Florence Ballin Cramer (1877–1971) was an American modernist artist known for her landscapes, still lifes, portraits, and nudes, each tending to have what one close observer called "a clearly expressed a mood or attitude as well as presenting an easily recognizable subject".

[5][6] Cramer's long association with the art colony in Woodstock, New York, began in 1909 when she took painting classes from Birge Harrison and John Carlson at the League's summer landscape school in that town.

[4][7] During these years, her fellow students included Hermine Kleinert, Henry Lee McFee, Grace Mott Johnson, and Andrew Dasburg.

[4][8][9] One source claims that while she was still a child and traveling in Europe with her family, Cramer submitted a drawing in a contest held by the Herald Tribune and was awarded a silver medal for it.

[18] Eight years later, her work again appeared in a New York gallery; this time at Marie Harriman's in a group exhibition with other young American artists.

[27] A critic for the Philadelphia Public Register noted that artists such as Cramer, who gathered in a small geographic area would naturally take inspiration both from each other's work and from the locale itself.

[32][33][34] A broad survey of American art edited by Holger Cahill and Alfred H. Barr Jr. and published in 1935 listed Cramer as a contemporary painter who was producing valuable work.

[36] Providing, as a critic noted, an opportunity to evaluate her painting career, the show contained a broad cross section of Cramer's work including still lifes, flowers, landscapes, portraits, and nudes.

Calling the paintings, "compact in design and powerful in color", the critic praised Cramer's "fine and sensitive style, [in which] clarity and constructive vigor are exceptional.

"[37] Another critic observed "distinguished painting, technically fluid and with warm poetic vision" in the works on display and said "Mrs. Cramer has a strong rich palette, even the blacks have a penetrating glow and her sensitive rusty reds and tawny yellows weave exquisite color design with the brilliant use of grays.

"[36] Reviewing another solo exhibition, held in 1953 in another Woodstock gallery, a critic called Cramer, "a painter of great facility with an unusual approach to each of her subjects, equally at home in landscapes, portraits and still lifes.

In the announcement of the show, Woodstock artist Arnold Blanch said "Florence Cramer's paintings reflect her love of people and the things of this world.

"[8] Five years later the Woodstock School of Art establish a Florence Ballin Cramer memorial scholarship to provide a student a full summer's tuition annually.

[39] In the early 1920s, along with other Woodstock modernists such as George Bellows, Eugene Speicher, and Leon Kroll, Conrad began painting what one source calls "site-specific landscapes" that clearly expressed a mood or attitude as well as presenting an easily recognizable subject.

[1] Soon thereafter, with Alexander Brook, and Andrew Dasburg, she painted still lifes, portraits, and nudes in what this source called "Woodstock's studio movement".

"[28] Another critic, writing in 1945, said Cramer's work was "distinguished painting, technically fluid and with warm poetic vision" and added, "Light shifts over solidly built-up form and her design is unconfused and fine.

She opened the Florence Gallery in the fall of 1919 intending to show works by contemporary American artists whose opportunities to exhibit were then few and relatively insignificant.

In her announcement of the new venture, she told prospective patrons: "I am opening a gallery, small, not pretentious, where I shall have on exhibition the work of a few modern artists many of whom are known, but because they are not conservative and not dead yet the public has been afraid to buy.

[41] Although she was able to maintain the gallery for not much more than a year, she was able to arrange sales of paintings by artists who would later become well known, including Yasuo Kuniyoshi, Henry Lee McFee, Eugene Speicher, Alexander Brook, Ernest Fiene and Stefan Hirsch.

Born in Germany, he emigrated to New York and, aged 23 in 1856, began making and selling men's shirts in a business on Nassau Street in lower Manhattan.

They enjoyed a rich social life there among fellow artists at frequent parties and festivals, where Konrad provided entertainment with his fiddle and both Cramers memorialized events in countless photographs.