Making the Unknown Known, to borrow an incisive comment from artist and one-time Texas resident Georgia OKeeffe, reveals, perhaps for the first time, the depth, diverse perspectives, and creativity of Texas women artists. Read about the sculptures of German emigrant and unique personality Elisabet Ney, the impressionist compositions of Houstonian Emma Richardson Cherry, and the Depression-era masterpieces of Lone Star Regionalist Florence McClung, among others. This illuminating collection concludes with insightful chapters on the avant-garde painter Toni LaSelle and Coreen Mary Spellman, who developed from a prolific regionalist to a passionate modernist and master printmaker. Likely, James Chillman, the first director of the Museum of Fine Arts, Houston, did not realize the import of his comment when he wrote in 1971 that art in Houston was a womans concern. Ron Tyler, author of The Art of Texas: 250 Years
Every few years, a book comes along that significantly enhances the body of scholarship addressing the history of Texas art. Light and Victoria Cummins, along with a whos-who of contributing art scholars, have combined their considerable talents to produce such a hallmark publication in their new book entitled Making the Unknown Known: Women in Texas Art, 1860s-1960s. Its pages trace the myriad contributions of Texas women who spearheaded the growth and sophistication of the Texas art scene over the span of the late nineteenth and mid-twentieth century. This book is an essential addition to every regional art library, and a must read for all Texans interested in the evolution of Lone Star arts and culture. William E. and Linda J. Reaves, Co-Editors, The Joe and Betty Moore Series of Texas Art
The first major academic history of women in early Texas art, this groundbreaking book makes known at last the significant role that women played in furtheringand in many cases leadingthe visual arts in Texas, a role made all the more impressive given the varied challenges women faced during the era. Moreover, the stunning images reveal the aesthetic excellence of their art, equal or superior to that of their better-known male peers. This pioneering publication will serve as both the foremost source of information on women in early Texas art, and a springboard for further research.Bonnie Campbell, former director, Bayou Bend Collection and Gardens, the Museum of Fine Arts, Houston
