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DALLAS Ml]-SE,lIl\f OF F-INE ARTSI
Dallas Museum of Art Library
TIIB BJEIIIBITIOH TROMPE L'OEIL PA I NT I NG S THAT FOOL THE E YE B Y M A S T E RS FRO M V E RM E E R TO DALI
EL HOMBRE l3Y RUF INO TAMAYO
PLANEr~rARIUM POR TRAIT OF HER MAJESTY ,
QUEEN ELIZABETH THE SECOND TEXAS ARCHITECTURE - ~ 9 5 3 TEXAS PAINTING & SCULPTURE TEXAS PRESS PHOTOGRAPHY ART AND SCIENOE
DALLAS MUSEUM DF FINE ABTS OCTOBER 10 THROUGH OCTOBER 25, 1953
A t Library Dallas Museum 0 f r
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FDREWDRD The fears that beset the men in the thr ee frail barks of Columbus on his journ ey into an unch arted sea now spark the imag inatio n of airborne men exploring the myster ies that lie beyond our planet in the infinity of space. Today, through the work of geogra phers, scientists, physicists and astro nomers, we have accumulated more knowledge of the world we live in than man has ever possessed. Einstei n has said that creative discovery in science comes "from a hunger of the soul" that is closely aki n to the creativ e urge that has burned in the architect, painter and sculpto r since the beginning of art. Genius in these three fields has always been concerned with space. The architect and the sculpto r work directly in thre e dimensions and thu s control space by actual handling, whereas the paint er has had to simulate space, or depth and light, by the arti fices of color and drawing because he works on a flat, two-dimensional surface. Many centuries ago the art ist learned his skill as a trade . . . the painter was w~ll decorator and portrait mak er; the architec t was master builder and the sculpto r was a stone mason or metal worker. Rule s for the stand ards of beaut y in these fields depended upon the laws set by the acquired knowledge of the day with its education which did not include aesthetics but was based on the theoretical sciences. In those times the liberal arts consisted chiefly of ari thmetic for numbers; geometry as the study of shapes; astro nomy for the movement of bodies and the harm onics of music for the measurement of prop orti ons (s pace ) . Scholarsh ip and investigation of the problems confronting the artis t raised the arts into a scientific state so that by the beginn ing of the 17th cent ury, along with the rise of the great academies, what had been the work of anonymous craftsmen-a rtisa ns became the Fine Arts. For better or worse, painting; sculpture and architecture became separated from the theoret ical sciences. Because art and science seem to be drawing closer toge ther again and since one of the main concern s of art is the control of space it is believed that the visitor to the 1953 State Fair of T exas can find the theoretical sciences of help in understanding and appreciating the exhibits at the DMFA. A planetar ium will enable the visitor to have a real experience in the latest astronomical achievement explaining space. In the Architectur al exhibit, the floor plans of a build ing may be studied for the cont rol of space just as the elevation drawings and ph otograph s are to be considered for geometri c beauty. Th e exhibition of trompe l'oei l type of paintings that fool the eye demonstrate the artist's ability to limit his imita tion of space to a few inches in depth and to simulate the magic of realism to the extent that painted frui t, a pi pe or a copper POt seem real enough to touch . The Texas Paint ing and Sculpture show cont ains work that is visually real by old, established standards as well as contemp orary styles of semi-abstract ion. T hese latter works may be better understood through the "scientific" approach and by knowing that some art ists are trying to envis ion nature th rough the findings of the ir contemporaries the scienti st, the ph ysicist and the astronomer, so that they are approximating a timely concept of the world we live in and kn ow.
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"Allegory of th e Nelli Testam ent" by VERMEE R, loaned by the Metr opolitan Mm eltm of Art
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The
Dallas Museum of Fin e A rts is grateful to the following:
The A merican Federation of Arts and A lfred Frankenstein for assembling the group of paintings entitled " Harnett and His School" ; Edith Halpert , for a group of American Paintings; and to the museums and galleries which have loan ed other w ork s to the State Fair of T exas "trom pe l'oeil " exhibition; the A rt Institute of Chicago , Detroit Institute of Arts, M etropolitan Museum of Art, Mu seum of Modern Art, and the Cit y Art Mus eum of St . Louis; also to the Downtown Gallery, Grand Central Art Galleries, Hewitt Gallery, Hirschi & Adler, M. Knoedler & Company, Midtown Galle ries and Betty Parsons Gallery.
Using a group of Amer ican pai nti ngs called H arnett and H is Followers, as a nucleus, the museum has borrowed pictures from dealers and ocher museums to form an exhibition of paint ings that fool the eye by their intense realism. N o attempt has been made to cover the development of this type of painting but some ind icat ion of interest that realism has held for artis ts from 17th century Spanish , Flem ish and Dutch schools down to the pres ent day is to be seen. The earlier painte rs were fascinated, as is roday's art ist working in the realistic style, with the probl em of getti ng OntO canvas a faithful likeness of ob jects. The textures of silk and woolen stuffs; the brittleness and transluscency of glass; the bloom on a grape or sugar water drops oozing from a peach; the opalesence of a sea shell; the pinkness of shrimp or lobster; the feather s and fur of fresh-kill ed game or a chained live parrot or a mischie vous squirrel; the glint of light on copper or silver- all these were their delights that so charm the viewer. Perh aps much of the charm lies in the absence of man 's presenc e in the painting. H uman beings are just out side the canvas - about to devour the heapedup delicacies or just returned from the out ing with the paraphern alia and spoils of the hunt hung on a kitchen door or fishing gear conveniently hooked on a shed wall. Th e sadness of old souvenirs lurks in the dusty card rack with its pre served photographs, its dog-eared postcards.
Paint ings of this type have other moods. Frequendy they are amusing with sly rides ; often they are satiric; and, again, they pin-point some hum an foible or speak politically. The work of modern painters in this vein tends to be simpler - fewer objects in the clutter, less of food and more of thin gs. But the contemporaries are subject, too, to that same lure of liken ess and they manage to invest simple objects with the same age-old qualities that touch on sentim ent, divert the eye and satisfy the mind of the beholder through the magic of their realism.
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'Still Life" by VA N BEYER EN , loaned by M . Knoedl er & Com pany, N ew York
t A boue, left ) "Children's Gam e" by CLAUDE GRIPS, loaned by Hirschi & Adler
t A boue, right) "Courtsbip " by CLAUDE GRIPS, loaned by Hir schi & Adler, N ew York
"Still Life" by FRANZ SNYDERS, loaned by M. Kn oedler & Company, N ew Y ork
"Still Life" by W ILLIAM H AR N ETT, loaned by Edith Halpert of th e D ownt own Gallery, New Y ork
"Still Life" by W ILLIAM H A R N ET T , loaned by Edith Halp ert of th e D01ll11t01l111 Gallery, N ew Y ork
'The Artist's Card Rack" by WILLIAM HARNETT, loaned by Mrs, Arthur Hornblow , Beverly Hills
"Fish Hou se Door" by JOHN F. PETO, Dallas MlISeum of Fine Arts permanent collection
"Handel with Still Life" by STANLEY CRANE, loaned by Grand Central Art Galleries, New York
"T he Sword" by KENNETH DAVIES, loaned by the Detroit Institute of Arts "A Piece of Chalk" by ROBERT VICKREY, loaned by th e Midtown Galleries
EL HOMBRE (MAN) by
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Rufin 0 TamaV0
T his great painting, ten feet wide and eighteen feet high, by one of the most talented of living art ists, was commissioned by the Dallas Art Association in 1952 after Tamayo had been visiting artist at the Dallas Museum of Fine Arts for a short period. The artist was enthusiastic over the project from the beginning because he believed it was an opportunity for him to participate in the growing exchange of cultural under standing between his country, Mexico, and the United States at their most active point of contact - Texas. The mural, acquired through the Neiman-Marcus Exposition Fund , was comp leted in the artist's Mexico studio and shipped by special over-sized railway car to Dallas in time to be installed for the opening of the 1953 State Fair of Texas. Uncomplicated in symbolism, the mur al transmits an immediate impact of power through the heroic scale of the one figure dominating the painting. At the base of the mural is the arc of the earth's surface , painted in rich browns . In the lower left is a frightful black dog, mired by each foot and ravening for a bone just out of reach. This dog is obviously a symbol of earth-bound and unimaginative impulses . The huge figure of a giant, seen in back view and representing man reaching up and out into the heavens in perpetual aspiration, pushes from the earth with a tremendous effort which is depicted in forceful rather than realistic shapes. The color of the figure ranges from fiery red in the feet into limbs of volcanic reds and violets, with darker purples and browns dominating the upper reaches of the figure. Beyond the sharply tapering outstretched arm is a glowing sky of vibrating blues, cut by the broad trail of a comet and criss-crossed by the trajectory of stars. Strikingly simple in conception and brilli antly executed in a restrained color harmony of blues, oranges, browns and blacks, this painting by Rufino Tamayo may well become one of the best-remembered large paintings in the Americas .
Trip to the Moon STARS AND P LA N ETS have attracted and pu zzled man throu ghout his evolution. Earliest man coupled his fate to the sun and the moon. Th ousands of years before Christ the movements of the planets were und erstood. Even though astronomy is one of the oldest scien ces, nevertheless modern man 's miraculous inventions pro ject the application of this science far into the future.
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The pl ane tarium is one of the most intriguing instru ments avai lable for th e study of the stars and the pl anets under perfect man-m ade conditions . These instrument s are
Y oung space ex plorer tests equi pment for journey to th e m oon
(Above, left) The moon's surface, to be glimpsed by visitors emba rking on "A T rip to the Moon" at the museum's planetarium (A bove, right) "The Life Span of the Earth" by CH A RLES BONESTELL, loaned by LIFE Magazine from "The W orld We Live In" series
so costly that only a few exist In rhe merropoliran centers. T he new Spirz planerarium recently insta lled at the an museum is smaller rhan rhese gianrs, bur it produces resuIrs which compare favora bly with the larger and more costly instrument. The museum's new pla nerarium represenrs a fascinaring and pracrica l way of demonsrraring mysrerious relations of objecrs in space. Operaring under a rwenry-four foor dome , this versarile instrumen t simulares the real ourdoo r sky wirh irs planets and uncounred stars. An audie nce of more than one-hu ndred peop le seated in air-co nditioned com fort under this always-clear sky may witness the events of a day or severa l years crowded inro a few minutes of actual time. Th is particular insrrurnenr was invenred by Armand Spitz of Philadelphia. It can be used by a wide variety of groups, from professional astronomers and Air Force agencies studying navigation to Boy Scours, Brownies and Junior Astronomer groups. To interest the large State Fair crowds , the first show of the museum's planetarium is a pretended "Trip to the Moon " - that closest and most fascinating of our heavenly neighbors. Convincing sound effects and films aid the p lanetarium in studying the problems concerning man 's possible conquest of space. Later demonstrations by the planetarium will range through the endless studies of the phenomena of the skies.
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H er Majest y QUEEN ELIZABETH 11 -
by Douglas Chandor
Mrs. Douglas Chandor of Weatherford, wife of the late portrait painter, has kindly loaned this painting for its first exhibition in Texas. The portrait was commissioned by Mrs. Eleanor Rooseve lt and will be presented to the British Embassy in Washington as a gesrure of Anglo-American friendship .
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1953
OCTOBER 10 THROUGH OCTOBER 25
An exhibit of recen t work by Texas A rch i tect s sponsored by the DALLAS CHAPTER , THE AMERICAN INSTITUTE OF ARCHITECTS and THE TEXAS SOCIETY OF ARCHITEC TS with the cooperation of THE DALLAS MUSEUM OF F INE ARTS
exhibition committee, dallas chapter aia Donald Nelson , Chairman A. B. Swank Donald J arvis G eorge McGill
Dave Braden Jack Morgan Ernest E. Wright, Jr. Jo seph Gordon
William Hefley W arren H all Carl Roath Ge orge Edwards
texas society of architects Albert S. Golemon, President Edwin W. Carroll, Vice Presid ent George F. Pierce, Secretary-Treasur er
jury of the exhibition WILLIAM W. WURSTER, De an of Arch itecture at the Un iver sity of California at Berkeley BRUCE GOFF, H ead of the D ep artment of Architectur e a t th e Uni versit y of Ok lahoma J ERRY BYWATERS, Director of th e D all as Mu seum of Fine Arts
first honor award
MILTON A. RYAN , Architect W alter E. Bowd en , Co nt ra ctor First Church of Ch r ist , Scientist Victo ri a , Texas
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San Antonio
EXCERPTS
FROM
THE
JURY
REPORT
MR. WURSTER : 'The First Award, for the Firsr Church of Chrisr, Scienrisr, Victori a, Texas, seemed to us to caprure such magneric qualities with very simple materials and is accomplished very economically . The inrerior of simple materials seems beautiful and airy. The use of the acrual pipes of the organ as one of the decorative features at the back of the Church is very pleasanr, indeed . The plan itself is beautifully articulated, if that is rhe word, because it goes back to first principles of great oblong, unbroken block, which in rum means economy and simplicity of thought. 1 thi nk I'll ask Me. Goff to commenr on this now. Before he starts, 1 will say that all of us were impressed by the fact that the very excellence of a submission of this SOrt leads us to be more critical of certain things, wishi ng that it might come to that high poinr that is impossi ble to achieve in any struc ture ... MR . GOFF: . . . "1 thi nk all of us on the Jury agree una nimo usly that this is the Outstanding enrry, this Church of Christ.Scienrisr, Victoria, Texas. 1 have a certa in reservation in my own min d about it, which 1 thin k is based pr etty much on rhe idea of what is religious character in a building. 1 find it a little difficult to see that this bu ilding does have a deeply religious feeling . 1 think it's a very fine buildi ng, the structure is well expressed, it's an honest buildi ng, no doubt, and 1 JUSt wonder a litt le bit if the building does have the relig ious feeling that I expect in a Church. "
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award of merit Houston
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award
of merit
R. GOMMEL ROESSNER, Architect Douglas Hicks, Ge nera l Contractor Residen ce for Mr. and Mrs. Millard Rund Austin, Texas
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award of merit HOWARD BARNSTONE (Bolton and Barnstone, Architects) Houston R oy D. Wilson, General Contractor Residence for Mr. and Mrs. M. G . Rosenthal Houston, T exas
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award of merit FEHR AND GRANGER, Architects R. J . Pekar, General Contractor Residence for Mr. and Mrs. Joe Sneed Austin, Texas
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Austin
award of merit COCKE, BOWMAN AND YORK, Architects
Harlingen
Meritt and Roe, General Con tractor Clinic for Dr. James D. Casey San Benito, Texas
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award of merit ROBERT D. WHITE (while in partnership with H. E. PRINZ), Architect
Dallas
Conne ll Construction Co., G ener al Contracto r Mun icip al Servi ce Center Dall as, Texas
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award of merit HIDELL AND DECKER,
Architects
Dallas
Hawley Bro ther s, General Contractors Episcopal Colleg iate Chapel of St. Alban Dallas, Texas
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award of merit THOMAS E. GREACEN II, Architect Tellepsen Con struction Co., G en eral Co nt ractor First U nitarian Ch urch Ho uston, Texas
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Houston
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St!/dying T exas Architecture - 1953 entr ies are Jurym en If/ il/iam Wurster, Bruce Goff and Jerry Bywaters
THE FIFTEENTH ANNUAL EXHIBITION OF
PAINTING AND SCULPTURE c~ ~X~ I ~~v. SPONSORED BY THE
ORGANIZED BY THE
DALLAS MUS BUM OF FINB ARTS PARTICIPATING MUSEUMS
MUSEUM OF FINE ARTS OF HOUSTON WITTE . MEMORIAL MUSEUM, SAN ANTONIO (w it h the cooperation of the San Antonio Art league)
Bxhibition Calendar The Dallas Museum of Fine Arts The Museum of Fine Arts of Houston Witte Memorial Museum, Sa n Antonio
October 10 through November 1 November 8 through November 29 December 13 through January 3, 1954
More than 600 entries to th e J5th annual T exas Painting and Sculptur e exhibition are reuietoed by Judges Ri chard Hain es, Perry Rathb one, and Dorothy Adlow
JURY OF SELECTION AND AWARDS DOROTHY ADLOW, Art Critic, "Christia n Science Monitor ," Boston P ERRY T. RATHBON E, D ir ect or, Ci ty Art M useum , St. Lou is RICHARD H AIN ES, Artist and Teache r, Los A ng el es
FDREWDRD This exhibition is a continuation of the important Texas an nual exhibits which, for the past fourteen years, have been the successful joint efforts of the Muse um of Fine Arts of Houston, the Witte Memorial Museum ( San Ant onio Art League ) , and the Dallas Museum of Fine Arts. These museums will continue to provide prizes from local sources and to show all or part of the exhibit. Sponsorship of the exhibit at the Dallas Museum by the State Fair of Texas has made possible a much larger number of prizes , the use of a jury of national importance, and has insured a greatly increased public interest and atte ndance. This exhi bition was assembled for judg ing by the Dallas Museum of Fine Arts . A total of 596 works was submitted from all parts of the state and 101 by 88 artists ( 92 paintings and 9 pieces of sculpture ) were selected for showing by the distinguished jury after two full days of careful deliberation. These members of the jury deserve special thanks for their thoughtful efforts as well as for leaving their own duties at the begin ning of a busy season to come to Texas and sub ject themselves to the dub ious glories of jury service. The success of this exhibit has also been aided gre atly by the gene rous prize list made possible by industrial agencies, individuals, and museums throughout the state as well as the State Fair itself. Finall y, let most pr aise go where it belongs most - to the artists who are constantly growing in art istic stature and who annually brin g distinction to Texas art by the ir diligence and creative activity.
STATE FAIR OF TEXAS PURCHASE of $500.00 for the permanent collection of the Dallas Museum of Fine Arts
PERRY NICHOLS, Dallas
for oil painting, " T he Red Queen"
STATE FAIR OF TEXAS PURCHASE of $500.00 for the permanent collection of the Dallas Museum of Fine Arts
JAMES W. BOYNTON, Fort Worth
for oil painting, "Limestone Edge"
JULIAN ONDERDONK MEMORIAL PURCHASE of $350.00 for San Antonio Art League collection (to be awarded at the opening of the exhibition in San Antonio ) DALLAS ART ASSOCIATION PURCHASE of $250.00 for the permanent collection of the Dallas Museum of Fine Arts
McKIE TROTTER, Fort Worth
for oil painting, "Dry Dock"
DALLAS ART ASSOCIATION PURCHASE of $250.00 for the permanent collection of the Dallas Museum of Fine Arts
KEITH McINTYRE, San Antonio
for oil painting, "Back Street"
MR. AND MRS. E. M. DEALEY PURCHASE of $250.00 for work of artist not well represented in the Dallas Museum of Fine Arts permanent collection
BOYER GONZALES, Austin
for oil painting, "Fro m the Pedernales No.1"
Paintings by Mr. Fearing and Mr. Dozier were recommended by the jury for purchase prizes, but the works were not available.
"Limestone Edge," oil pain ti ng by JA M ES W . BOYNTO N , $500 State Fair of T exas Purchase Prize
"T he R ed Qn een," oil paintin g by PERRY NI CHOLS, $500 State Fair of T exas Purchase Prize
"Back Street," oil painting by K EITH McINTYR E, $250
tuuÂŤ A rt A ssociation PlIrchaJe Q
FORT WORTH ART ASSOCIATION AWARD of $150.00 OTIS DOZIER, Dallas for oil painting, "Navajo Blanket" MUSEUM OF FINE ARTS OF HOUSTON AWARD of $100.00 KELLY FEARING, Austin for oil painting , "Tob ias and the Angel" MUSEUM OF FINE AR TS OF HOUSTON AWARD* of $100.00 WILFRED HIGGINS, Denton for oil painting , "The Cloth" MUSEUM OF FINE ARTS OF HOUSTON AWARD* of $100.00 JOAN HIERHOLZER, San Anton io for oil painting , " Alamo Walls" FOLEY'S OF HOUSTON AWARD of $100.00 JOHN GUERIN, D all as for oil painting, "Jade Leaves:' SCHLUMBERGER WELL SURVEYING CORPORATION AWARD of $100.00 OLIN TRAVIS, Dallas for oil painting, " Pa triotic Domicile" MR. AND MRS. ROBERT D. STRAUS OF HOUSTON AWARD of $50.00 ANN HUDSON, Dallas for oi l pa inting , "Springtime" SAN ANTONIO MEN OF AR T GUILD AWARD of $50.00 ANNABEL McDONALD BERRY, Dall as *Do llate d by th e Humble Oil and R efillillg Com pallY
for oil painting, "All T hese"
"Dry Dock ," oil painting by M cKIE TROTTER , $250 Dallas Art A ssociation Purchase
"From th e Pedemales N o. 1,n oil painting by BOYER GONZALES, $250 Mr. and Mrs. E. M. Dealey Purchase Prize
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"N avajo Blank et," oil pai1ltillg by OTIS D OZIER , S 150 Fort If/ orth Art A ssociation Award
"T obias and th e Angel," oil peint ing by K elly Fearing, SIOO Mu seuJn of Fine Arts of H OIISton Award
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(Ab oue) , "Patriotic Domicile," pamtmg by OLIN TRAVIS, S I OO Scblumb erger W ell Sur veyin g Corporation A ward (L eft), "j ade Leaves," oil painting by JOHN GUERiN, SlOO Foley's of H ouston Award
(B elow), "T h e Cloth," oil painti ng by WiLFRED HIGGINS, $100 MlISeum of Fine Arts of H ouston Award
(B elow), "A lamo Walls," oil painting by JOAN HIERHOLZER , S100 M ltseum of Fin e Arts of H ouston Award
t Aboue.Lc lt ) " Race uit]: Flam e" by N O l?M BEl?GSMA , Fort W orth PreSJ-
Sp ot N ew s First Place
t Aboue, right ) " Eyes Front. Soldier!" by CLINT G l?ANT, Dallas N ellis -
Feature First Place
IeuÂŤ P/,e99 PhOfog/'sphy The exhibition of news photographs by members of the Tex as Press Photograp hers Associatio n is always of keen interest to the State Fair visitors at the museum. Prize winners were selected by H orace Ainsworth, editor of Da llas Magazine ; Clyde W . Brown , sales manage r D allas Photo Supply Company; and Buck Marr yar, American Airl ines regional public relations director. Awards were made in six categories : person alities, bird s and animals, pictori al, spot news, featu res and sports, ( Below, left ) "Splash Finish " by AL PANZE l?A, Fort Worth Ssar-T elegram Sp ort s - First Place s-s
( Belo w, right ) "End of th e Day" by JO HN YOUNG, Dallas News - Portrai t s a1U( Personalities - First Place
OCTAVID MEDELLIN, noted South western sculptor and teacher in th e MIIS etllIl School, dem onstrates "A rt in A ction"
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ART in ACfion!
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L ocal art ists students show what goes into the making of a work of art during their dem onstrations in the Museum's Sculpture Court for Fair crowds - by pa inting, sculpting, weaving, making jewelry and other metal shapes, working in clay and by making . prints - all of which pr oves education al as well as entertaining for the whole fam ily.
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CONTEMPORARY FURNITURE From the original group of furniture collected in 1950 for the Contemporary Lounge, the Museum has branched Out int o the galleries with even more recent designs as part of a long range plan to illustrate some of the most interesting examples in the contemporary design field. The scope of the inventive talents of roday's leading designers is manifested in the exploitation of new and old materi als - plastics, metal, wood, fabrics, foam rubber, etc. - good lines coupled with comfort and requiring a minimum of care and maximum dur ability. Visitors are invited to "test" the furniture and judge for themselves .
THE HOBLITZELLE COLLECTION The H oblirzelle Collection is a pan of a larger collection formed in Europe some 200 years ago for transportation co Lima, Peru . It consists mostly of seventeenth century pictures with a few earlier ones. Several of the paintings, such as the Nicholas Chapron and the Pietro Paolini , are of gre at interest because of their fine quality which is enhanced by the fact that they are excepti onally rare in America.
"Baccbic Concert" b'}' PIET R O PA OLI NI ; H oblitzelle Collection, Dallas Mm ellm of Fine A rts
"Mother and Child" by MARY CASSATT; Munger Collection, Dallas Museum of Fine Arts
THE MUNGER COLLECTION The Munger Collection is notable for some excellent American portraiture and landscape and two especially fine examples of Impressionist painting. Particularly noteworthy are a handsome landscape by the French artist Claude Monet and a pastel study of a young mother and child by Mary Cassatt, an American, who is closely associated with the French Impressionists.
"Mrs. S. I. Munger}} by DOUGLAS CHANDOR; Munger Collection, Dallas Museum of Fine Arts
TRUSTEES Df the DALLAS ART ASSOCIATION Stanley Marcus, President; Karl Hoblitzelle, V ice-President; Summerfield G. Roberts , V ice-President; Mrs. Alex Camp , Recording Secretary; Mrs. John Leddy Jones, Corresponding Secretary; Angus G. W ynne, Jr., Tr easurer; H . R. Aldred ge, Jr., Mrs. 1. A. Bickel, Mrs. Th omas Blake, Mrs. T. E. Braniff, Dr. John Chapm an, Mrs. Henry C. Coke, Jr., Mrs. Albert D 'Errico, E. DeGolyer, E. G. Eisenlohr, Mrs. Tom Gooch, Leon A. Harris, Jr., J. B. H . Henderson, Mrs. Edwin B. Hopkins, Jud ge Sarah T. Hughes, Phillips Brooks Keller, Jr ., J. O. Lambert, Jr., Mrs. W. M. Lingo, Jr., Mrs. Edward S. Marcus, Frederick M. Mayer, Robert M. Olmsted, Charles J. Paine, J. W oodall Rodgers, Dr. Samuel A. Shelburne, Mrs. Alex Spence, J. T. Suggs, Miss Allie Tennant, J. Lon Tinkle, Harold Volk, Mrs. Alex Weisberg. REPRESENTATIVES TO THE BOARD: Mrs. Tom Barr, Museum League; Mrs. Dan H. Voss, Junior League; Calvin J . Holmes, Dallas Print Society.
STAFF Df the MUSEUM Jerry Bywaters, Director; Jerry Harwell, Curator; Ed Bearden, Director of Publications; Carroll E. Hogan, Business A dministrator and Curator of Prints; Ann Burleson, Secretary; Jane Brookfield Gross, Librarian and R egistrar; Jerry Jane Smith, Memb ership Secretary; Richard Fox, Gallery T echnician; Barney Del abano, Mary Doyle, Ot is Dozier, Irvin Lynn, Barb ara Maples, Octavio Medellin, Evaline Sellors, Mem bers of T eaching Staff; James Garrett, Building Superint endent; Ollie Hamilton, Custodian.
THE MUSEUM The Dallas Museum of Fine Arts was built in 1936 as a part of the Civic Center adjoining Fair Park. The Museum is maint ained by annual appropriarion from the City of Dallas through the Park Department. The operation of the Museum is administered for the City of Dall as by the Dallas Art Association , a civic art group founded in 1903. The current State Fair exhibitions climax the many special events on the museum 's 1953 program celebrating the Jubilee of 50 years of service to the community by the Dallas Art Association. Museum membership is available to all at a moderate cost with many benefits. For information about membership and the Museum call HArwood-4189, or write DMFA, Fair Park , Dallas 10, Texas.