Index, 1893-1914, Columbia University in the City of New York , https://reidhall.globalcenters.columbia.edu/artist_index
(8) Nancy Osgood, “She Put ‘Punch’ in Puppetry,” Tampa Bay Times, December 19, 1960, p. 8.
(9) “Watterau-Chaplin,” Nashville Banner, December 1915, p. 5 .
(10) Osgood, p. 8.
(11) WW1 Registry Card and Report, 12-2-28-A, dated June 5, 1917. I would like the thank Robert Lowe Barnett for providing a copy of the card with the report.
(12)“Wetterau’s Hold Joint Show at Town House,” Catskill Mountain Star, June 6, 1952. p. 3.
(13) “Wetteraus’ Show Opened Friday at Town House,” Kingston Daily Freeman, June 2, 1952, p. 9.
(14) “Woodstock Art Season Opens,” Kingston Daily Freeman, June 19, 1929, p. 7. I would like to thank Emily Jones, Archivist and Collection Manager, Woodstock Artists Association and Museum, for checking that the board listing in the newspaper was accurate.
(15) “Bigger and Better Paintings: Judson Smith, Wetterau Lead in Fourth Show,” The Hue and Cry, 5 (August 20, 1927): 1.
(16) “Hudson Valley Art Association Awards Made), The Herald Statesman, Yonkers,” October 28, 1947, p. 6.
(17) “Rudolf Wetterau, 62, Dies Suddenly of Heart Attack,” Kingston Daily Freeman, May 18, 1953, p. 15.
(18) “Wetterau’s Hold Joint Show at Town House,” p. 3.
(19) “American Show Opens Season,” Minneapolis Star, August 24,1929, p. 21.
(20) “Wetteraus’ Show Opened Friday at Town House,” Kingston Daily Freeman, June 2, 1952, p. 9.
(21) Ibid., p. 9.
(22) Alf Evers, Woodstock: History of An American Town (Woodstock, New York:
The Overlook Press, 1987), p. 559.
(23) Patricia Phagen, Made in Woodstock: Printmaking from 1903 to 1945 (Poughkeepsie, New York: The Francis Lehman Loeb Art Center, Vassar College, 2002), p. 20.
Kommentare