Caroline Durieux
I got criticized because skeletons are supposed to be very sad, and I had drawn a happy one"[citation needed]Pierre's work led to a job in Cuba which Caroline described as a time of "quiet artistic growth that heightened her sense of color.
"[citation needed] Caroline Durieux lived in the French Quarter in the mid-1920s, and was part of a circle of talented and creative individuals featured in a private publication, "Sherwood Anderson and Other Famous Creoles."
"I cannot remember a time when I did not have a pencil in hand trying to put down on a slate, on wrapping paper or even on the woodwork visual ideas concerning my environment To me art is not work.
[7] This essay by Marysol Nieves appeared in a 1999 Christie's publication highlighting the provenance of a Rivera painting, La bordadora (The Embroiderer).
For example, New Orleans natives William Spratling and Caroline Durieux befriended, studied and collaborated on numerous occasions with artists like Diego Rivera, David Alfaro Siqueiros, Emilio Amero and Carlos Orozco Romero.
The news of Blom's excavations of Mayan ruins and his explorations of the Isthmus of Tehuantepec (also a source of study for Rivera) published in local newspapers and magazines captivated Louisianans.
The trip ultimately prompted Spratling's move to Taxco, Mexico where he played a significant role in promoting Mexican silversmithing traditions.
The painter and printmaker Caroline Wogan Durieux arrived in Mexico City in 1926 with her husband Pierre, the newly appointed Latin American corporate representative of General Motors.
In 1929, curator René d'Harnoncourt, organized a solo exhibition of Caroline's oil paintings and drawings at the Sonora News Company in Mexico City.
"[10] Rivera published an enthusiastic review in the journal Mexican Folkways: "Since she has lived among us, she has developed a close spiritual rapport with the country and simultaneously there has grown in her a painter's mature power of expression.
[11] Durieux and Rivera's enduring friendship is perhaps best celebrated in the elegant portrait the Mexican artist painted of his New Orleans comrade in 1929 and which today hangs in the collection of the LSU Museum of Art in Baton Rouge.
In 1926, her husband Pierre was named chief representative of General Motors for all of Latin America, but Caroline stayed and worked in Mexico City.
She received a letter of introduction to Diego Rivera from Tulane anthropologist, Franz Blom, which helped ease her transition into the local artist community.
In 1929, curator Rene d'Harnoncourt, organized a solo exhibition of Caroline's oil paintings and drawings at the Sonora News Company.
Zigrosser championed Durieux's career, first as director of the Weyhe Gallery, then as the curator of prints at the Philadelphia Museum of Art and including her in his many books.
Eager to learn more about lithography, Durieux enrolled in the Academy of San Carlos (now known as National Autonomous University of Mexico) to study with Emilio Amero.
Later that year, Durieux was hired to teach in Newcomb College's art department for the fall term, where she focussed on ensuring that her students could draw before advancing to other classes.
She worked with Roger Lacouriere—an engraver and master printer whom Stanley William Hayter called "the most highly skilled artisans of colour printing.
"[17] Caroline Durieux, John McCrady and Ralph Wickiser collaborated on a 1948 book, Mardi Gras Day, published by Henry Holt.
[19] In August 1940, President Franklin D. Roosevelt named Nelson A. Rockefeller to head the Office of the Coordinator of Inter-American Affairs (CIAA), a new federal agency whose main objective was to strengthen cultural and commercial relations between the U.S and Latin America, in particular Brazil, in order to route Axis influence and secure hemispheric solidarity.
She relayed her concerns back to DC that the promotional poster was too US-centric to be embraced widely and that the accompanying catalog was confusing because works not being exhibited in a given city were illustrated prominently in the all-inclusive book.
The Zigrosser book on Durieux's was published n 1949, By 1951 she is experimenting with faculty friends Naomi and Harry Wheeler, a botanist, with ink coated microbes.
In contrast, the conservative high society mavens in New Orleans seemed to accept hanging Dureau's photographs of nude black men alongside their Audubons.
Caroline was having dinner at fellow artist Evelyn Withersoon's (1901–1998) home one night when George Dureau crashed the party to kneel in front of Durieux and present her with a large drawing of a nude cupid endowed with a massive penis – a valentine for his mentor.
He was known for his complex acrylic paintings that featured patterning and repetition, and linear shapes in a flat pictorial space in closely-keyed colors.
At Wayne State University, he was a cornerstone of the Printmaking Department where challenged his student's ideas of what art was, while allowing them to question their own personal art-making processes.
"[22]Elmore Morgan, Jr. (1931–2008) is a painter of the southwest Louisiana prairie in the en plein air tradition, creating a monumental collection of iconic works that capture the vivid palette of that broad landscape under spacious skies.
She was a devotee of lifelong education and was generous in supporting artists, especially in the 1997 establishment of the Jesselyn Zurik Fund for Research at her alma mater, Newcomb College.
She worked with Roger Lacouriere—an engraver and master printer whom Stanley William Hayter called "the most highly skilled artisans of colour printing" Durieux died on November 26, 1989, in Baton Rouge, Louisiana.
[26] In 2018, she was profiled in a short film on New Orleans public TV, WYES, as part of the station's "Tricentennial Moments" campaign honoring the city.
