Southwestern Historical Quarterly
city's long relationship with the industry, livestock marketing in north
Fort Worth refused to die, and the site of the once vast stock yards and
barns has become the city's most famous tourist attraction.
In this well-written and extensively researched account, J'Nell Pate
has filled a major gap in not only Fort Worth's history, but also that of
Texas and of the livestock industry as a whole. Furthermore, she has
produced a very readable and enjoyable story of what many would as-
sume to be an uninteresting topic.
Texas Tech University DAVID J. MURRAH
The Art of the Woman: The Life and Work of Elisabet Ney. By Emily Fourmy
Cutrer. (Lincoln: University of Nebraska Press, 1988. Pp. xv+ 27o.
Preface, acknowledgments, illustrations, epilogue, notes, biblio-
graphical essay, index. $24.95-)
Elisabet Ney (1833-1907), born in Germany, studied sculpture in
Munich and then in Berlin with the neoclassical sculptor, Christian
Rauch. While still a student, she began an "ideal life" with the Scottish-
born medical student, Edmund Montgomery. Her early works were
largely marble portrait busts of famous persons, notably Schopen-
hauer, Garibaldi, Bismark, and Ludwig II of Bavaria. In 1872 Ney and
Montgomery settled in Texas, near Hempstead. For nearly two decades
Ney managed their former plantation, but at the age of fifty-nine,
resumed her life as a sculptor and built a studio, Formosa, now the
Elisabet Ney Museum, in Austin. Though her later career was filled
with frustrations and disappointments, she lived to see her marble stat-
ues of Sam Houston and Stephen F. Austin placed in both the Texas state
capitol and the Capitol in Washington, D.C.
In this brief account of her life and work, there is little to indicate the
need for a seventh book-two in German and five in English-about
Ney. But, in fact, there was a desperate need for Cutrer's biography.
The problems that have either plagued or given license to those writing
about Ney have been both factual and interpretive. Ney was an extrava-
gant personality, given to exaggeration and obfuscation, and well aware
of the value of publicity. Though just the fact that she was a woman
sculptor set her apart, she also lived according to her own vision, which
Cutrer has shown derived from Rousseau. Her contemporary biog-
rapher was uncriticial of Ney's romanticized but cryptic version of her
life. Cutrer is the first biographer to make conscientious and thorough
use of the available sources, and to separate successfully the facts from
the fictions of Ney's life.
The author also provides a number of reasonable and convincing in-
terpretations of the main puzzles in Ney's life, among them her rela-
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 93, July 1989 - April, 1990. Austin, Texas. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth101213/. Accessed September 16, 2014.