Legacies: A History Journal for Dallas and North Central Texas, Volume 23, Number 2, Fall 2011 Page: 27
This periodical is part of the collection entitled: Legacies: a History Journal for Dallas and North Central Texas and was provided to The Portal to Texas History by the Dallas Historical Society.
The following text was automatically extracted from the image on this page using optical character recognition software:
cluding "a Chenanard prize, for a beautiful figure
of a soldier. His recompense was a second medal
in the salon and a fellowship purse for Italy."'10
During the same years that Josset was enjoy-
ing success in his chosen field, Martin was like-
wise attempting to launch his career in art. After
leaving school in 1919 he went to work for the
Paris designers Louis Sue and Andre Mare, of
whom he afterward wrote:
Sue and Mare were the founders of the
"Cie de Arts Francais Trauborg St. Honore"
in Paris. Their reputation was worldwide.
They were at the head of the decorative
arts movement preceding the great ex-
position of 1925 in Paris. I became their
sculptor and it had a great influence on my
life-for with them I learned a lot in mod-
ern sculpture applying myself to the strict
discipline of their artistic ideal.11
However, Martin did not use his talents
exclusively for Sue and Mare. "When I was
not working for them," he later recalled, "I was
helping another good friend of mine, the sculp-
tor Sartorio." Consequently, Martin was able to
work on projects as diverse as "the monuments
of Alvear of Sao Paulo, Brazil . . . the frontons
of the Opera House in Marseilles and the pal-
ace of Mediterranean of Nice-belonging to the
American Jay Gould." In addition, he sculpted a
war memorial for the town of Danjoutin as well
as a monument to the famous French scientist
Louis Pasteur.12 Martin and his wife, Jeanne Ma-
rie, were also busy raising a family. In 1920, their
oldest son, Jean Pierre, was born. Four years later,
the Martin family was enlarged by the birth of
another son, Andre.
Although Josset and Martin both enjoyed
some success in their chosen field during the
immediate postwar years, commissions became
scarce after mid-decade. "France was in a state
of depression," Martin later recollected, and war
memorials "were about finished." Not surpris-
ingly, when a Chicago businessman named Lucas
visited Europe in 1926, looking for artists to work
for the Northwestern Terra Cotta Company of
Chicago, he had no trouble recruiting. Among
the sculptors who competed for a position with
the company was Jose Martin. "I was accepted,"
Martin later remembered,"but for several reasons
... decided later not to take the job." Raoul Jos-
set, "having made a great success in the world of
sculpture," found it unnecessary to compete. He
was hired on his reputation "and also because he
spoke some English."13
On March 14, 1927, Raoul Josset arrived
in New York after a transatlantic voyage of nine
days. Following a brief detention at the hospital
on Ellis Island,14 he went on to Chicago, where
he started the job for which he had been hired.
In early 1928, Martin changed his mind
about working for the Northwestern Terra Cotta
Company. After waiting eight months for a U.S.
visa, he arrived in the United States in October.
Shortly after reaching Chicago he went to see
Josset "in his apartment-studio" on "State Street
near Lincoln Park." When "a charming young
woman" opened the door, Martin was surprised
to learn that his friend had recently married.15
Unfortunately, by the time Martin arrived in
Chicago there was no longer a job for him.Josset
counseled him to return to France, but having
"burned all my bridges," as Martin later put it, "I
decided to stay and try my luck."16
Determined to sink or swim, Martin "visited
the different decoration businesses of the big city
and even without speaking English was given
some work to do" in the studio he rented on the
south side of town, including some decorative
work for Marshall Field's department store. "Lat-
er," Martin recalled, the store's art director gave
him "several other orders" that "really helped
me during my entire stay in Chicago."17 In early
January 1929, Martin's wife and sons joined him
in Chicago, where they lived in a neighborhood
populated largely by artists and artisans.18
Toward the end of 1929 Martin found tem-
porary work with a plaster decoration company
in Milwaukee, where he lived during the week,
"coming to Chicago on weekends," as he later re-
membered,"to visit my family and Raoul." In the
meantime, the Northwestern Terra Cotta Com-
pany, on the verge of bankruptcy, began to lay off
workers. Although he longed to strike out on his
own, Josset was worried about the future. After
all, times were hard, and as much as he disliked
the routine nature of his job, it provided him with
After his Milwaukee employer no longer
needed him, Martin managed to get by during
1930 by offering his services "to many different
American firms." In early 1931 he accepted ajob
with the Cowan Pottery Company of Cleveland,
Ohio, leaving his family behind in Chicago.20
Upon arrival in Cleveland, Martin later
wrote: "My surprise and pleasure were terrific to
Fall 2011 LEGACIES 27
Here’s what’s next.
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Dallas Historical Society. Legacies: A History Journal for Dallas and North Central Texas, Volume 23, Number 2, Fall 2011, periodical, 2011; Dallas, Texas. (texashistory.unt.edu/ark:/67531/metapth204537/m1/29/: accessed March 20, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Dallas Historical Society.