Alice Schille: A Vibrant Life

A Vibrant Life: The Art of Alice Schille (1869-1955)

A Vibrant Life: The Art of Alice Schille (1869-1955) Nedra Matteucci Galleries Santa Fe, New Mexico September 21- October 26, 2024 Front Cover: (cat. 19) Ranchos de Taos, Full Sun - Front View c. 1919-20 Watercolor 17 7/8” x 20 3/4” 1

(cat. 8) Juarez, Mexico, circa 1930 Watercolor 18” x 21”

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A world-traveler, dedicated teacher, and pioneering female watercolorist, Alice Schille’s work speaks to so many due to its timeless beauty and unwavering authenticity. Her works display artistic boldness and joi de vivre, yet are underpinned by an impressive formal education. Graduating at the top of her class from the Columbus Art School, Schille continued her training in New York at the Art Students League and the New York School of the Arts, where she was mentored by William Merritt Chase.

Traveling would also affect Schille’s style. European modernism that was feverishly developing overseas transformed her work, emboldening a brighter palette, and imbuing her paintings with life. Much like the bustling villages and marketplaces within them, Schille’s works radiate energy that stops people in their tracks. They see the artist’s reverence and even admiration of her subjects through her emotive, vibrant communication of light and color.

Her work has just as strongly resonated with me, and that’s one reason it’s been an honor and privilege to represent Alice Schille in my Gallery. We are beyond proud and excited to host this retrospective exhibition of Schille’s watercolors and hope to bring an even greater spotlight to the artist and her legendary work.

Nedra Matteucci Owner, Nedra Matteucci Galleries Santa Fe, New Mexico

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Nedra Matteucci Galleries Santa Fe, New Mexico 4

INTRODUCTION

Born in Columbus, Ohio in 1869, Schille studied at the Columbus Art School from 1891 to 1893 and then traveled to New York. There she was enrolled at the Art Students League from 1897 to 1899 with the outstanding figural painter, Kenyon Cox. She also studied at William Merritt Chase’s New York School of Art from 1897 to 1899. In 1903, she studied in Paris at the Academie Colarossi and privately.

She spent much of her time over the next ten years throughout western Europe from England to Spain.She visited the avant-garde studio of Gertrude Stein in Paris which included her excellent modern masters collection. She was enthralled by the brilliant expressive Fauvist paintings of Henri Matisse. She also became intrigued by the painterly physicality of Cezanne’s landscapes and still lifes.

Starting in 1900 Schille began showing her works at the annual exhibitions of the New York Water Color Club, Art Institute of Chicago, American Water Color Society in New York, and at the Philadelphia Watercolor Club held at the Pennsylvania Academy of Fine Arts. William Merritt Chase purchased one of her watercolors in 1905.

Subsequently, seven watercolors by her on exhibit at the Pennsylvania Academy were sold.

Schille also had numerous one person exhibitions at the Columbus Art Association (1912), Columbus Gallery of Fine Arts (1921, 1923, 1926, and 1932) and the Cincinnati Art Museum (1911 and 1915). In 1915, the eminent art 5

(cat. 4) Dusk, Oaxaco (Mexican Scene), c. 1930 Watercolor 20 ¾ x 24 ¾ inches

educator, author, and artist Arthur Wesley Dow awarded her the first prize for watercolor at the Pennsylvania Academy of Fine Arts. Dow was Georgia O’Keeffe’s most admired instructor. Additionally, she won a gold medal in this medium at San Francisco’s Panama-Pacific Exposition in 1915.

After the outbreak of World War I, Schille spent the summers from 1916 to 1918 in the art colony of Gloucester, Massachusetts. She fully embraced Post-Impressionism at that time. Subsequently, she spent her summers of 1919, 1920, 1921, and 1926 in New Mexico, where she more fully developed her vibrant emotionally resonant Modernist aesthetic. She exhibited at the New Museum of New Mexico in September, 1920 in a very positively reviewed one-person show. She also was included in a group exhibition of Southwestern art at that museum in 1921 with Gustave Baumann, Oscar Berninghaus, Olive Rush, and others.

Throughout her life, Schille delighted in travel. In the 1920s and 1930s she resumed trips throughout Europe and to more exotic locales such as North Africa, Istanbul, Mexico, and Guatemala. Always visually attentive, she emphasized local people, their traditional activities, and the singular architecture of the region within her modern, constantly-evolving watercolors. Her aesthetic inventiveness, technical excellence and her empathy for her subjects are truly extraordinary. To quote William Robinson, Curator of Modern European Art and Head of the Department of European and American Painting and Sculpture at the Cleveland Museum of Art, “. . . in retrospect, Schille was clearly one of the earliest American artists to assimilate European modernism and to bring its influence to the United States.”

There is a palpable sense of place and culture in the artist’s watercolors that evoke her keen sensitivity to and compassion for all people that is a thread that weaves its way through her art throughout her life during her travels around the world.

Timothy C. Keny Keny Galleries

(cat. 6) Father and Child, New Mexico, c. 1935 Watercolor 25 x 19 inches 6

Alice Schille’s first watercolors to receive major European recognition and American critical praise were her Dutch watercolors which she began painting as early as 1902 and were chosen for exhibition in the Paris Salon in 1904.

One of the fine examples of her Dutch interior scene watercolors is Dutch Mother and Child, c. 1906 (cat. 5) which has the excellent draftsmanship, fluid subtle tonal hues and use of windows to evoke (cat. 5) light. She was inspired by the 17th century Dutch masters including Pieter de Hooch as well as the late 19th and early 20th century Hague School masters such as Anton Mauve, Josef Israëls, and Jacob Maris. Her draftsmanship and command of her medium and the mellow tones of these watercolors is comparable to those masters and often more fluid and painterly in handling.

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In Market Scene, Le Puy, c.

1911-13 (cat. 9) Schille brightens her palette with the inclusion of

(cat. 9)

vital blues, cherry red, and citron yellow. Her compositions are often more open, gestural, and light infused in her LePuy watercolors of c. 1911-13, possibly in deference to the innovative etchings, pastels, and watercolors of James Whistler which she admired. Many of these works were exhibited in major national juried exhibitions of watercolors.

The artist was profoundly moved by the passionate faith of the Hispanic Catholic culture in northern New Mexico. She visited and painted many of the churches throughout the region, including Ranchos de Taos-San Francisco de Asis Church, El Santuario de Chimayo, Santa Cruz de la Canada Catholic Church, Nuestra Senora Sagrado Rosario, Truchas and several others. The artist was drawn to the santeros-sensitively rendered retablos (painted religious subjects on panels), and bultos (similar three dimensional carved figures) created in the nineteenth and early twentieth century from wood indigenous to the area. Schille avidly collected santos (Hispanic religious objects) by such well recognized artists as Antonio Molleno, Pedro de Fresquis, Jose Rafael Aragon and several others. (cat. 2)

In the Santa Fe New Mexican review pertaining to her exhibition at the New Museum, New Mexico in September, 1920 it is stated: “A few(watercolors) are of the interior of the old church at Santa Cruz in which the primitive feeling of the decorations has been admirably caught, so much so that one almost feels that Miss Schille is perhaps the reincarnation of the artist who first, a hundred years ago or so, made the original decorations”. The resonant depth of spirituality which Schille embodied in this splendid beautifully rendered watercolor is among the artist’s most sensitive works.

Pertaining to Schille’s masterful Ranchos de Taos, Full Sun-Front View, c. 1919-20, (cat.

19) Dr. Gerdts states in his monograph Alice Schille, “. . . the facade gains lyrical prominence by being viewed from down below, the streaks of yellow and (cat. 19) magenta uniting the building with the sweeping hillside below.” This unique frontal view of the Ranchos de Taos church demonstrates her creativity in depicting this iconic image from her personally chosen vantage point, yet with typical fluid, luminous, colorful washes. The hard working humility of the members of the community who come together each fall to re-plaster or “mud” the massive Ranchos de

Taos facade is an example of this culture’s dedication to this grand symbol of Catholic beliefs.

The Garden Door, c. 1923 (cat. 23) was painted in Mexico after World War I. It has the vibrant, expressive colors of the Fauvists such as Henri Matisse and (cat. 17) André Derain.

However, the washes of watercolor have a more Impressionist, light infused, evanescent quality.

Her inclusion of the oval arched opening to the outdoors relates to some of Henri Matisse’s compositions of the period which were influenced by North African architecture which he viewed and painted there in 1912 and 1913, such as Entrance to the Kasbah, 1912 (Hermitage Museum, Saint Petersburg, Russia.) (cat. 23)

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The artist created a fine series of watercolors in the Pyrenees mountain villages of southern France in the mid to late 1920’s which are imbued with the tightly woven isolate, yet intimate culture of these small, often centuries old, rural communities.

She adeptly and sensitively renders the organic timeworn physicality of the ancient stone houses.

Morning in the Pyrenees (cat. 12) is a classic example of her watercolors painted in that region. Her fluid horizontal washes of staccato color across the composition create a mosaic like effect that complements the deep three dimensional structures and animates these resonant watercolors. The elderly people who were numerous in many of these villages often wore dark traditional wool clothing which (cat. 12) acts as a foil for the color in this work. They often gather near one another to enjoy conversation and camaraderie. Schille skillfully lets the bare white paper capture the warm southern light reflecting off the facades of these homes.

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The time that Schille spent in Mexico in 1923 and sporadically through the 1920s and 1930s was very productive in terms of her creating a broad range of sensitive depictions of the daily life of the people of this country. It was a fertile period for her development of modern pictorial design.

In Juarez, c. 1930 (cat. 8) her exquisite orchestration of the paper upon which she worked to evoke the poignant silhouettes of animated figures engaging in various activities in the outdoor market is exceptionally refined.

Several of these figures recede quietly into the illusion of a blue shadowed path in an otherwise flattened, creatively patterned mosaic of local people enveloped in the daily rhythm of life’s endeavors. (cat. 8) The repetition of the undulating hats of the Mexican men further unifies the composition and simultaneously creates a cadence of stylized movement. The colorful daubing of Neo-impressionist rectangular washes throughout much of the scene adds vitality and unity to the environment as well.

The artist’s lush tropical watercolors of the 1930’s and early 1940’s such as Mountain Village with Figure, Guatemala, c. 1935 (cat.

13) also have a structured element. It has a Cezannesque physicality of forms featuring the houses perched at the top of a verdant mountain. Her inclusion of a small figure in the landscape (cat. 13) lends a universal nature immersed quality to the scene. The bold vital washes of mostly warm colors of coral, russett, and viridian green are punctuated by distant cerulean blue mountains which capture the warm and cool areas of the encompassing landscape.

Schille’s deft utilization of the white paper accentuates the planar qualities of the facades of the clustered houses juxtaposed to the organic undulating vista. The artist’s interest in cultures in sync with nature has a subtle spiritual element which complements her formal aesthetic qualities.

In a substantially different cool spare environment the artist in New England Harbor, c. 1930-35, (cat. 14) which was painted at about the same period as her Guatemalan watercolors, accentuates abstract elements such as the reductive curvilinear arabesque of the white sail in the foreground . There is also the sweeping elliptical quality of the azure cool sea which surrounds the nestled simplified cubistic houses of this small maritime village. The fog- engulfed geometric silhouettes of the (cat. 14) clustered houses in the distance mirror the houses and docks in the foreground. She lightens the mood of the unadorned buildings with the playful rippling waves in the immediate foreground. The cantilevered smoke stack to the right has a humorous quality as well.

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“Loose, wet, and dominated by low earth tones, with pastel color worked into the highlights, her work updated the style of the Hague school, by now de rigueur for Dutch and Breton subjects. . . when she branched out to exhibit with watercolor clubs in Philadelphia and Chicago (in 1905), and with the venerable AWS in 1907. Schille regularly sent between five and twelve watercolors every year to these venues and others in Boston and Washington, DC, where she won her first exhibition prize in 1908. . .”

– Kathleen Foster, American Watercolor in the Age of Homer and Sargent, 2017, p. 341

(cat. 5) Dutch Mother and Child, c. 1906 Watercolor 19 x 15 inches 11

“. . . Schille characteristically presents a positive view of their natural warmth and humanity. Her fascination with themes of social interaction remained a lifelong feature of her art, distinguishing it from the neutral, theoretical approach of rigid formalists.”

James M. Keny “The Dutch and Breton Years” In a New Light: Alice Schille and the American Water Color Movement, Columbus Museum of Art, Ohio. June 14 – September 29, 2019

(cat. 3) Conversation, Brittany, c. 1907-08 Watercolor 20 x 16 inches 12

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(cat. 9) Market Scen c. 1911-13 Watercolor 10 5/8” x 14 1/2“

In Le Puy, Schille perfected her orchestration in watercolor of teeming figures within carefully designed townscapes that would distinguish her work from this period. The watercolors series that she produced between 1911 and 1913 brought her national attention. Edna Owings in the fine-art periodical International Studio noted: “The illustrations accompanying this article belong to the most recent group of water-colors painted in Le Puy, in southern France. They are all sprightly and charming, treated with great delicacy and perfect self-confidence.”

ne, Le Puy,

James M. Keny, “Le Puy”, In A New Light: Alice Schille and the American Water Color Movement Columbus Museum of Art June 14 – September 29, 2019

(cat. 22) The Blue Bonnet (Lacemaker, Le Puy) c. 1911-13 Watercolor 22 x 17 inches 14

(cat. 1) A Game on the Street 1909 Watercolor 9” x 12” 15

“. . . so it seems a little unfortunate that there are also a number who complacently assume that she must be satisfied to go on painting mothers and babies forever. She is a painter of swarming streets and lonely roads; of imposing churches and modest cottages; of old men sitting, solitary, and of young girls arrayed for Hymen’s celebration. . . . and for each subject its own suitable method of presentation; never the opprobrious banale, always the exuberantly, the conscientiously creative. . .”

Edna Owings “The Art of Alice Schille”, The International Studio, August, 1913

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Rather than an end in itself, she valued art as as means toward the expression of personal emotions and the search for a greater truth beneath surface appearances. Indeed, she argued for the artist’s right to distort nature for the purpose of expressing more profound truths.

(cat. 16) Pueblo, Taos, c. 1919-20 Watercolor 17 ¼ “ x 20 ½” (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography) 17

“Relationships have superseded verisimilitude,” she insisted, and admonished modern artists to “penetrate beneath the surface, express generic character of the subject.” “Intensification’” she concluded “expresses [the] spirit of our time.” If Schille is judged by these principles, then one can only conclude that she succeeded magnificently.

William H. Robinson, Ph.D. Senior Curator of Modern European Painting and Sculpture, Cleveland Museum of Art, Ohio “Alice Schille Watercolors”, American Art Review, April 2001

(cat. 21) Taos Indian Pueblo, c. 1919-20 Watercolor 18 x 21 inches (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography) 18

“Of Miss Schille's paintings, which were hung for a time in the galleries of the New Museum at Santa Fe, the reviewer said "For a few days one alcove will be devoted to a display of fifteen water colors

by Alice Schille, pictures in which the spirit of emotion has been freed and in which she has freely and happily, rapidly and surely washed in her impressions with the colors of the spectrum.

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(cat. 18) Ranchos de Taos, Adobe House in the Distance, c. 1919-20 Watercolor 18” x 21”

A brilliant technical performance, each of them, which visualize for the observer the spirit of the moment and of the subject, the impression clarified by her sensitive and aesthetic sensibility.

They are mostly pictures of that fine mass of adobe structure, Ranchos de Taos Church seen from various angles and under various conditions of light and shade. . .”

The Santa Fe New Mexican, September 5, 1920

(cat.17) Ranchos de Taos-Oblique View c. 1919-20 Watercolor 18” x 21”

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“A denizen of art colonies, she would work in Santa Fe and Taos, New Mexico. . . as well as in other sunny places where her increasingly transparent and electric color found sympathetic subjects. . .”

Kathleen Foster American Watercolor in the Age of Homer and Sargent, 2017, p. 343

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(cat. 19) Ranchos de Taos, Full Sun Front View c. 1919-20 Watercolor 17 7/8” x 20 3/4”

After her first two visits to Santa Fe, Schille visited New Mexico periodically between 1926 and 1938. She had a solo exhibition at the Museum of Fine Arts in Santa Fe in 1920. Alice Schille painted some of the most dynamic watercolors ever produced in American art and her New Mexican watercolors are most assuredly among the best ever done there. . .”

Michael R. Grauer Women Artists of Santa Fe, Panhandle-Plains Historical Museum, West Texas A&M University, November 2, 2004-February 20, 2005

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. . . “A few are of the interior of the old church at Santa Cruz in which the primitive feeling of the decorations has been admirably caught, so much so that one almost feels that Miss Schille is perhaps the reincarnation of the artist who first, a hundred years or so ago, made the original decorations."

The Santa Fe New Mexican, September 5, 1920

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(cat. 2) Church Interior, New Mexico, Praying Woman, c. 1919-20 Watercolor 21 x 18 inches (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography)

“During the 1920’s. . .

[Schille visited] North Africa and southern France. . . Principally seeking the intense light of tropical and Mediterranean climates she was also attracted to the simpler life of rural and village communities. . .”

William Robinson, Senior Curator of Modern European Painting and Sculpture, Cleveland Museum of Art, Alice Schille: Ohio Artist, Her Innovative Spirit, Canton Museum of Art, 2001, p. 14

(cat. 12) Morning in the Pyrenees, c. 1925 Watercolor 17” x 21” 24

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(cat. 25) Zinnias, c. 1920 Watercolor 17 ½” x 20 ½”

In her many adventures, Schille understood watercolor as a traveler’s medium. . . She also found it welcomed her exploration of progressive visual strategies, as she moved from the wet, grayed Impressionism of the Dutch Hague School and Whistler to the bright, dotted, and broken color of Neo-Impressionism and Fauvism. In her hands, watercolor demonstrated its utility as a modern medium and a medium for modernists. Her brave, distinctive, and inventive work won her critical praise, patronage, awards from many exhibition juries, and election to many artists’ societies. By 1920, at age fifty, Schille was easily the most versatile, accomplished, and progressive female watercolorist in the United States.

Surely she was the one most honored by her peers.

Kathleen A. Foster “Women and Watercolor, Alice Schille and the American Medium” In A New Light: Alice Schille and the American Watercolor Movement Columbus Museum of Art, June 14 – September 29, 2019

“. . . This increase in the intensity of color in her work corresponded with the Neo-Impressionist interest in, and the Fauve application of, pure color for expressive means. Again, it was in her watercolors that Schille explored these new developments. . . “ Gary Wells Alice Schille, The New England Years, 1915-1918 Canton Art Institute, Ohio, January 5 5- March 5, 1989 Hickory Museum of Art, North Carolina, March 19 – April 30, 1989 26

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(cat. 23) The Garden Door, Mexico c. 1923 Watercolor 20 7/8” x 17 3/8”

(cat. 7) Flowering Trees in a Garden, Mexico, c. 1923 Watercolor 17 7/8” x 20 7/8” 28

France’s sun drenched Côte d’Azur inspired some of the leading contemporary writers and avant-garde artists of the 1920s. The lush imagery of Hemingway and Fitzgerald novels and the paintings of Matisse, Cézanne, and Derain are alive in Schille’s paintings from this period. Pyrénées-Orientales, Cordes, Corsica, Carcassonne, Sicily, Biarritz, and Villefranche-sur-Mer are some of the locations where Schille painted her series of gleaming watercolors of coastal hill towns, tree-lined roads, and seaside vistas.

James M. Keny “Le Midi and Beyond” In a New Light: Alice Schille and the American Water Color Movement, Columbus Museum of Art, Ohio June 14 – September 29, 2019

(cat. 10) Mediterranean Hilltown, c.1920-25 Watercolor 20 ½” x 17 ½” 29

(cat. 20) Sunlit Trees c. 1920-1925 Watercolor 4 ¾” x 5 ¾” 30

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(cat. 15) New Mexico Hills (Winding Road), c. 1926 Watercolor 5” x 6 1/8”

(cat. 11) Mesa, New Mexico c. 1926-35 Watercolor 12” x 16”

The Garden Door c. 1920-25 Watercolor 20 7/8” x 17 3/8”

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(cat. 4) Dusk, Oaxaco (Mexican Scene), c. 1930 Watercolor 20 ¾” x 24 ¾”

Schille and [Diego] Rivera shared an interest in simplified, planar forms appropriate for rendering populous subjects. Yet, Schille never abandoned her devotion to modernism and abstract structure.”

William Robinson, Senior Curator of Modern European Painting and Sculpture, Cleveland Museum of Art Alice Schille: Ohio Artist, Her Innovative Spirit, Canton Museum of Art, 2001, p. 14/5

(cat. 8) Juarez, Mexico, circa 1930 Watercolor 18” x 21” 34

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(cat. 13) Mountain Village with Figure, Guatemala, c. 1935 Watercolor 17 7/8” x 20 7/8”

(cat. 24) The Green Hat c. 1925-30 Watercolor

14 ¾” x 19”

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Selected Chronology 1869 Alice Schille born August 21, Columbus, Ohio 1891-93 Attended Columbus Art School 1897-99 Attended Art Students League in New York City; studied figure drawing with Kenyon Cox Studied at the New York School of Art under William Merritt Chase Attended Chase’s Shinnecock School of Art on Long Island, summer 1899. Shared lodgings with painter Martha Walter 1900 Exhibited for the first time at the New York Water Color Club. Continued to exhibit there for forty years 1902-04 Traveled in England, Germany, Italy, Spain, Holland, and France. Painted at the artists’ colony in Volendam, Holland Attended the Académie Colarossi in Paris 1903-04 Studied privately with William Merritt Chase in Paris 1904 Met Philadelphia collector Samuel Stockton White III in Paris, where White modeled for Auguste Rodin’s The Athlete 37

Exhibited five works (three watercolors and two oils) at the Société Nationale des BeauxArts, Paris (the Paris Salon) Began to teach at the Columbus Art School 1905-14 Traveled to France and neighboring European countries in the summers to paint and attend exhibitions. In Paris, met the influential art collector Gertrude Stein. The French province of Brittany was a favorite destination. Stays in London, Nice, Paris, and Siena

returned in following years 1912 Had first exhibition at the Carnegie Library, Columbus. Had solo exhibition at the Columbus Gallery of Fine Arts also in 1921, 1923, 1926, and 1932 1913 Traveled to Belgium and France during the summer, accompanied by Olive Rush Subject of feature article by Edna Owings in International Studio, August

1909 Accompanied by Martha Walter, summer trip to Dalmatia. Painted watercolors that are daubed in a subtle Neo-Impressionist manner

1914 Summer travels in France included trips to the beach town of Paris-Plage

Became an Associate member of the American Water Color Society

1915 Awarded Gold Medal for watercolors at the Panama-Pacific International Exposition, San Francisco.

Painted series of Neo-Impressionist street scenes in New York City Spent the summer on California Coast

1910 Made summer trip to Cornwall, England By this date, at least six Schille watercolors were owned by Samuel White, who, with his wife, Vera, were to be Schille’s most important patrons. The Whites acquired an outstanding collection of modern works of art by Van Gogh, Matisse, Picasso, etc.

In August, at outbreak of World War I, left France for England and then to Columbus

1911 Exhibited Dalmatian watercolors at first one-person show in Ohio, at Cincinnati Art Museum

1916-18 Continued theme of New York street scenes with paintings made in Philadelphia Painted and exhibited in Gloucester, Massachusetts area during the summers; Painted first Neo-Impressionist water-colors with Fauve coloring and expressive daubing

Summer trip to France and painted the hill city of Le Puy in southeast France, where she

1919-21 Spent summers in Santa Fe

Renewed friendship with Olive Rush, who moved to Santa Fe in 1920 1919-38 Acquired historic santos by such fine Hispanic New Mexican artists as Antonio Molleno, Rafael Aragon, etc. Schille acquired paintings by gifted Native American watercolor artists Julian Martinez, Awa Tsireh, Stephen Mopope, etc.

Attended many Native American dances with Olive Rush and Native American artist friends 1919 Summered in Santa Fe One-person exhibition of New Mexican watercolors at Columbus Art School, late September 1920 Summer in Santa Fe (June-early October) One-person exhibition, 15 watercolors: New Museum, Santa Fe (now the Museum of New Mexico), September (one gallery); review in Santa Fe New Mexican, September 5 1921 One-person exhibition of New Mexican and Californian watercolors and paintings at the Columbus Gallery of Fine Arts, May 1-31 Exhibited in group show, Exhibition of Southwestern Art, at New Museum in Santa Fe, September 1 – October 1. Exhibition included artists Gustave Baumann, Oscar Berninghaus, Olive Rush, Berger Sandzen

1922 Summer trip to Tunisia and Morocco in North Africa where she painted watercolors 1923 Summer traveled to Mexico One-person exhibition at the Columbus Gallery of Fine Arts 1924 Returned to North Africa in the summer; painted her second series of North African watercolors (the Labor and Rhythm series) 1926 One-person exhibition at the Columbus Gallery of Fine Arts Spent much of summer in New Mexico 1926-38 Traveled and painted during the summers in New Mexico, Mexico, and Guatemala 1929 Traveled to Turkey and Egypt. Painted series of Turkish watercolors 1955 Died November 6 in Columbus 1964 Memorial exhibition of 107 works: Columbus Gallery of Fine Arts 1988 Exhibition, Alice Schille: Lyrical Colorist (18691955), Columbus Museum of Art, February 21 – April 24; Cheekwood Fine Arts Center, Nashville, Tennessee, June 11 – July 24

1995 Exhibition, Alice Schille: The New Mexican Watercolors (1919 - 1935), Keny Galleries, Columbus, September 8 - 10. Traveled to Nedra Matteucci’s Fenn Galleries, Santa Fe, September-October 1997 Exhibition, Alice Schille (1869 - 1955): Impressions from America and Abroad, Nedra Matteucci’s Fenn Galleries, Santa Fe, July 11 - 29 2006 Exhibition, Alice Schille: An Independent Spirit, Columbus Museum of Art, February 3–June 4 2018 Exhibition, Alice Schille: Poetry of Place, Keny Galleries, Columbus, September 28 October 12, Nedra Matteucci Galleries, Santa Fe, November 10 - December 16 2019-20 Exhibition, Gems of Modernist Brevity: Alice Schille’s Miniature Watercolors (1910-1935), Schumacher Gallery, Capital University, Columbus, September 3-November 20; Canton Museum of Art, Ohio, November 27, 2019-March 8, 2020 2019 Exhibition, In A New Light: Alice Schille and the American Watercolor Movement, Columbus Museum of Art, June 14-September 29 Documentary film released. Premieres at Columbus Museum of Art, October 14, Airs in over 20 PBS stations across the nation.

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Checklist 1. A Game on the Street, 1909 Watercolor 9 x 12 inches Initialed lower right: AS 2. Church Interior, New Mexico, Praying Woman, c. 1919-20 Watercolor 21 x 18 inches Estate stamped lower right: A. Schille (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography) 3. Conversation, Brittany, c. 1907-1908 Watercolor 20 x 16 inches Signed lower right: A. Schille 4. Dusk, Oaxaco (Mexican Scene), c. 1930 Watercolor 20 ¾ x 24 ¾ inches Signed lower right: Alice S Schille 5. Dutch Mother and Child, c. 1906 Watercolor 19 x 15 inches Signed lower right: A. Schille

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6. Father and Child, New Mexico, c. 1935 Watercolor 25 x 19 inches Signed lower left: A. Schille

12. Morning in the Pyrenees, c. 1925 Watercolor 17 x 21 inches Signed lower right: A Schille

7. Flowering Trees in a Garden, Mexico, c. 1923 Watercolor 17 7/8 x 20 7/8 inches Estate stamped lower right: A. Schille

13. Mountain Village with Figure, Guatemala c. 1935 Watercolor 17 7/8 x 20 7/8 inches Estate stamped lower right: A. Schille

8. Juarez, Mexico, c. 1930 Watercolor 18 x 21 inches Signed lower right: A. Schille 9. Market Scene, Le Puy, c. 1911-13 Watercolor 10 5/8 x 14 ½ inches Signed lower right: A. Schille 10. Mediterranean Hilltown, c. 1920-25 Watercolor 20 ½ x 17 ½ inches Signed lower right: A. Schille 11. Mesa, New Mexico, c. 1926-35 Watercolor 12 x 16 inches Signed lower right: A. Schille

14. New England Harbor, c. 1930-35 Watercolor 17 ¾ x 20 ¾ inches Estate stamped lower right: A. Schille 15. New Mexico Hills (Winding Road), c. 1926 Watercolor 5 x 6 1/8 inches Signed lower right: A. Schille 16. Pueblo, Taos, c. 1919-20 Watercolor 17 ¼ x 20 ½ inches Signed lower right: A. Schille (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography)

17. Ranchos de Taos-Oblique View, c. 1919-20 22. The Blue Bonnet (Lacemaker, Le Puy) Watercolor c. 1911-13 18 x 21 inches Watercolor Estate stamped lower right: A Schille 22 x 17 inches Signed lower right: A. Schille 18. Ranchos de Taos, 23. The Garden Door, Mexico, c. 1923 Adobe House in the Distance, c. 1919-20 Watercolor Watercolor 18 x 21 inches 20 7/8 x 17 3/8 inches Estate stamped lower right: A. Schille Estate stamped lower lef: A. Schille 19. Ranchos de Taos, Full Sun - Front View 24. The Green Hat, Mexico, c. 1925-30 c. 1919-20 Watercolor Watercolor 14 ¾ x 19 inches 17 7/8 x 20 ¾ inches Estate stamped lower left: A. Schille Estate stamped lower right: A. Schille 25. Zinnias, c. 1920 Sunlit Trees, c.

1920-1925 Watercolor 20.

Watercolor 17 ½ x 20 ½ inches 4 ¾ x 5 ¾ inches Signed lower right: A. Schille Signed lower right: A. Schille 21. Taos Indian Pueblo, c. 1919-20 Watercolor 18 x 21 inches Estate stamped lower left: A. Schille (Photography Courtesy of Tia Collection, Santa Fe, NM. James Hart Photography) 40

(cat. 14) New England Harbor, c. 1930-35 Watercolor 17 ¾” x 20 ¾”