Southwestern Historical Quarterly
deaths of many members of "Amon's Army" of employees, friends, and family.
In his preface, Flemmons explains that he intends to reveal the "full personali-
ty" of Amon Carter, and the cumulative effect of the author's stories involving
Carter's friendships, feuds, rivalries, rages, deals, disappointments, and pleasures
is to go beyond personality to portray an entire person. If Carter's image survives
nowadays in part as a sit-com stereotype, this biography restores its human visage
and integrity. Carter is not only portrayed shooting off pistols, eliciting "yip-
pees," baiting Dallasites, entertaining celebrities, and handing out Stetsons, but
we see him battling to improve the lives of those in Fort Worth and West Texas
and caring deeply about his family and the people who worked for him. The
episode involving Carter's reaction to his son's stint missing in action while in a
German prison camp during World War II is especially revealing and moving. If
the final measure of a biography is the extent to which the reader feels a sense
of loss when the subject's life is done, then Amon is an unqualified success.
Flemmons died in i999, and Texas Tech University Press deserves praise for
working with him to bring out this new edition. There is more work to be done,
however. The Amon G. Carter Foundation's recent donation of the bulk of
Carter's papers to the TCU archives along with this new edition of Amon should
provide the necessary access and incentive for encouraging writers and scholars
to continue Flemmons's work in determining the significance and extent of
Carter's legacy to Fort Worth, Texas, and the nation.
Wisconsin State Historical Society Kent Calder
Dictionary of Texas Artzsts, 1800-1945. Compiled by Paula L. Grauer and Michael
R. Grauer. (College Station: Texas A&M University Press, 1999. Pp. xxiii
+240. Illustrations, list of tables, acknowledgments, introduction, abbrevia-
tions, dictionary of Texas artists, plates, tables, references. ISBN 0-89096-
861. $34.95, cloth.)
There has long been a need for a thorough biographical compendium of
artists in the Lone Star State. In Dictionary of Texas Artists, I800-1945, Paula L.
Grauer, a freelance author and newspaper columnist, and Michael R. Grauer,
curator of art at the Panhandle-Plains Historical Museum in Canyon, Texas,
have compiled a listing of 2,500o artists active in the state to the end of World
War II, with much emphasis on exhibition histories. In defining the scope of the
project and assembling research materials and illustrations, the compilers re-
ceived assistance from two advisory councils of Texas academics and art collec-
tors and dealers. The goal of the Dictionary of Texas Artists was to cover "all artists
who lived in Texas and whose work had been included in at least one profession-
al exhibition in the state prior to or during 1945" (p. xviii).
At the core of the book is a 1o2-page biographical listing giving in highly ab-
breviated form dates and places of birth and death, media, principal places of
residence, education, professional associations, exhibitions, collections, and
sources. There are no comments on the characteristics and special accomplish-
ments that made each artist unique. Thus, one must consult the sources listed in
the impressive twelve-page bibliography to learn that Pompeo Coppini designed
the Alamo Cenotaph or that John Mix Stanley painted portraits of delegates to
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 105, July 2001 - April, 2002. Austin, Texas. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth101222/. Accessed October 1, 2014.