Heritage, 2011, Volume 1 Page: 23
The following text was automatically extracted from the image on this page using optical character recognition software:
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
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
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
SBW: How did the post-war Houston
art scene differ from the pre-war, earlier
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
Art courtesy of William Reaves Fine Art.
Volume 1 2011 I TEXASHERITAGE 23
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.
Texas Historical Foundation. Heritage, 2011, Volume 1, periodical, 2011; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth254220/m1/23/: accessed September 20, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas Historical Foundation.