Heritage, 2011, Volume 1 Page: 23
47 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
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LM: The Houston Post
also sponsored the Easter
Art show, which was ex-
hibited at the MFAH. It
was a great honor to be
selected by the jury to
participate in the Hous-
ton Artists shows and
Texas Generals.
SBW: How did the
museum and gallery
scene work together to
support the arts?
LM: Being selected
to participate in the
Houston Artists show
was prestigious, but the
galleries gave more ex-
posure and were really
the place to be.
HG: The openings at galleries were so-
cial events; the men wore coats and ties.
They were definitely the place to see and
be seen.
HG: When James Johnson Sweeney be-
came director of the Museum of Fine
Arts Houston in 1961, he ended the
Houston Artists shows.
LM: He really wanted to expand the
Houston art scene from local to national
in scale. Some local artists were featured
in his shows, but many were not.
SBW: Do you think the local gallery
scene flourished because of artists look-
ing for places to show once the Houston
Artists exhibitions ended?
LM: That's an interesting thought.
People were definitely becoming more
aware of art, and buying became popu-
lar. More galleries were opening; part of
this was because Houston was growing
in population.SBW: How did the post-war Houston
art scene differ from the pre-war, earlier
Houston period?
HG: I recall hearing artists, such as Ruth
Uhler, Grace Spaulding John, MacNeill
Davidson, Robert Preusser, Frank Dole-
jska, and my father, Henri Gadbois,
talk about this time. The women art-
ists taught art classes, while many of the
male artists in town, such as Buck Schi-
wetz, worked in commercial art. No one
could have supported themself just by
painting; you had to have multiple jobs.
The post-war museum and gallery scene
in Houston really helped artists make a
career out of their profession.
Sarah Beth Wilson is gallery director at
William Reaves Fine Art in Houston.
Top: Leila MConnell, Rolling Hills, oil on
canvas, 1988. Right: Henri Gadbois,
Juggler, 1953, oil on canvas. Both origi-
nals are in color.No one could have supported themself just by
painting; you had to have multiple jobs. The
post-war museum and gallery scene in Hous-
ton really helped artists make a career out of
their profession.Art courtesy of William Reaves Fine Art.
Volume 1 2011 I TEXASHERITAGE 23
II--I-11 ~
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Texas Historical Foundation. Heritage, 2011, Volume 1, periodical, 2011; Austin, Texas. (https://texashistory.unt.edu/ark:/67531/metapth254220/m1/23/: accessed April 19, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas Historical Foundation.