Indiana Women Artists: A Creative Legacy

“Here’s to the Land of the Prize-Winning Corn…” -Anna Newman, 1910 Poem Excerpt

This exhibit spans more than 100 years of Indiana’s Art History through the late 19^th-20^th centuries into the present. Women in art have long been the wellspring of many important events for Indiana’s humanities, helping such things as to establish the first Indianapolis School of Art, spread the free libraries movement, fund the Hoosier Salon’s creation in 1925, and assist in various philanthropic gestures through organizations like Tri Kappa to name just a few. However, in addition to facilitating the success of others, many women worked against the culture to seek schooling and enact their own creative visions. Importantly, these women worked around the state and in their individual places, showing that the creativity of Indiana has never been confined to just one geographic area.

Yet, the progression in the art of these women reveals their ties to the development of the regional American Art tradition through American Impressionism, Arts and Crafts, Ashcan School, Social Realism, Abstract Expressionism, and into contemporary times. While European salons were the undisputed place for pedigree into the early 1900s, they were soon rivaled in the US by the regional Salons and Art Colonies of former students. Indeed, whereas Paris had been the center of the art world, it became New York and increasingly, everywhere.  Women artists took part in this break with the past, pushing against adversity to become jurors, art directors, portraitists, patrons, teachers, and commercial successes.

As you see these windows into the past, please consider: How do we perceive the subjects depicted? How would the artists? Most relevantly, what do they remind you of in your life?

The Indiana Women Artists Exhibition, curated and created by my person at the Brown County Art Guild, has had many influences. Most in the foreground, I would be remiss if not to express thanks to prior works on this subject matter, including Rachel Perry’s many books on Indiana Artists, and Lynn Letsinger-Miller’s The Artists of Brown County, and Cinnamon Catlin-Legutko’s The Art of Healing regarding the Wishard Hospital Art Collection (particularly Emma B. King’s involvement). Of prescience, however, was the seminal 2005 work Skirting the Issue: Stories of Indiana’s Historical Women Artists by Judith Vale Newton and Carol Ann Weiss, creating an inclusive source list of Indiana Women Artists and telling their stories as well as struggles from an interventionist, post-modern turn. To be certain, I was excited to tell a new, collaborative story between institutions that uplifted/contextualized the Guild’s founders as the trailblazers they were in their disciplines. I was filling in the gaps between our bigger regional names like Marie Goth and Leota Loop, the popular past artists of portraiture and still life at IU, in museum collections, and in private hands.

First, I must speak from the experience working for the Indiana State Museum and Historic Sites. My learning of interpretive perspectives pared well with my graduate credits in historiography, leading me to focus on the social and human perspectives of the historic monoliths. As the first step in my interpretive journey was the New Harmony State Historic Site, a story steeped in the progressive/suffragette era in part, I could not help but gain an interest in the Golden Theatrical Troupe and Frances Golden’s founding of the Evansville Civic Theatre (with the stunning textiles and outfits). From there, I also became aware of suffragette/housing advocate Albion Fellows Bacon and sister Annie Fellows Johnston’s creative writings (with Annie’s popular Little Colonel Series), something that was complimentary to artist Gene Stratton Porter of northern Indiana state sites. While this might not automatically translate to the visual arts, this research was foundational to beginning to understand and respect the wealth of artistic work done in this time with American’s growing art institutional presence like at Herron and IU, something emphasized in my training/learning in the Curatorship Masters program at IU in Arts Administration.

Just as IU has an excellent collection of fraternal objects, I became interested in the importance of women’s organizations in Indiana’s culture. Women, in many ways, are the reason for our regional and local arts culture. Madame Fretageot of Maclure and Owen’s utopia attempt was unique as a women schoolteacher who would dress in non-traditional women’s attire (tunic and pants) as early as 1825 and teach with one of the first free public schools, while Francis Wright would write articles alongside Robert Owen for the Working Man’s Party cause that led to more suffrage for working men. Of course, free public libraries were a cause taken up by many of these women which started here in the Midwest. The 2nd oldest women’s literary society after one founded in Nauvoo, IL in 1857 was the Minerva Society, which Constance Owen Fauntleroy founded in 1859 (also founding Runcie Club in 1894, the oldest existing women’s club), while Rachel Fauntleroy authored a history paper and poetry featured at the Indiana Exhibit at the 1904 World’s Fair (alongside works juried by Steele, with a piece exhibited by Susan Merrill Ketcham of the Guild exhibit as well). Tri Kappa, founded in 1901 and led by Beryll Holland of Bloomington (whose portrait is featured in the show) and 6 others after going to Mary Sewall’s Indianapolis school, had a prominent Beta chapter in New Harmony led by Erma Ribeyre.

As a note of connection to my past workplace, these ladies met in the Community House #2 Harmonist dormitory of the historic site as well as establishing chapters led by prominent citizens in Evansville and Tell City. The Indiana Federation of Clubs, led by aforementioned women and others from all around Indiana, similarly purchased the Old Fauntleroy Home (the most haunted home in Indiana) for its early significance to women’s history in 1935 before donating it to the state in 1940, as well as it being a featured attraction at the turn of the century through Mary Emily Fauntleroy’s early preservation and reinvigoration of interest in the history of the town. Mary assisted in saving the home as well as the community house with its historic printing press (almost sold to Ford for his Greenfield Village Museum) so they would both fall into the state’s hands by 1940. As an additional layer, The Evansville Museum began in 1874 when the Ladies’ Literary Club was founded. As recognition to this, Evansville was sought out as a partner in this exhibition, with works of Elizabeth Stouder being displayed to show the range of mediums and trends toward intermedia worked by these women artists turned schoolteachers in complement to Brown County.

Just as I learned to relate local artists to national/global importance and trends in Evansville, I could easily begin to translate this insight to a Brown County perspective with the art colony’s prominence and my specific love of the Guild’s art/Marie Goth portraiture on visits leading into my inquiry about a curation internship. Marie Goth, prominent portraitist of the art colony upon her sister Genevieve purchasing a cabin in Brown County, worked under her cousin Otto Stark of Hoosier Group fame at the Manual High School in Indianapolis. To our current location, no better Steele connection that serves her importance can be found than in the fact she did his very last portrait months before his death. Ada Walter Shulz, ex-wife to Adolph Shulz who helped found the gallery, was raised friendly to TC Steele’s kids which served to increase her artistic means at the worthy Shortridge High School institution. Her paintings often delved into the people and places beyond more scenic landscapes as well as women and children, importantly highlighting the importance of the local figures like Grandma Barnes in her professionally exhibited art.

The throughline to Brown County and Richmond area artists to Brown County’s women artists may not be obvious. Yet, their influence was surely felt, if not in fine art than through social and commercial means. One example might be the Keramics Clubs founded throughout Indiana, and another might be the Tri Kappas that popped up everywhere after being founded in 1901. To be certain, Richmond had enough prominence for William Merrit Chase to donate a painting, as well as for TC Steele to submit for and win the Richmond Prize in one year.  So, as evidenced by my prior words, it should be noted that a key part of this exhibition is to note that the prominence of the Brown County was only one key part of Indiana’s art in the early 20^th century alongside the Daughters of Indiana, local arts councils including in smaller towns like Vincennes, and the Indiana Exhibit at the 1904 St. Louis Worlds Fair.

While not explicit in this exhibit, there is certainly an amount of religious context as an important aspect of community, with several members of the Brown County Art Colony as Ada Walter Shulz being Christian Scientists. This is still a greatly needed aspect of placemaking today, as the structure of the church arguably still will serve as a way in which to reach rural audiences with initiatives. Religious ties can be an important way to ge towards humanizing these important women. But to certain, these women should be recognized especially as we come upon a new era where we must evaluate our institutions and their resonance to survive in an austerity economy.

To continue, just as the diverse roles of these women is to be lauded, the variety of artistic ability should be noted as a key part: different mediums of watercolor, intermedia pastel/watercolor, ceramics, charcoal sketches, and oil on canvas (academic and painterly) are all on display. As another display of historic diversity recognition in kinship with the Wishard Collection book being a key reference for Emma King, Wayman Adams featured portraits of many different ethnicities for this project also involving Steele, in the alla prima method similar to William Merrit Chase, teacher to many at the New York Arts League including Marie Goth. This is not to obfuscate the sexism and struggles of that era – while Chase, Frank Duveneck, and Walter Shirlaw studied at Munich, women were not allowed to the extent that TC Steele compatriot artist Carrie Wolfe had to scrounge in getting an education.

Before getting into the nitty-gritty of the exhibition, one must acknowledge the complementary efforts at IU Eskenazi Art Museum with the Blanche Monet retrospective. It must also be noted how the tradition found in these historic examples is well carried on in Indiana contemporary artists like Rita Spalding, Jeanne McLeish, Judith Lewis, and many more! This may have great precedent to future exhibitions at the Brown County Art Guild, with my writing a Tri Kappa exhibition for their 125th Anniversary in 2026 based off this collaboration.

Mary Frances Overbeck (1878-1955)

The youngest and longest surviving of the celebrated sisters of Cambridge City’s historic Overbeck Pottery, it’d be hard to tell the story of the regional Arts and Crafts movement without her. Early on until 1916, Mary worked as a teacher while contributing floral studies to the monthly, woman-led Keramic Studio ceramics magazine that would be reproduced and iterated by women of the Late Victorian/Edwardian period. As the main designer for Overbeck Pottery with its inception in 1911, she collaborated with her sisters in creative pottery and distinct colors for glazes that have never been recreated. A trailblazer in many ways, Mary, like most of her sisters, remained unmarried and devoted to her art, contributing bookplates, oils of birds, watercolors, and hand sculpted figurines alongside the well-known pottery.

Thus, the painting entitled School Children may seem unusual in its choice of medium, but points to her multifaceted nature and perhaps involvement in the Richmond Arts Association, as a unique feature is the public Richmond Art Museum being housed inside Richmond’s High School. Yet, while bearing similarity to Brown County Pottery’s mold figurines, the Farmer and Farmer’s Wife downstairs is a “grotesque” ceramic or caricature indicative of most of Mary’s handmade work after her sisters’ passing. These figures were created as loving, “humor of the kiln” depictions of her neighbors and likely grew in popularity due to the Folk Art Movement. Today, their work is also featured in the Fort Wayne Museum of Art, Haan Museum, and contextually in the TC Steele Home down the road.

Marie Goth (1887-1975)

               Born in Indianapolis and encouraged in the visual arts from a young age accompanying musical talent, Marie studied art at Manual High School under her cousin and Hoosier Group artist Otto Stark, later becoming an assistant instructor in between classes at the Herron Institute and the Art Academy of Cincinnati. With scholarship from 1909 to 1919, studies under well-respected Frank Dumond and William Merritt Chase in Portrait Painting at the New York City Arts League served as her formal training and can be seen to heavily influence her portraiture. Her sister Genevieve was especially supportive, contributing funds towards her studies and being a common figure in her oil portraits like Beautiful Dreamer. Yet, her turn to become a portrait painter of adults was a groundbreaking choice at a time when women artists were expected to paint children and more exclusively feminine subject matter.

Brown County Artist Charles Dahlgreen helped her success by posing in a portrait after arrival in 1923, enabling her to build a life as the portraitist of the plein air painting colony as with Mary Vawter. Marie’s various subjects tell the story of her success: Poet James Whitcomb Riley, General Douglas McArthur, the last portrait of TC Steele, and the first official Indiana Governor Portrait by a woman with Henry F. Schricker. She was the first founding President/charter member of the Brown County Art Gallery, and her estate established the collection of the Brown County Art Guild.

Genevieve Goth Graf (1890-1861)

              Raised alongside her sister, Genevieve’s artistic career blossomed late because of her role as a protective, supportive caregiver for her mother and sister. Like many of the artists in this show, Genevieve also worked as a teacher in Indianapolis and so had limited time to give to creative endeavors. She was a big supporter of her fellow artists, buying a sketch from VJ Cariani to pay for his move to Nashville, preparing subject matter such as with her bouquets of flowers, and providing timesaving help in keeping up the home. In fact, she was the reason Marie even relocated to Brown County, having bought the land where both Marie and VJ Cariani’s houses would be built.

Nevertheless, being the sister of Marie, eventual wife of Carl Graf, and close friend of VJ Cariani afforded her great teachers to learn from in her time in Brown County. As Carl encouraged her to paint, she organically found a niche in Still Lifes between her day as a teacher and duties around the home. Although slow to build confidence in her skills, her inclusion in the Hoosier Salon of 1937 and a solo Indianapolis exhibition in 1939 proved mounting skill. After her retirement in 1956, she would exhibit in Brown County until her death, being a charter member of the Brown County Art Guild as well as in the art collections of the Indiana State Museum and Tri Kappa. In an interview with Judith Vale Newton in 2000, Elizabeth Steele Creveling noted “…had she spent more time at the easel, Genevieve’s painting would have become exceptional.”

Barbara Bernhardt (1913-1976)

               A Richmond woman through and through, Barbara was born and raised in Richmond, training under local artist Randolph Coats from the age of 10 and continuing with her Great Aunt Edna Stubbs Cathell. Going to New York Arts League as increasingly common in this time, she uniquely studied under John Sloan from the “Ashcan School” from 1935 through 1937, modeling for at least 6 of his paintings. From him she is said to have picked up stylistic tendencies of the Ashcan movement, including the focus on urban scenes, social concerns, a dark palette, and gestural brushwork from memory resulting in caricatured forms. Rehearsal, acquired by the Richmond Art Museum in 1976, possibly calls back to this period in her life and especially time spent with the Woodstock Art Colony and the Woodstock Playhouse. Whatever the case, Bernhardt brought this stylistic variety back to Richmond, doing illustrative work and winning local prizes for exhibitions.

Edna Stubbs Cathell (1867-1955)

Noted Richmond Group Artist and flower painter, Edna made a career painting hybrid rose developed by Joseph Hill Co. and submitted for US Patents (As shown with her illustrations in the book How to Grow Roses by Robert Pyle in the TC Steele House sunroom), helping Richmond earn the moniker “Rose City”. Earning her degree at local Earlham College, she remained a devoted local artisan. In addition to her painting career, she was talented as a china painter and charter member of the Indiana Keramics Club, organizing all annual ceramic exhibitions for the Richmond Art Museum and teaching china painting as was a popular, acceptable pastime in that era for women. Working to enact her artistic concerns, she served on the Board of Directors of the Richmond Art Museum, becoming a member of the prestigious Palette Club alongside Eggemeyer and Whitridge.

Emma B. King (1857-1933)

               Born in Indianapolis, King was an American Impressionist painter beginning in her late 20s, taking cue as with many artists from Indiana born William Merritt Chase. Although her varied subject matter of rural landscapes, mountain scenes, and east coast seascapes split her audience, she followed her own path. Studying at the Arts Association of Indianapolis in its inaugural year as well as the New York Arts League, she was taught by Susan Ketcham and the aforementioned Chase. She gained status through time at the Academie Julian in Paris to additionally distinguish herself.

King was a publicized participant in the Indianapolis City Hospital Project in 1914 alongside famous Indiana painters as Carl Graf and TC Steele, and although the works are lost was importantly one of only three women to be chosen to participate in the project. The largest and best-known work by Emma B King is the one on display, Pic-a-Back, featuring the vernacular action that has now become “piggyback.” Multifaceted as many of the artists, King was also a lauded poet and a private teacher in humanities in Indianapolis.

Leota Loop (1893-1961)

Born in Fountain City, Indiana, Leota Loop was a Brown County artist after becoming a painter and educator in Kokomo. Known for her floral still life paintings, she was commercially popular after WWII with women, becoming a characteristic feature of many Indiana households. She began studying art at age 10 from Olive Rush, and continued with Indiana artists William Forsyth, TC Steele, and Will Vawter. Collecting influences from around the state, she adopted the color palette of Richmond artist Randolph Coates. In 1937 Indiana Governor Townsend purchased her still life Iris and Peonies for the Governor’s Mansion, and in early 1961, Loop presented Indiana Governor Welsh with her painting Pink Peonies in Copper to celebrate the new state flower, just as we celebrate Selma’s peonies each year as the quintessential part of the formal garden. Leota Loop taught art classes in Nashville, was the art chairman of Tri Kappa, and organized the Junior Art Clubs of the Indiana Federation of Art Clubs.

Her work is featured at the Indiana Memorial Union at IU and in the collections of the Richmond Art Museum and the Indiana State Museum. The Zinnias depicted in the painting would have been the state flower until the adoption of the peony and were common gifts of friendship in the early 1900s. The cluster of fallen leaves serves as a meditation on the transient nature of life and death.

Susan Merrill Ketcham (1841-1930)

              The descendant of a prominent Indiana Pioneer and granddaughter of Samuel Merrill, Indiana’s First Treasurer, Susan felt the call of the painter in middle-age and paved her own way against the restrictive pressures as an unmarried woman artist, with a notable period of her life dedicated in the New York City Art League where she also studied under William Merritt Chase (becoming his son’s godmother) and Charles Herbert Woodbury. In keeping, her corresponding mediums were portraiture (mainly of her fellow women) and seascapes painted in Ogunquit, Maine.

Before leaving Indianapolis to which she would return in the final years of her life, in 1883 she was one of 18 women, including national women’s rights reformer May Wright Sewall, who founded the Arts Association of Indianapolis that would morph into the modern-day Indianapolis Museum of Art and John Herron Institute. There until 1888, she worked as an art educator and teacher while hiring faculty for the school. Her works were gifted to the collections of IU, Herron, and Newfields, as well as also appearing at the Swope Art Museum. In her lifetime, she exhibited at the 1893 Chicago World’s Fair, 1904 St. Louis World’s Fair, Hoosier Salon, and National Academy of Design.

Bess Whitridge (1869-1954)

               Like many other middle-class women in the arts during this time, Bess focused on china painting to maintain social relevance and status. As formal training in Europe was the prevalent path to American pedigree into the turn of the century, she studied figure painting in Vienna under Hans Wagner, and flower painting in Dresden under Herr Lamm. A member of the Indiana Keramics Club, Palette Club, and Richmond Art Museum, she was recognized as of note with appearance at the 1904 World’s Fair. Her exhibited works were often painted tea sets, powder boxes, and plates, blurring the distinction between fine arts and craft items as part of this Arts and Crafts Movement. Bess drove her own path by becoming known for portraiture on tile, only later becoming sought for floral pieces. In 1929, her portraiture depiction of a black woman, Billie, was singled out as the best piece at the Palette Club, showcasing the drive to push forward.

Ada Walter Shulz (1870-1928)

Born in Terre Haute, a move in 1884 to Indianapolis afforded her opportunity when she took drawing classes at Shortridge High School and was a friend of Hoosier Group painter TC Steele’s kids. Ever persevering family tragedy through painting with her mother and son Walter’s deaths, her inspiration was said to come from the “emotional realm of mothers and children” according to the Indianapolis Star, being drawn to joyful depictions of local children and animals. As the first wife of Adolph Shulz, she was also an early painter in Brown County and could be correspondingly called the “mother” of the Art Colony, later helping found the Brown County Art Gallery with him despite their differences. After the dissolution of her marriage due to her husband, Ada remained resolute to enter her most prolific period, something only slowed by her premature illness and death. Today, she remains highly regarded, and Grandma Barnes Cabin speaks to her love for “country folk” and the more rustic ambiance beyond the landscape.  She is featured in the IU Auditorium, the Haan, and Newfields.

Winifred Brady Adams (1871-1955)

              Known commonly as the wife of famed Hoosier Group artist John Ottis Adams (1851-1927) after meeting him during the time of the Muncie Art School, Winifred was an artistic force in spades after taking up TC Steele’s studio space at the Hermitage, their Brookville home, in 1907. Moving from the hometown of Muncie to Indianapolis for her husband’s teaching at Herron in 1902, she and her husband initiated the artistic appreciation in Muncie that exists today. Another artist showing the prominence of the New York Arts League in complement to Indiana, she worked under prominent American Impressionist William Merritt Chase, adopting his style in her landscapes while developing a distinctive palette. To avoid competing with her husband’s art, her work consisted mainly of floral Still Lifes from their shared garden.

Her paintings are heavily sought after for their vibrancy and color, with her being given even weight with her husband in retrospectives, in addition to her work being presented alongside her husbands in solo shows in Muncie and Indianapolis during her lifetime. Prominent collections also include Minnetrista and Ball State in Muncie.

Helen B. Duckwall (Briggs) (1912-1988)

Born in Sheridan, Helen benefitted from the interurban system that connected her to Indianapolis and enabled Saturday Scholarship classes at John Herron Institute while in high school. Completing a 4-year course at Herron, she won a scholarship and spent a summer at the Philadelphia Academy. While best known for her pastels and portraits of women and children as she was able to find work as a commercial women artist through Lyman Brothers Art Gallery in the 1930s, she notably painted the official portrait of Governor Branigin. Her style adapted to different genres of portraiture as needed, with her usual intention being for casual, laidback portraits that captured a subject with humor.

In keeping with this, Lunch at Block’s, shown at the 1956 Hoosier Salon, shows a break from traditional portraiture. Probably taking cues from her upbringing during the era of social realism, she pokes fun at the department store crowd. Being an attraction also situated right off the interurban line, Block’s was an Indianapolis chain and important as a place women could be accompanied without chaperone in the early 20^th century. Looking further, the painting could be reminiscent of Manet’s controversial Olympia (1863) in its abrasive depiction of women and provocative display of racial inequality.

Elizabeth Stouder (1902-1977)

               Widely associated with the Evansville Museum and the University of Evansville today, Elizabeth, like many women artists, had

an unconventional career trajectory. Born in Marion and obtaining a nursing degree from IU, she went back to school after having kids at the University of Louisville. Moving to Evansville from Louisville, she taught a variety of forms including watercolors, pastels, intermedia, oils, jewelry making, and abstract expressionism at the University of Evansville as well as the Evansville Museum. As with many passionate teachers, she is not remembered as much today for her art as for the impact she made on the community with her classes, inspiring many women including fellow artists of Tri Kappa. Today, her artwork can also be seen at the University of Evansville Library, Oakland City University, and the Indiana Memorial Union at IU. Regarding her rendition of Madonna and Child, it likely was inspired by a renaissance work donated to the museum around 1965 and an integral part of the display. Yet, it showcases Elizabeth’s community spirit as it was donated to a church raffle and is an apt symbol of femininity.

Thelma Frame (born 1919)

Born in Hebron on a farm and beginning as an illustrator, she is the oldest plein air painter at 105 years old! Thelma was a staple of Indiana’s plein air paint outs, connecting us from the past to our current moment with the annual traditions in such storied artistic places as Richmond and New Harmony. Expanding into watercolors in her 90s, she expounds the need for continual learning as a regional award-winning artist. With years serving Richmond as a teacher, she understands the value of community and volunteers at her retirement community in Zionsville to continue creative endeavors.

In House in New Harmony, Private, Please on display at the Guild, the continuing endeavors of the Hoosier Salon are connected in their annual paint out in April of the year. New Harmony’s storied history dating back to 1814 with the Harmonists and Shakeresque buildings point to Thelma’s love of the quaint, “quiet of the country”, showing that all of Indiana has scenery to be admired.

Maude Kaufman Eggemeyer (1877–1959)

An early 20th Century painter associated with the Richmond Group of Artists, she was born in New Castle, Indiana as the daughter of architect William S. Kaufman. She studied under her father and designed her own home after marrying.  She continued studies with dean of the Richmond Group John Elwood Bundy at Earlham College, Frank Duveneck, Lewis Henry Meakin at the Art Academy of Cincinnati on scholarship, and the Overbeck Sisters in Cambridge City, Indiana. Her paintings, full of the rustic surroundings of neighborhood charms, are famous for her use of bold colors like pink. She received the coveted Richmond Prize in 1910 and 1914 as part of the longest running juried show in Indiana, and was groundbreaking in her versatility in design, portraiture, still lifes, and landscapes, on top of her backyard garden works.

A Garden is A Lovesome Thing is titled after Thomas Edward Brown’s poem and depicts the Heironimus Garden, with gardens being an important feature of the community that once called itself “Rose City”. Whereas a still life of flowers might symbolize mortality, the landscape artist can find beauty in the continual renewal of the garden. As impressionist influence Monet said, “My garden is my most beautiful masterpiece.”

Anna Mary Newman (1866-1930)

               As one of the many women who taught for both financial support and passion about education, Anna was a tireless teacher who taught classes to the public, to Richmond Artists, and to children. Never married, she focused all her energy on being the art director of Central High School in Fort Wayne, making her artwork scarce. Like Eggemeyer, Anna studied with the Overbecks. Unlike most other Richmond Group Artists, she studied portraiture at the Art Institute of Chicago, graduating with high honors in 1905. Exhibiting in Indianapolis, Richmond, and Chicago through her life, she promoted the institutions of the State Fair, Herron, and the Hoosier Salon as primary opportunities for her fellow artists. She was a member of the Society of Western Artists and the Richmond Art Museum.

The untitled work done at Heironimus Garden shows a counterpoint to Eggemeyer and is interesting as landscape was a secondary medium to portraiture for Anna. Her love of the garden is not shown to be lessened by this, and the picture may emphasize her value of the local community. As the nearby TC Steele Garden states, “A Garden is Ageless.”

Collaborating Institutions: Richmond Art Museum, Tri Kappa Art Collection, Evansville, private collections

List of Loaned Objects on Display at Brown County Art Guild :

Winifred Brady Adams, Richmond, oil on canvas, 1913.01

Barbara Bernhardt, Rehearsal, 1976.10, oil on canvas, Richmond

Edna Stubbs Cathell, The Trophy (Mary’s Trophy), pil on canvas Richmond, 1990.06

Maude Kaufman, A Garden is a Lovesome Thing, Richmond, 1919.01

Anna Mary Newman, Untitled (Heironimus Garden), oil on canvas, Richmond

Thelma Frame, House in New Harmony + Pencil Sketch, pastel, Richmond, 2010.07.01-1

Leota Loop, Untitled (Zinnias and Vitex), oil on canvas, Richmond, 2019.05

Mary Frances Overbeck, School Children, oil on canvas, Richmond, 1965.44

Mary Frances Overbeck, Farmer and Farmers Wife Figures with Mary Letter, ceramic, Richmond

Susan Merrill Ketcham, Untitled, oil on canvas, Private Collection

Emma-B.-King, Pic-a-Back, oil on canvas, Richmond

Bess Whitridge (1868-1954), Untitled (Phlox in Deco Vase), ceramic tile, Private Collection

Elizabeth Stouder, Mary with Child, oil on canvas, Private Collection

Helen B Duckwall, Lunch at Blocks, pastel, Tri Kappa Collection

Beryll Holland painting by Marie Goth (Tri Kappa founder), oil on canvas, Tri Kappa Collection

Elizabeth Stouder, Trees, Pastel-Watercolor, Evansville Museum

Elizabeth Stouder, Flowering Obsidian Necklace, Evansville Museum

Guild Collection/artifacts on display:

Marie Goth, Beautiful Dreamer, oil on canvas, 20 x 24*, Framed under Glass

Marie Goth, Mary Vawter, oil on canvas

Marie Goth, Little Girl in Green (Mary Jane), oil on canvas, OC, 30 x 36,

Ada Walter Shulz, Grandma Barnes Cabin, oil on canvas

Genevieve Goth Graf, Table by the Door, oil on canvas

Genevieve Goth Graf, Flowers in Green Vase, oil on canvas, 20 x 24,