California Art Club

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The California Art Club ( CAC ) is one of California's oldest and most active art organizations. Founded in December 1909, it celebrates its 100th anniversary in 2009 and into spring 2010. The California Art Club originally developed from The Painters Club of Los Angeles, a short-lived group that ran from 1906-09. The new organization is more inclusive, because it accepts women, sculptors and foreign artists. Most of CAC's major early California painters, including Franz Bischoff (1864-1929), Carl Oscar Borg (1879-1947), Edgar Payne (1883-1947), Julia Bracken Wendt (1868-1942), and William Wendt (1865- 1946). As a member of the first generation of California Airborne Calipers who died and aged, his membership was filled with young professional painters, including Millard Sheets (1907-1989), Mabel Alvarez (1891-1985), Emil Kosa, Jr. (1903) -1968), and watercolor Rex Brandt (1914-2000), along with amateur painters and commercial artists. Other famous members included Sir Winston Churchill (1874-1965), Dean Cornwell (1892-1960), Nicolai Fechin (1881-1955), Sam Hyde Harris (1889-1977), Alfredo Ramos Martinez (1872-1946), and Richard Neutra (1892-1970).

Today its membership consists of artists and representative sculptors, but is broadly inclusive and includes many female painters and painters and sculptors who emigrated to the United States from Europe and Asia. CAC hosts an annual Annual Gold Medal Exhibition along with a number of other public and special museum exhibitions. Headquartered in one of the large bungalows that are part of the historic Vista del Arroyo Hotel in Pasadena, the California Art Club has a number of branches throughout California.

Video California Art Club

Origins dari CAC

The history of the California Art Club begins with the previous organization, The Painters' Club of Los Angeles. At night, March 10, 1906 a number of painters living in the Los Angeles area met together for the purpose of forming a club. Soon after, on the night of March 17, the same eleven men met in William Swift Daniell's studio (1865-1933). After some discussions, unanimously decided to form a club there and there, and the Los Angeles Painters Club was born with the aim of organizing the exhibition and continuing art in Southern California. The eleven founding members of the Charter include Antony E. Anderson (1863-1939), Carl Oscar Borg (1879-1947), William Henry Cole (1870-1955), Albert Clinton Conner (1848-1929), Frank C. Conner, William Swift Daniell , David H. Dunn, Frank Elwin Evans, Frank Rennsselear Liddell (1864-1923), Hanson Duvall Puthuff (1875-1972), and George Thomas Winterburn (1865-1953). According to the list of members, the Painters Club grew and eventually numbered about 42 members. After several years and numerous exhibitions it became clear to the members that the scope of the organization, open only to male painters, was too limited and a consensus emerged to dissolve the organization to form a broader one in scope.. The Painters' Club of Los Angeles was dissolved in December 1909, but there will be a new group to follow, "called California Art Club." The core group members of the Painting Club - Charles Percy Austin (1883-1948), Franz Bischoff (1864-1929), Carl Oscar Borg, Benjamin Chambers Brown (1865-1942), Frank Rennsselear Liddell, Hanson Puthuff, and William Wendt (1845- 1946) - will be instrumental in laying the groundwork for the new California Art Club, as well as supplying its first three Presidents.

Maps California Art Club

Establishment of CAC

The California Art Club was founded in December 1909, shortly after The Painters' Club of Los Angeles was disbanded. Although the date and location of the first club meeting is unknown, the second was held February 5, 1910 at Franz Bischoff's Studio, located at 320 Pasadena Avenue, South Pasadena. Among the founding and earliest members were Hector Alliot (1862-1919), Antony E. Anderson (1863-1939), Charles Percy Austin, Franz Bischoff, Carl Oscar Borg, Benjamin Chambers Brown, Mauritz DeHaaff (1877-1948), Allen Durand (1865-1939), Aaron E. Kilpatrick (1872-1953), Frank Rennsselear Liddell, Everett Carroll Maxwell, William A. Matern (1867-1923), Frederick Roland Miner (1876-1935), John Hubbard Rich (1876-1939) 1954), Rob Wagner (1872-1942), Jack Wells [or Welles], William Wendt, and most likely Wendt's wife, sculptor Julia Bracken Wendt (1868-1942).

One of the main goals behind the establishment of a new club is to expand membership and encourage others to participate - "No longer limited to LA-based male painters, the Club opens its membership for women, sculptors and artists living as far as New York." By the time of the club's Annual Exhibition in 1911, membership had increased by about thirty members, including nine women: Helena Adele Dunlap (1876-1955), Helma Heynsen Jahn (1874-1925), Mary Ann Van Alstine Bartow (1848-1924) , Alma May Cook (1884-1973), S. Henrietta Dorn Housh (1855-1919), Helen Hutchinson (1866-?), Louise Elizabeth Garden MacLeod (1857-1944), Lydie G. Price, and Elizabeth Wagoner. In early 1912, Xarifa Hamilton Towner (1881-?) Will also join.

Frank Renssellear Liddell served as first club president from 1909-10. Liddell was replaced by William Wendt who filled the President's office twice: from 1911-14 as the second President, and from 1917-18 as the fourth. The term Wendt read out the President of the three clubs, Benjamin Chambers Brown, who held the office from 1915-16. The organization grew rapidly in prestige under Wendt and Brown, linking itself with the newly formed Museum of History, Science and Art at Exposition Park. The new Art Gallery Gallery of Art Gallery includes at least four CAC members, including Everett C. Maxwell, who is an Honorary Member of CAC as well as Curator of the County Museum Art Gallery. The club began holding its annual exhibition in a new space less than a year after the new museum was founded, and will continue to do so for more than two decades.

When the CAC was founded, California Impressionism had just begun to emerge in Southern California. Many club members have studied abroad in European atelier such as AcadÃÆ'  © nie DelÃÆ'  © cluse, AcadÃÆ'  © Julian noodles, and ÃÆ' â € ° cole des Beaux-Arts. Benjamin Brown studied at Acadà © mi Julian Julian with Jean-Paul Laurens (1838-1921) and Jean-Joseph Benjamin-Constant (1845-1902); Rob Wagner is also a student at AcadÃÆ'  © mies Julian and DelÃÆ' © cluse. John Hubbard Rich spent four years at the Art Students League in New York City, then spent time at the School of the Boston Museum and two years studying in Europe. Along with the classic atelier paintings, the influence of French Impressionism began to be felt. Helena Dunlap studied with William Merritt Chase (1849-1916) in New York City and AndrÃÆ' © Lhote (1885-1962) in Paris, and Charles Percy Austin was a disciple of John Twachtman (1853-1902). Others like Julia Bracken Wendt, William Wendt, and Edgar Payne studied in schools like the Chicago Art Institute. Through the work of artists and annual exhibitions, CAC is very responsible for popularizing the Impressionist style in California. Authorities such as Professor William Gerdts have long identified California Impressionism as a regional variation of American Impressionism which is a vast movement loosely tied to the French style. Most of the American and California Impressionists adopted paintbrush brushes, bright palettes, and colored shadows of French Impressionism and the basic practice of sketching outside, directly from nature or ple pleing water.

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Initial Year CAC and California Impressionism

From his first exhibition, the California Art Club was identified with Impressionism. In 1913, in the National Arts Journal magazine, author EC Maxwell wrote that "From a dozen different authors on subjects related to the development and trends of art in the west, the word has gone to the world that California, the land is golden light and purple shadows, doomed for the next few years to give us a new school of landscape painting... The conditions seem right for a revival of art in California... If this age of golden prophecy art does not happen, it will not be a mistake of the California Art Club. "California Art Activities Club is recorded on the pages of Los Angeles Times , Herald Examiner and Pasadena Star News . Art columnist for the Times , Antony Anderson is a founding member of the club and he is fancy in his praise of the exhibition and its leaders, the likes of William Wendt, Benjamin Chambers Brown and Jack Wilkinson Smith.

In the years of club formation, meetings were held in locations around Los Angeles, including home and studio members, various schools and galleries, and Earl House, 2425 Wilshire Boulevard in Westlake Park. (now MacArthur Park). In the early 1920s, the club decided to seek a more permanent location and devised a plan to build funds in order to raise $ 150,000 primarily by exhibiting and selling artwork. CAC Artist and Managing Director Walter Farrington Moses (1874-1947) led efforts to achieve their goals. The one-night exhibition was held at the Los Angeles Philharmonic Auditorium in 1923; included along with a smaller donation is "$ 500 in place."

Although CAC as the organization most often identified with California Impressionism, some CAC members work and experiment with other painting and sculpting modes. Helena Dunlap (1876-1955), an early CAC member and exhibitor, also founded the Los Angeles Society of Modern Art in 1916 along with five other CAC members: Bert Cressey (1883-1944), Meta Cressey (1882-1964), Edgar Keller (1868-1932), Henrietta Shore (1880-1963) and Karl Yens (1868-1945). At the CAC Annual Exhibition at Exposition Park in 1931, members Ruth Peabody (1893-1966) and Phil Dike (1906-1990) won top honors for their work, dubbed "ultra modern." Another member, Stanton MacDonald-Wright (1890-1973), was one of the creators of Synchronism, an early abstract mode of paint-based color that affected artists such as Donna Norine Schuster (1883-1953). In 1922 Mabel Alvarez became a member of the Group of Eight, along with Clarence Hinkle, Henri De Kruif, John Hubbard Rich, Donna Schuster, E. Roscoe Shrader, Edouard Vysekal, and Luvena Buchanan Vysekal. Held on a large scale by Vyeskals, this group has a base in the progressive art movement in California.

While the early California Art Club painters did not adhere to any style code, they were all representational artists working from life, whether it was out the door, from nature or in the studio of the model. The California Art Club is part of a vast representation movement that holds power in California long after a more modern style of painting became popular elsewhere. During the 1910s and "Roaring 20s" when the American economy retreated from recession after World War I, the California Art Club grew in membership and prestige, but lacked a permanent club. That changed in 1926, when rich heir and art patron Aline Barnsdall (1882-1946) gave her home gift Hollyhock House, designed by Frank Lloyd Wright, told CAC to use as its headquarters as a fifteen year loan. The club moved into a property above Hollywood, known as Olive Hill, the following year. Gradually, during the 1930s, supporters of the more modern movements also began to gain a foothold and younger customers began to buy their works rather than the works of the California Impressionists.

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The Hollyhock House Years (1927-42) and Depression

In 1923, the idea of ​​a new permanent home gained momentum. During the "animated encounter" at their temporary headquarters at 623 Park View, CAC saw two possible options: Aline Barnsdall has offered the use of Olive Hill club, its land in Hollywood; the second option consists of other locations in the "southwest corner of Grand View and Third Street." Two years later the idea of ​​a permanent clubhouse was still enthusiastically discussed, but 1925 saw the Club being forced to restructure their project because it was "temporarily suspended on the resignation of business managers." Strong interests remain despite the fact that they have not yet reached their fundraising goals. With the Club's efforts halted, Aline Barnsdall approached the City of Los Angeles about managing part of her heritage as a cultural arts center.

Overlooking Hollywood Boulevard to the east and bringing a beautiful view west to the Pacific Ocean, the 36-hectare hilltop area south of Griffith Park was originally designed to cover several structures dedicated to artistry. The eventual rift between Barnsdall and the architect Frank Lloyd Wright means that only three buildings will be completed: Hollyhock House, named after Miss Barnsdall's favorite flower, and two other structures called "Residences A and B."

Finally in 1926, the City of Los Angeles agreed to take eight acres. Discussions between City and Miss Barnsdall on how the property may be used include the provision that the California Art Club is awarded a lease at Hollyhock House which lasted fifteen years. At the California Art Club Bulletin, the club's monthly publication, CAC President Edwin Roscoe Shrader (1878-1960) wrote accepting the prize: "Aline Barnsdall has embarked on her plans to build a cultural center amidst the beauty of Olive Hill The California Art Club happily , gratitude, received his share in this great movement and open on August 31 the magnificent house given to the Club for fifteen years as its new gallery and headquarters. "The club met Miss Barnsdall at dinner and made it an Honorary Member.

The new Clubhouse allows CAC to present lectures, club meetings, and black tie exhibition receptions. In early 1929, the CAC attracted about 5,000 visitors to events and exhibitions at Hollyhock House. In late 1929, CAC hosted the first Black American art exhibition in Los Angeles. The exhibits include the work of Henry Ossawa Tanner and the famous Los Angeles architect, Paul R. Williams.

The club initially maintained a semblance of normality during the Depression because the monthly club meetings continued to attract members - "Social Conferences" held on 19 December 1931, attended by 175 members and guests. Prominent new members joined the club, such as Colin Campbell Cooper (1856-1937), Dean Cornwell (1892-1960), and Alfredo Ramos Martinez (1872-1946). CAC member Richard Neutra debated architecture with Rudolph Schindler, José Clemente Orozco visited a club meeting in April 1930 while working on his murals at Pomona College, and David Alfaro Siqueiros gave a lecture at dinner in honor of him on June 17, 1932.

[A week before his CAC lecture, Siqueiros has launched his first L.A mural, "Street Meeting," which is performed on the outer wall at Chouinard Art School. The group that helped him included CAC members Henri Gilbert de Kruif (1882-1944), Robert Merrell Gage (1892-1981), Barse Miller (1904-1973), Paul Starrett Sample (1896-1974), and Millard Sheets. Gage was then the current CAC President, Samples had held the post in 1931; Miller is the First Vice President. Siqueiros has consulted with Neutra about a new approach to "Street Meetings" that might be better to withstand the hot and dry Southern California climate. Shortly after his lecture at Hollyhock House, Siqueiros will begin work on "AmÃÆ'Â © rica Tropical" with the help of twenty-nine artists, including members of CAC Dean Cornwell, Karoly Fulop (1893-1963), and Frederick John Vrain Schwankowsky (1885). -1974).]

The stock market crash of 1929 was a massive blow - it meant a decline in exhibition attendance and patronage. Then, as the Great Depression deepened, club membership gradually diminished. This decline is somewhat inevitable because the founding members of the CAC who were aged, moved or died throughout the 30s and 40s. William Wendt and Edgar Payne live in Laguna Beach and become active at the Laguna Beach Art Association. The membership fees for "Artist... and Board Members" were reduced and recorded in the bulletin that "some new members will allow us to join in popular sports 'Balancing the Budget.'" Also, following the example of another group, the Club "canceled all contributions yet paid before January 1932, by giving current contributions [paid] in full. " In addition, he created the Relief Fund for every member who needs financial help. The profound impact of the Depression on the CAC is seen in "reduced membership," and a reinforced report that "the [Hollyhock] house is in very poor condition towards the end of [their] terms" when their fifteen-year lease with Hollyhock House ended in 1942 After briefly giving the club an extension of their lease in January 1942, the LA Parks Commission forced CAC to abandon Olive Hill in March of that year.

The club set up temporary headquarters at Plummer Park until around August 1942, after which they met at the Hollywood Women's Club for a year. After the Women's Club, a monthly meeting was held at the Masonic Shrine from October 1943-February 1945. At a meeting of 26 January 1945 at this location, Los Angeles Mayor Fletcher Bowron and Superintendent John Anson Ford became guests.

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Postwar Years

In 1946 California Art Club partnered with the Veterans Administration to present the First Annual G.I. Art Exhibition at the Museum of History, Science and Art at Exposition Park. "The first prize winner is awarded membership in an art club for one year with all fees and dues abolished." There are forty-one exhibitions G.I. artist in all.

In 1947, the CAC (along with other art clubs on display there, including Painters and Sculptors Club of LA) suddenly lost the museum place where they have held their Annual Exhibition since 1914. The new museum director James H. Breasted, Jr., wants to open the venue to more artists, not just at the club. It did not go well, and headlines made it to Life Magazine: "Angry artists put their own canvas on the steps of museums and terraces and along the walls as examples of what should be shown in. Then they march around. demands that the director resign... Instead... [Director] James H. Breasted Jr. stays in the office of the oak door and secretly calls the police Three radio patrol cars roll over to the museum entrance and a bunch of policemen wade through the sun canvas sunset, mountain scenery, beautiful flowers, and Chinese vases. "

Without headquarters or exhibition grounds to showcase their work, meetings and exhibitions are held in less prestigious places and patronage is a secondary concern. Annual exhibitions are held at places such as the Greek Theater in Griffith Park (1949-66), the Brand Library at Glendale (1979, 1982, 1990), and even the short-lived California Art Club Gallery located at 1309 Westwood Boulevard for several years. The meeting places during this period included Channing Hall at United Methodist Church (March 1945-February 1947) and Rexall Square (September 1947-May 1949), with the group finally settling in Rancho Golf Club House for two decades (September 1949 - 1969 ). Victor Matson was President of the California Art Club in 1961 and 1962. He is a capable landscape painter and organizer who has been active in many of Southland's art organizations. In the late 1960s and 1970s, California Art Club's ranks consisted mainly of amateur artists, but there was still a small group of active professional painters, such as Sam Hyde Harris.

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California Art Club Bulletin 1925-1994

In November 1925, CAC President Shrader wrote in the preface to his first edition of The California Art Club Bulletin, "The bulletin will fill the long-felt desire in Club activities." Published every month for nearly 70 years, it's reported at club events, exhibitions, member news, meetings, lectures, and more, both within the club and around bigger Los Angeles. After the July 1994 edition, the Bulletin was redesigned and renamed the California Art Club Bulletin, beginning with the 1994 Summer edition. It continues to be printed for Club membership on a quarterly basis and includes articles written by historians and art scholars.

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California Art Club Newsletter 1994-now

Published by California Art Club, Newsletter is a quarterly journal documenting the legacy of California's traditional art, both historic and contemporary. Each edition contains a unique essay on artists and art movements written by art historians, museum curators, art writers, and artists. Publications include "short stories," club events, membership news, book reviews and exhibition lists.

Although the California Art Club was founded in 1909, the first edition, Volume 1, No. 1, was printed in December 1925 and originally named "The California Art Club Bulletin" with artist Ralph Holmes (1876-1963) as his first editor. The "Bulletin" is published as a monthly magazine to keep members informed about fellow members and events in the local arts arena in Los Angeles. Publications are operated as a voluntary effort and are managed by some editors who are members of the club. However, after the Great Depression, Modernism, and World War II, the California Art Club fell in difficult times, but still succeeded, but on a much smaller scale.

With the rise of the 1990s representational art forms, the California Art Club experienced a revival launched in 1993. The organization began to re-brand itself as a leading leader in the contemporary-traditional art movement and recognized the need for scientific publications to further aid their mission. Under the leadership of new editor Elaine Adams, the June 1994 edition was renamed "California Arts Club Newsletter". Over the years, the Bulletin has grown from its front-and-back pages 8-1/2 x 11 to a 36-page quarterly journal printed by Typecraft in Pasadena, California.

List of Editors

Artist Ralph Holmes (1876-1963) served as the first editor of the "California Art Club Bulletin" from December 1925 to January 1927. From February 1927 to December 1931, artist Louise Everett (1899-1959) served as editor; and from January to December 1932 John Coolidge became editor. For ten years, the Bulletin was hiatus until 1942 when Edward Lanser became his editor and changed the name of the publication to "C.A.C. Bulletin: The Voice of the California Art Club." Lanser served as editor until April 1948. Later, under Mary Jarrett who served as a new editor until 1954, the publication was renamed "The Art Bulletin." Furthermore, artist Vic Carl Houser (1895-1972) served as editor until May 1958; followed by artist Horace "H.E." Edmund Huey until March 1959, and in April 1959 Mary Jarrett returned to serve as editor, and then in June 1960 Vic Carl Houser returned as editor until April 1965. The bulletin returned hiatus until April 1968 when it was published only one edition that year under Edris N. Baker as editor. The next issue appeared in October 1969 with artist Kaffy Reinhardt as editor. Ruth Jones served as editor of the Bulletin until May 1994. Elaine Adams became editor-in-chief and renamed her publication as "California Art Club Bulletin," which continues today in 2017 under her management.

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Rise of CAC

By the early 1990s the membership of the California Art Club had greatly diminished. Peter Seitz Adams, a member in previous years (he exhibited at the 68th Annual Gold Medal Exhibition in 1977), was contacted by longtime patron member Verna Gunther and 43rd CAC President Charles I. Harris (1922-2012) to take over the abandoned California Arts Club leadership; Adams was elected the 44th President of the California Art Club in October 1993. His wife, Elaine Adams, manages the organization's business, eventually becoming the Executive Director and CEO. In June 1994 Elaine Adams became editor-in-chief of the CAC Bulletin and soon changed its name to the Newsletter California Art Club and soon expanded its publications to include scientific articles about art history and profiles on contemporary CAC artists. The first wave of painters to join the reorganized California Art Club included Dan Goozeà ©  ©, Steve Huston, Stephen E. Mirich, William Stout, and Tim Solliday (December 1993), (January 1994), Alexey Steele and Jove Wang (February 1994) , Daniel W. Pinkham and Sunny Apinchapong-Yang (June 1994), Meredith B. Abbott, John Budicin, Marcia Burtt, Karl Dempwolf, Richard Rackus, Roy Rose and Leonid Steele (July 1994). A number of these artists consisted of students of Theodore Lukits (1897-1992) or the Russian landscape and figurative painter Sergei Bongart (1918-1985), both of whom were members of the CAC themselves.

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Medal Gold Medal

The Gold Medal Exhibition is held every spring. Previous sites include: The West American Autry Museum, the Pasadena Historical Museum, the USC Fisher Art Museum, the Pasadena California Art Museum, and the Luckman Arts Complex at California State University, Los Angeles. Works embedded into the exhibition. Previously, at least two Gold Medals were given at each exhibit, but sometimes numbered as many as five per exhibition. Medals are selected by participating artist members of the organization. However, by 2016 the practice of awarding is stopped.

The look and design of the medal changed over the years and was created by various club members. Along with the award medal given at the Annual Exhibition, a practice that began at least in 1926, there were a number of Memorial Medals, Silver Medals, and Medals of Honor given to members to honor their services and special contributions to the Club. In particular was the Medal of Honor made by Philip Paval around 1953. This medal was awarded in 1954 to Sir Winston Churchill when statesmen were invited by Paval to join the Club as a CAC Honorary Member. Churchill received and the medal currently on display at the Collection of Chartwell House in England.

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Special exhibits

In 1996, the California Art Club hosted the California Wetlands Exhibition at the Museum of Natural History at the historic Exposition Park in Los Angeles. From May to August 1998, CAC mounted Sierra Nevada Treasures at the Natural History Museum of Los Angeles County. The Carnegie Museum in Oxnard, California, held a major exhibition of painters from the California Art Club in 1994, entitled, "The California Art Club: 85 Years of Art". In 1997, a traveling exhibition contrasting the works of American Impressionist and Classical painters from the Eastern and Central West States along with the California Impressionists entitled, "East Coast Ideals of West Coast Concepts," traveled from the Carnegie Museum in Oxnard to Springville. Art Museum in Springville, Utah to Academy of Art College in San Francisco. The California Art Club also hosts and sponsors a traveling exhibition entitled, "Theodore Lukits, An American Orientalist," dedicated to Asia-themed works from Thedore Lukits, who first became a member of the California Art Club in 1922 and then made a Living Member. This colorful figurative exhibition of works and works came from the Asia Pacific Museum in the fall of 1998 and traveled to the Carnegie Art Museum in the winter of 1998 and 1999, then closed at the Muckenthaller Cultural Center in Fullerton, California, in Spring 1999. Later on In 1999, the California Art Club began a relationship with Frederick R. Weisman Museum of Art at Pepperdine University in Malibu with an exhibition entitled, "On Location in Malibu".

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Organization KAK

Membership

The membership of the California Art Club is extensive, with fewer than 2,000 members in a number of membership categories. Signature members are the most established painters who have been approved for membership by their peers from the Artist Member ranks. Artist members are integrated with the organization of new applicants and the ranks of Members of Paint Protector. There is a category for overseas artist members, which allows the group to benefit from the work of some of America's best traditional painters. There is also a large member of the Protecting Member and also the Collector's Circle, which requires donations to the organization.

Exhibition

• Altadena Town & amp; Country Club
• Annual Gold Medal Exhibition (1911-present)
• Gallery CAC at Old Mill, San Marino, CA (1999-present)
• Frederick R. Weisman Art Museum, Pepperdine University, Malibu (2000, 2003, 2006, 2009, 2012, 2015)
• Marston's Restaurant, Pasadena (2005-present)

Past Exhibitions Selected

• Autry Museum of the American West (2012, 2014, 2016-2017)
• Bakersfield Museum of Art (2011)
• Barker Brothers, Los Angeles (1946)
• Barnsdall Park (1927-1942)
• Bloomingdale's, New York City (1944)
• Bullock's, Los Angeles (1944)
• The Historic Blinn House, Pasadena (2001-2011)
• Bowers Cultural Art Museum (1997-2003)
• CAC Gallery, 1309 Westwood Blvd, Los Angeles (1974)
• CAC Gallery, 1027 West Seventh Street, Los Angeles (1922)
• Gallery CAC, No. 424 Copp Building, Los Angeles (1914)
• Our Lady of the Angels cathedral (2014, 2010)
• Carnegie Museum of Art, Oxnard (2014)
• Ebell of Los Angeles (various 1950s-1970s)
• Judson Gallery and Studios, Los Angeles (1997)
• Greek Theater, Los Angeles (1949-1966)
• Long Beach Art Museum (2010)
• Muckenthaler Cultural Center, Fullerton (1998)
• San Juan Capistrano Mission (1995-2003)
• Museum of History, Science and Arts, Exposition Park, Los Angeles (Annual Gold Medal Exhibition, 1914-1938)
• Occidental College (1946)
• Oceanside Art Museum (2011)
• Olaf Wieghorst Museum (2014, 2015)
• Pasadena California Art Museum (Annual Gold Medal Exhibition, 2003-2011)
• The History Museum of Pasadena (2000-2002)
• The Phippen Museum, Prescott, AZ (2000)
• San Diego Museum of Fine Arts (1920)
• San Luis Obispo Art Museum (2011)
• Santa Paula Art Museum (2014)

Source:

Famous historic members

• Mabel Alvarez
• Antony E. Anderson
• Aline Barnsdall
• Franz Bischoff
• Sergei Bongart
• Carl Oscar Borg
• Benjamin Chambers Brown
• Nelbert Chouinard
• Sir Winston Churchill
• Dean Cornwell
• Nicolai Fechin
• Victor Forsythe
• Will Push
• Theodore Lukits
• Ferdinand Lungren
• Robert Merrell Gage
• Sam Hyde Harris
• John W. Hilton
• Frank Tenney Johnson
• Kathryn Leighton
• Theodore Lukits
• Richard Emil Miller
• Richard Neutra
• Alfredo Ramos Martinez
• Walter Farrington Moses
• Edgar Alwin Payne
• Elsie Palmer Payne
• Fritz Poock
• Hovsep Pushman
• Hanson Puthuff
• John Hubbard Rich
• Guy Rose
• Carl Rungius
• Herbert Ryman
• Joseph Henry Sharp
• Millard Sheets
• Julia Bracken Wendt
• William Wendt
• Stanton MacDonald-Wright

Source:

Current active members

• Peter Seitz Adams
• Armand Cabrera
• Karl Dempwolf
• Adrian Gottlieb
• Daniel W. Pinkham
• Alicia Ponzio
• Tony Pro
• Christopher Slatoff
• The Solliday Team

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See also

• Landscapes
• California Tonalism
• Decorative Impressionism

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Note

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References

• Morseburg, Jeffrey, The Return of California Impressionists , California Art, Unpublished Manuscripts
• Trenton, Patricia & amp; Gerdts, William, California Light: 1900-1930, Laguna Beach Museum of Art, Exhibit Catalog, Chronicle Books, San Francisco, 1992
• Morseburg, Jeffrey, Theodore Lukits: Jonathan Art Foundation Collection, Johnathan Club, Los Angeles, 2010
• Morseburg, Jeffrey Theodore Lukits: An American Orientalist , Exhibit Catalog, Forward by David Kamansky, Asia Pacific Museum, Pasadena, California, 1998
• Adams, Peter & amp; Adams, Elaine, East Coast Ideals, West Coast Concepts, Carnegie Museum, Oxnard, California Introduction by Suzanne Bellah, Exhibition Catalog, 1997
• Stern, Jean, Sierra Nevada Treasure , Los Angeles County Museum of Natural History, Exhibit Catalog, 1998
• Susan Landauer, Ph.D., "The California Art Club, A History", American Art Review , March 1996, p.Ã, 44-51

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External links

• Official website
• Springville Museum of Art, CAC Special Exhibition Site
• [1]
• Weisman Museum, Pepperdine, Special Place Location in Malibu Exhibition
Website
• Serving on Life and Art Lukits, Member of CAC Life
• Southern Alleghenies Art Museum, Plein-Air Pastel Collection including CAC Members Live and Died
• Website of the Asia Pacific Museum, Venue for CAC Special Exhibition
• American Fine Art Representative for some CAC signature members
• Los Angeles County Museum of Natural History, Places for Special Exhibits
• National Design Academy, New York, Allied Organization

Source of the article : Wikipedia