434:. The group's membership was initially limited to thirty painters and sculptors all of whom had the right to participate in the group's exhibitions, each getting the same space. One commenter notes that the group provided a platform for its members to distinguish themselves from the "genteel" and traditionalist art that women artists were at that time expected to show. In 1926, Weinrich joined with Knaths and other local artists in a rebellion against the more conservative artists who had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association mounted two separate annual exhibitions, the one conservative in orientation and the other experimental. Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition. In 1930, Weinrich put together a group show for modernists at the G.R.D. Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths,
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347:. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. One author says Weinrich led Knaths to adopt an abstract style of painting; another points out that Weinrich and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work. In 1922, Knaths married Helen and moved into the house that the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share.
670:'s oil painting called "Big Trees at L'Estaque". Of "Trees and Houses", Noun wrote, "The rounded shapes of the foliage along with the curved trunks of the trees contrast with the angular houses in the center to make a pleasing composition. Although abstract, the artist has used local color: green for foliage and greens and browns for land patches, black for tree trunks, tans for house siding. It calls to mind Braque's 1908 landscape oil 'Big Trees at L'Estaque'." Other paintings, particularly her still-lifes and flower studies, were semi-abstract with less cubist influence. When the flower study called "Blue Pitcher" was shown in Provincetown in 1927, a critic for the
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Washington D.C., and in 1946, at the
Woljeska Gallery. In the 1917 Provincetown Artists Association exhibition, she showed a block print called "Broken Fence". Noun said the "simplified design and clear colors" of this print lent it "a fresh Modernist note". In 1919, she showed an etching called "Houses (House at the Hillside)" in an exhibition in New York's Touchstone gallery that also included works by Mary A. Kirkup, Blanche Lazzell, and Flora Schoenfeld. She showed an oil called "Still Life" at the 1920 Provincetown Art Association exhibition.
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644:. Writing in 1921, a critic wrote, "Whether they intend it or not, these cubists and their fellow radicals are gradually proving by their work that their function is most legitimately concerned with revivifying applied design and with making it significant of the nervous individuality and independence of the times in which we live." This critic said the artists showed "vigor" and "eager, straining imagination". After 1920, some of Weinrich's paintings show a strong influence of the theoretical writings of
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Cubism, her work explores and moves in an interesting direction." The author saw these non-cubist, semi-abstract paintings as more personal, "allowing her own predilections to emerge." Reviewing a retrospective exhibition held in 1998, a critic wrote, "Working in white-line woodcut, oil on canvas, and pencil, Weinrich developed a style of lively colors and forms which have the splashy feeling of modernism without losing a basic sense of structure."
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wholly non-representational. Weinrich's
Drawing of an Old Woman of about 1915 is in a realist style. Her cubist paintings, such as "Woman with Flowers" of 1920, fall into the semi-abstract category, as do works, such as "Still Life" of 1920, that were neither cubist nor realist. Her cubist work called "Collage" of 1923 and her painting called "Night City" of about 1946 are purely abstract. It and her other pure abstracts are, as feminist collector,
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later, another said, " drawings some in black and white, some in colors shown at the Public
Library are feminine ... There is a bit of Braque, a bit of Matisse, a bit of Knaths. all put into a frail, feminine melting pot". That year, a third wrote: "Miss Weinrich's prints and paintings ... serve as most excellent examples of the trend of art, away from tradition and toward the realization of new ideals."
211:. There, Agnes attended the Burlington Collegiate Institute from which she graduated in 1897. In May 1898, Weinrich and her sister Helen, then called Lena, traveled to Germany with their aunt, a German-born music teacher named Rose Werthmueller. When Werthmueller returned home, they stayed on, living in Berlin with German relatives.
381:. Following her death, her work was exhibited and received critical notice in group shows at places such as Burlington, Iowa; Kansas City, Missouri; Atlanta, Georgia; Iowa City, Iowa; Neenah, Wisconsin; and Lancaster, Pennsylvania. In 1997, a gallery in Des Moines gave Weinrich a retrospective exhibition to which the
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for two years in
Springfield, Illinois, where Helen taught piano in public schools and Agnes painted in a rented studio. In May 1905, Agnes won prizes in an exhibition held by the Illinois State Fair for the drawings and oil paintings she showed. Later that year, the two moved to Chicago where Agnes studied at the
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In 1998, a
Provincetown gallery owner told a reporter that Weinrich's career had three phases: one in which realism predominated; a second in which she employed a semi-abstract style; and a third that was purely abstract. The first two presented the viewer with identifiable subjects and the third was
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addressed this subject. She wrote, "Woman has not had a very long period of unclipped wings in which to practice flying, but even so, she is making good progress in her flight to the stars, where, after all, many of her patronizing critics have not yet arrived either." Writing long after
Weinrich's
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For most of her career, Weinrich produced works in oil, watercolor or gouache, pencil or crayon, and prints. For her subjects, she continued to choose still lifes, flower settings, landscapes, figures, and geometric abstracts whose subjects were not readily discernible; her treatment continued to be
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art while in Paris and met
American artists who had begun to appreciate it. On her return to the United States, she discussed new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. In Provincetown, one source says she and three other artists—Blanche
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She is definitely in harmony with the
Parisian spirit, indifferent to imitation, and yet motivated by the outward qualities of the things she paints. To gain clarity, cohesion, contrast, she permits the form to dissolve somewhat, to relax or tighten as the scheme demands; she may prefer to distort
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While in
Germany, Helen took advanced classes in violin and piano and Agnes studied art. A year after their arrival, their father died leaving them an inheritance that proved to be sufficient to sustain them for the rest of their lives. In 1904, the sisters returned to the United States and settled
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Following her death, critics were more likely to describe
Weinrich's style rather than to evaluate it. An exception was the 1977 review of a retrospective exhibition held in Des Moines, Iowa. In it, the author said her cubist paintings were derivative but, "When she doesn't adhere to the tenets of
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During the last fifteen years of her life, the art press continued its coverage of Weinrich's exhibitions and its critical appraisals of her work. In 1930, a reviewer said, "her delicacy and good taste are evident, but curiously the best details in her pictures are the least abstract." Eight years
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and New York. Early in her career, she traveled widely in Europe and spent extended periods studying in Paris and Berlin. She also studied art in Chicago, Provincetown, and New York. During most of her career, she worked in a Provincetown studio during the warm months and a Manhattan studio during
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True to its mission, the organization represented both sides of the artistic argument, mounting separate "Modern" and "Regular" summer exhibitions between 1927 and 1937. Still, the conciliation reached in 1937 was only partial; instead of separate exhibitions, separate juries installed concurrent
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Knaths credits two Burlington women for his success. One of these is his wife, the former Helen Weinrich, and her sister, Agnes Weinrich, who died six years ago. When the Knaths visited Burlington a year ago he told how he decided to follow the new contemporary style after watching Agnes Weinrich
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and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them said to be representational and somewhat conservative in style. In 1916, she showed what one reviewer called "an interesting collection of etchings" at a Provincetown Art
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In her 1996 article about Weinrich, Louise Noun emphasized the difficulties she and other women artists faced in an environment where men attracted more critical attention and sold more works of art. Reviewing a 1926 exhibition held by the New York Society of Women Artists, a critic for the New
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wrote that like her other semi-abstract flower paintings it was "strong as a closed fist", adding, "It is complete, no fault in it. every inch thought out and interesting." In 2013, a writer described an oil called "Plants and Fruit" and another semi-abstract painting, both held by the Phillips
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Agnes Weinrich was born on July 16, 1873, on a prosperous farm in southeast Iowa. Her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879, she was raised by her father, Christian Weinrich. After retiring in 1894, he moved his
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Weinrich participated in many group exhibitions held by nonprofit organizations such as the Provincetown Art Association and the New York Society of Women Artists. She held three solo exhibitions during her life: in 1936 at the Harley Perkins Gallery in Boston, in 1938 at the public library in
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The three phases named by the gallery owner were not chronologically distinct in that Weinrich continued to make realist, semi-abstract, and purely abstract works throughout most of her career. In accord with her early training, Weinrich's first works had been in the realist tradition and,
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and took a short course in etching. They then traveled to Rome, Florence, and Venice before returning to Chicago in October 1910. In 1913, they traveled to Europe for the third, and last time. They spent a year in Paris, where they made friends with American artists and musicians in the
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Lazzell, Lucy L'Engle, and Ada Gilmore, "were at the center of the maelstrom that accompanied the rise of Modernism". The members of this loosely-knit group influenced one another as their personal styles evolved. In addition to these three women, the group included Maude Squire,
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particularly in her drawings, she continued to make realist pictures thereafter. Regarding her last solo exhibition in 1946, a critic praised Weinrich's "exceptional pencil technique in her meticulous rendering" of two flower subjects. Weinrich had seen cubist and other
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This is a selective list of group exhibitions in which she participated during her life. In addition to the article by Louise Noun, its sources are exhibition catalogs such as those of the Provincetown Art Association, as well as contemporary news accounts, including
2160:, by Louise R Noun and Deborah Leveton (a catalog accompanying an exhibition held at the Des Moines Art Center; Art Guild of Burlington; and Provincetown Art Association & Museum, 30 p., ill., ports., 26 cm. (Des Moines, Iowa, Des Moines Art Center, 1997).
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Weinrich's block prints were often in a cubist-influenced semi-abstract style. In 1996, Louise Noun discussed one of these, a white-line print of about 1917. Noun noted a similarity between an untitled print that is informally called "Trees and Houses" and
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death, two writers, Noun and a critic for a Massachusetts paper, noted that Weinrich was privileged in at least one respect. Her inherited income made it unnecessary for her to earn a living and gave her the freedom to make whatever art she wished.
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and Touchstone. She also received attention from critics outside these two home bases. A critic called attention to the still life paintings in a 1932 exhibition at the J.B. Speed Memorial Museum in Louisville, Kentucky and a critic for the
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By 1919 or 1920, while still spending the cold months in Manhattan and the warm ones in Provincetown, Weinrich and her sister came to consider the latter their formal place of residence. By that time, they had also met the painter,
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Throughout the 1920s and 1930s, Weinrich received critical notice for works she showed in exhibitions in Provincetown and New York. Her exhibitions in these two places included appearance in most of the annual shows held by the
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and in 1939 that paper reviewed a solo exhibition at the Boston Conservatory of Music. Her appearances in Philadelphia included the block prints she showed in the first annual exhibition of that city's Print Club, noted in the
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there. In 1925, she became a founding member of the New York Society of Women Artists, She participated in its exhibitions from then until her death in 1946 and sometimes held positions on its board of directors. In 1988,
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Art work of Miss Agnes Weinrich of Provincetown, Mass., former Burlingtonian, was given fine recognition in column headed 'What's Going On In The Arts' in a recent edition of the Christian Science Monitor, Boston,
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In the latter stages of her career, Weinrich continued to live with her sister Helen and Karl Knaths, mostly in Provincetown and New York but also sometimes in Washington, D.C. when Knaths was teaching at the
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and crayon. Her paintings, prints, and drawings appeared in solo and group exhibitions throughout her career and she received favorable critical attention both during her life and after her death.
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critic called attention to a painting of about 1930 called "Abstraction" that the critic said was "entirely free from the dictates of conservatism". Near the end of her career, a critic for the
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called works shown at New York's Touchstone Gallery "clever and entertaining". This attention continued during the 1920s with notices in the metropolitan dailies and the art press. In 1921, a
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said the two prints had an "accomplished design" with "the look of woodblock printing, but with more variety of color and tone than usually is given by the block." In 1919, a magazine called
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Broken Fence by Agnes Weinrich, a white line woodblock made on or before 1917; at left: the picture she made as source for the print; at right: a print pulled from the woodblock
1376:"Semi-Abstract Drawings Exhibited, Work of Agnes Weinrich, at Library: Artist Paints in Oil, Water Colors and in Crayons. One-Color Process Used in Making Her Woodcuts".
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or to suppress a shape, or to heighten with thick outline. It is the design which conveys vitality by handling color, contrast, outline with independence and audacity.
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Critics gave favorable attention to Weinrich's work during the early years of her career. When she showed at New York's Water Color Club in 1917, a critic for the
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magazine that called Weinrich a "trailblazing" printmaker who was one of the first American abstractionists and who played a critical role in introducing
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theory to American artists, collectors, and the general public. Weinrich died in Provincetown on April 17, 1946, at the age of 73. Her obituary in the
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wrote a review of a solo exhibition in Washington, D.C., in 1938. Her work also appeared and received critical notice from time to time in the
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239:. According to one writer, the work Agnes produced at this time was skillful but unoriginal—drawings, etching, and paintings in the dominant
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148:(July 16, 1873 – April 17, 1946) was an American visual artist. In the early twentieth century, she played a critical role in introducing
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Agnes Weinrich shows a strong note of impressionism in "Two Girls," "A House in Provincetown," "Village Street," and several landscapes.
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work in the abstract manner of painting. this was his first introduction to modern art. -- "Knaths' Show Opens Today", by George Shane
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In 1916, Weinrich joined a group of printmakers that had begun using the white-line technique pioneered by Provincetown artist
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Criss Roberts (May 17, 1998). "Artist for the Ages; Yarmouth Native Gained Success Despite Difficulties of the Time".
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said her work was "accomplished in design". A year later, reviewing an exhibition at the Penguin Gallery in Boston, a
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Lenore Metrick (December 7, 1977). "Midwest 'Modernist'; Des Moines Art Center Exhibits Works of Agnes Weinrich".
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In 1909, Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied painting under
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critic gave her flower paintings extravagant praise. In a balanced review of a two-person show held in 1929, a
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critic said her landscapes had "quiet charm" but said her cubist abstracts were "distressingly doctrinaire".
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exhibitions on opposite gallery walls, with a coin-flip deciding that the modernists' work hung on the left.
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Collection, as "worthy examples of her abstract, vigorous style." Regarding Weinrich's pure abstractions, a
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pointed out, "composed of hard-edge geometric forms" and, lacking a discernible subject, are nonobjective.
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Archives of American Art, Smithsonian Institution | Archives of American Art, Smithsonian Institution
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reproduced an untitled Weinrich etching that showed parts of two houses amid trees and behind a fence.
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652:. Her painting, "Woman With Flowers" of 1920 shows similarities to Metzinger's 1911 painting called "
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Agnes Weinrich, Untitled (Trees and Houses), about 1920, white-line block print, 12 x 10 3/4 inches,
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On her return from Europe in 1914, Weinrich continued to study art. She and Helen split the year and
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theory to American artists, collectors, and the general public and became one of the first American
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Agnes Weinrich, "The Blue Pitcher, between 1921 and 1926, oil on canvas, 22 3/8 x 17 7/8 inches
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1804:"Exhibit catalog for Salon de "La Section d'Or", 1912, from the Walter Pach papers, 1857-1980"
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The Eye of the Collector: The Jewish Vision of Sigmund R. Balka [Exhibition Catalog]
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reviewer poked fun at a landscape that he or she likened to an earthquake. In 1927, another
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wrote that Weinrich's pure abstractions contained "planes of color sensitively modulated."
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Jane Holahan (April 27, 2000). "Demuth Exhibit Outlines Provincetown Printing Technique".
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Art in narrow streets: the first thirty-three years of the Provincetown Art Association
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wrote that in her still-lifes she matched the "strength and brilliance" of Braque and
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critic said she infused the cubist formula with "something like emotion". In 1919,
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Georges Braque, Trees at L'Estaque, 1908, oil on canvas, 31 5/8 x 23 11/16 inches,
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Provincetown Art Association, Sixth Annual Exhibition, July 4 to August 31st, 1920
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Provincetown Art Association, Third Annual Exhibition, July 4 to September 1, 1917
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Tides of Provincetown, reproduced from the New Britain Museum of American Art
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Tides of Provincetown, reproduced from the New Britain Museum of American Art
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Laura Caruso (November 4, 1990). "Color Prints Merit Exhibit All Their Own".
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Agnes Weinrich, Woman with Flowers, 1920, oil on canvas, 34 × 30 1/4 inches
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Agnes Weinrich, Old Woman, about 1915, graphite on paper, 11.5 x 7.5 inches
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Agnes Weinrich, Untitled (Collage), about 1923, mixed media, 11 x 7 inches
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Kingsley, April (1988). "Women Artists and the Frontiers of Modernism".
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Agnes Weinrich, Etching (House at the Hillside), 1919 as published in
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Breuning, Margaret (April 24, 1926). "About Artists and Their Work".
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1693:"William L'Engle (1884-1957) and Lucy L'Engle (1889-1978): Chronolgy"
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Agnes Weinrich, Abstraction, about 1930, oil on board, 24 x 20 inches
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Agnes Weinrich, Plants and Fruit, 1929, oil on canvas, 36 x 28 inches
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Agnes Weinrich, Night City, about 1946, oil on canvas, 24 x 16 inches
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1745:"Paintings and Prints by Agnes Weinrich at the Public Library".
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Dorothy Adlow (August 12, 1944). "Cezanne and Freedom in Art".
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Mary Spencer Nay (February 14, 1932). "Art Association Notes".
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Noun, Louise R. (Autumn 1995 – Winter 1996). "Agnes Weinrich".
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Agnes Weinrich, Still Life, 1920, oil on canvas, 17 x 22 inches
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Agnes Weinrich, Still Life, 1920, oil on canvas, 17 x 22 inches
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in 1925. Other Provincetown members included Blanche Lazzell,
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1663:"Charles Webster Hawthorne Founds the Cape Cod School of Art"
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1879:"Art Work of Former Burlington Resident Given High Praise".
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1731:. Barnstable, Massachusetts. August 27, 1998. p. SB3.
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George Shane (May 19, 1955). "Knaths' Show Opens Today".
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Association exhibition. When she showed paintings at the
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The Man from Buena Vista: Selected Nonfiction, 1944-2000
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1610:"History | Provincetown Art Association and Museum"
1413:. Philadelphia Pennsylvania. January 1, 1933. p. 8.
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1076:. Illinois Department of Agriculture. 1905. p. 239.
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278:. In 1914, Hawthorne and other artists established the
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household, including Agnes and two siblings, to nearby
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Annual Water Color and Miniature Exhibitions Catalogue
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2177:, (Provincetown, Pilgrim Memorial Association, 1989).
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North American Women Artists of the Twentieth Century
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1148:. Boston, Massachusetts. October 18, 1916. p. 8.
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1929: Pennsylvania Academy of Fine Arts, Philadelphia
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1917: Pennsylvania Academy of Fine Arts, Philadelphia
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The Touchstone and the American Art Student Magazine
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The Statue of Liberty - Ellis Island Foundation, Inc
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1395:. Boston, Massachusetts. April 8, 1939. p. 13.
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1163:. Brooklyn, New York. October 21, 1917. p. 8.
1060:. Springfield, Illinois: R. L. Polk & Co. 1904.
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291:said they showed a "strong note of impressionism".
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2131:"Provincetown Art Association Exhibition Catalogs"
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1380:. Washington, D.C. February 20, 1938. p. TT5.
1116:. Boston, Massachusetts. July 2, 1916. p. 30.
2063:"Boston Art Notes; Society of Contemporary Art".
1883:. Burlington, Iowa. December 2, 1936. p. 6.
1769:. Brooklyn, New York. March 24, 1946. p. 31.
1749:. Washington, D.C. February 20, 1938. p. F5.
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1488:. Appleton, Wisconsin. July 15, 1995. p. 51.
1458:. Atlanta, Georgia. August 17, 1991. p. 122.
1428:. Burlington, Iowa. January 12, 1964. p. 11.
1391:"Miss Agnes Weinrich's Paintings on Exhibition".
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1044:. Burlington, Iowa. November 12, 1898. p. 5.
875:1939: Corcoran Gallery Biennial, Washington, D.C.
848:1917-23: Society of Independent Artists, New York
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2594:Conservation and restoration of woodblock prints
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1469:"American Modernism Show Has Range of Styles".
999:. Burlington, Iowa. April 14, 1899. p. 13.
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2034:. New York, NY. February 24, 1921. p. 12.
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1834:. Associated University Presses. p. 106.
1555:. Burlington, Iowa. April 17, 1946. p. 2.
1261:"Art; Water Color Club's Current Exhibition".
1014:. Chicago, Illinois. June 17, 1897. p. 4.
860:1926 onward: New York Society of Women Artists
263:. In Provincetown, she became a member of the
2670:School of the Art Institute of Chicago alumni
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2049:. New York, NY. February 2, 1929. p. 29.
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1637:"The Provincetown Art Association and Museum"
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1473:. Iowa City, Iowa. June 17, 1995. p. 32.
1265:. New York, NY. November 4, 1917. p. 69.
1202:. Barnstable, Massachusetts. October 2, 2015.
1944:. New York, NY. January 8, 1932. p. 25.
1901:"Modern Artists Show Work at Provincetown".
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2067:. Boston, Massachusetts. December 31, 1930.
1029:. Burlington, Iowa. May 7, 1898. p. 3.
872:1938: Boston Society of Independent Artists
338:Weinrich, her sister Helen, and Karl Knaths
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2209:
2195:
1905:. New York, NY. July 10, 1927. p. X9.
1057:Polk's Springfield City Directory, 1904-05
884:1945: Woljeska Gallery, Brooklyn, New York
410:gave heart ailment as the cause of death.
227:, Frederick W. Freer, and Ralph Clarkson.
31:
2135:Provincetown History Preservation Project
1919:. Taylor and Francis. 2013. p. 570.
1848:
1685:
1654:
1602:
1598:. New York, NY. May 3, 1925. p. X11.
1328:
1152:
959:
842:1915 onward: Provincetown Art Association
418:Weinrich became a founding member of the
250:
2095:
2086:
1991:. Boston, Massachusetts. April 15, 1918.
1634:
1628:
1587:
1535:
554:University of Iowa Stanley Museum of Art
2181:Iowa artists of the first hundred years
1855:Albert Gleizes; Jean Metzinger (1913).
1782:"Provincetown, Port of Art and Letters"
1120:
1112:"Gems of Art on View in Provincetown".
955:
953:
951:
949:
947:
945:
943:
941:
939:
937:
935:
933:
931:
929:
927:
925:
923:
921:
919:
917:
2675:Art Students League of New York alumni
2632:
1970:Philadelphia Water Color Club (1917).
1779:
1727:"Agnes Weinrich's Obscure Happiness".
1660:
1503:. Lancaster, Pennsylvania. p. 72.
915:
913:
911:
909:
907:
905:
903:
901:
899:
897:
217:School of the Art Institute of Chicago
2190:
2163:"Agnes Weinrich," by Louise R. Noun,
1821:
1443:. Kansas City, Missouri. p. 130.
881:1939: Institute of Modern Art, Boston
690:
2680:20th-century American women painters
2660:People from Des Moines County, Iowa
2599:The Japanese Art Society of America
1959:. Boston, Massachusetts. p. 9.
1780:Sayler, Oliver M. (December 1921).
1551:"Agnes Weinrich Dies in the East".
1358:. Louisville, Kentucky. p. 12.
1329:Rosensaft, Jean Block, ed. (2006).
894:
528:, oil on canvas, 30 x 27 1/2 inches
267:art colony and attended classes at
13:
2151:
2045:"Women's Society Holds New Show".
2030:"Independents Hang Cubists High".
1594:"Women Artists Form a New Group".
1214:"100 Years of Art in Provincetown"
851:1919: Touchstone Gallery, New York
274:. In New York, she studied at the
16:American visual artist (1873–1946)
14:
2706:
2645:20th-century American printmakers
878:1939: Witherstine Gallery, Boston
789:magazine v. 4, n. 4, January 1919
457:
420:New York Society of Women Artists
357:New York Society of Women Artists
2330:
2100:. New York, New York. p. 9.
863:1928: Grace Horn Gallery, Boston
794:
778:
766:
599:
587:
575:
560:
545:
533:
515:
503:
491:
479:
467:
363:and two New York galleries, the
196:
2082:. Des Moines, Iowa. p. 39.
1518:. Burlington, Iowa. p. C1.
1306:Smithsonian American Art Museum
413:
287:in 1917, an art critic for the
2695:American expatriates in France
2640:20th-century American painters
1987:"Cezanne and Freedom in Art".
1940:"Women Artists Open Gallery".
1184:. Des Moines, Iowa. p. 7.
854:1919: Art Institute of Chicago
756:
361:Society of Independent Artists
1:
1828:Charles Edward Eaton (2001).
1765:"Madame Woljeska's Gallery".
1424:"Home Owned Art on Exhibit".
888:
836:The Christian Science Monitor
359:as well as shows held by the
2285:Bror Julius Olsson Nordfeldt
2243:Ella Sophonisba Hergesheimer
2006:"Four Provincetown Painters"
1635:McCarthy, Christine (2011).
1280:"Four Provincetown Painters"
353:Provincetown Art Association
280:Provincetown Art Association
7:
1010:"Music Students Graduate".
869:1932: Boston Public Library
687:both abstract and realist.
569:National Gallery of Denmark
156:. A life-long proponent of
88:Mount Union, Iowa
74:Provincetown, Massachusetts
10:
2711:
2690:American women printmakers
2685:American abstract painters
1042:Burlington Evening Gazette
1027:Burlington Evening Gazette
726:In 1936, a critic for the
165:the cold ones. Weinrich's
2584:
2549:
2412:
2339:
2328:
2225:
2158:Agnes Weinrich, 1873-1946
2098:The New York Evening Post
2065:Christian Science Monitor
1989:Christian Science Monitor
1957:Christian Science Monitor
1661:Bakker, James R. (2011).
1409:"In Gallery and Studio".
832:The Philadelphia Enquirer
728:Christian Science Monitor
701:Christian Science Monitor
681:Christian Science Monitor
398:wrote an article for the
122:
112:
93:
82:
61:
39:
30:
23:
2119:. The Association. 1920.
1250:. The Association. 1917.
202:Early life and education
102:Art Institute of Chicago
1290:(4): 348. January 1919.
1159:"In the World of Art".
385:gave a lengthy review.
54:Des Moines County, Iowa
2361:Elizabeth Eaton Burton
2016:(14): 2. January 1919.
1144:"Notable in Variety".
857:1920: Boston Arts Club
741:
522:Jean Metzinger, 1911,
303:
301:, May 19, 1955, p. 7.
272:Cape Cod School of Art
251:Studio in Provincetown
2450:Charles Buckles Falls
2219:woodblock printmakers
2171:Art in Narrow Streets
1570:"NY Society of Women"
1411:Philadelphia Enquirer
1127:Ross Moffett (1964).
1025:"Personal Mentions".
828:New York Evening Post
736:
379:Philadelphia Enquirer
294:
265:Provincetown Printers
2498:Tom Killion (artist)
2309:Ferol Sibley Warthen
1767:Brooklyn Daily Eagle
1703:on December 31, 2014
1456:Atlanta Constitution
1218:Julie Heller Gallery
1161:Brooklyn Daily Eagle
1133:. Kendall Print. Co.
995:"Old Citizen Dies".
824:Brooklyn Daily Eagle
654:Le goûter (Tea Time)
648:and another cubist,
525:Le goûter (Tea Time)
289:Brooklyn Daily Eagle
2444:Janet Doub Erickson
2349:Charles W. Bartlett
2303:Anna Heyward Taylor
2165:Woman's Art Journal
2080:Des Moines Register
1881:Burlington Hawk Eye
1697:D. Wigmore Fine Art
1673:on January 13, 2015
1574:Julie Helle Gallery
1553:Burlington Hawk Eye
1516:Burlington Hawk-Eye
1426:Burlington Hawk-Eye
1182:Des Moines Register
997:Burlington Hawk Eye
962:Woman's Art Journal
408:Burlington Hawk Eye
383:Burlington Hawk-Eye
299:Des Moines Register
276:Art Students League
269:Charles Hawthorne's
98:Art Students League
2614:White-line woodcut
2468:Norma Bassett Hall
2255:Edna Boies Hopkins
2047:The New York Times
2032:The New York Times
1942:The New York Times
1903:The New York Times
1596:The New York Times
1263:The New York Times
1200:Barnstable Patriot
1196:"Fine White Lines"
1114:Boston Sunday Post
820:The New York Times
691:Critical reception
324:Edna Boies Hopkins
86:Trinity Cemetery,
2665:Artists from Iowa
2627:
2626:
2557:Arthur Wesley Dow
2540:Margaret Ely Webb
2480:Helen West Heller
2438:Arthur Wesley Dow
2385:Lilian May Miller
2010:American Art News
1841:978-0-8453-4878-9
1612:. January 7, 2014
1538:Provincetown Arts
1501:Lancaster New Era
1040:"Woman's Realm".
816:American Art News
705:American Art News
432:Marguerite Zorach
424:Ellen Ravenscroft
400:Provincetown Arts
191:drew using pencil
143:
142:
106:Charles Hawthorne
2702:
2456:Frances Gearhart
2373:Yasuhide Kobashi
2334:
2291:Maud Hunt Squire
2279:Mildred McMillen
2211:
2204:
2197:
2188:
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2018:
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1724:
1713:
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1710:
1708:
1699:. Archived from
1689:
1683:
1682:
1680:
1678:
1669:. Archived from
1658:
1652:
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1649:
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1632:
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1441:Kansas City Star
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782:
770:
603:
591:
579:
564:
549:
537:
519:
507:
495:
483:
471:
442:, Margarite and
391:Phillips Gallery
308:B.J.O. Nordfeldt
209:Burlington, Iowa
181:. She also made
77:
68:
49:
47:
35:
21:
20:
2710:
2709:
2705:
2704:
2703:
2701:
2700:
2699:
2630:
2629:
2628:
2623:
2586:
2580:
2569:William S. Rice
2545:
2528:William S. Rice
2494:(living person)
2492:Dennis Ichiyama
2474:James D. Havens
2408:
2391:Hiroki Morinoue
2341:
2335:
2326:
2275:(1876–ca. 1956)
2261:Blanche Lazzell
2228:
2221:
2215:
2154:
2152:Further reading
2149:
2139:
2137:
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1463:
1454:"Art Museums".
1453:
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1437:
1433:
1423:
1422:
1418:
1408:
1407:
1400:
1390:
1389:
1385:
1378:Washington Post
1375:
1374:
1363:
1356:Courier-Journal
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1111:
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1106:
1096:
1094:
1088:"Lena Weinrich"
1086:
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974:10.2307/1358569
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416:
370:Washington Post
340:
312:Blanche Lazzell
304:
253:
237:local art scene
221:John Vanderpoel
204:
199:
154:abstractionists
139:
108:in Provincetown
78:
72:
70:
66:
57:
51:
45:
43:
26:
17:
12:
11:
5:
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2403:Masami Teraoka
2400:
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2364:
2358:
2352:
2345:
2343:
2337:
2336:
2329:
2327:
2325:
2324:
2321:William Zorach
2318:
2315:Agnes Weinrich
2312:
2306:
2300:
2297:Mary Tannahill
2294:
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2282:
2276:
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2019:
1994:
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1506:
1491:
1484:"Arts Notes".
1476:
1461:
1446:
1431:
1416:
1398:
1383:
1361:
1346:
1318:
1293:
1268:
1253:
1231:
1220:. January 2000
1205:
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709:New York Times
697:New York Times
692:
689:
677:New York Times
672:New York Times
668:Georges Braque
650:Jean Metzinger
646:Albert Gleizes
638:Albert Gleizes
634:Oliver Chaffee
630:William Zorach
609:
608:
605:
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462:
461:
459:
458:Artistic style
456:
454:, and others.
444:William Zorach
440:Oliver Chaffee
436:Charles Demuth
415:
412:
396:April Kingsley
339:
336:
332:The Touchstone
328:New York Times
293:
285:MacDowell Club
252:
249:
203:
200:
198:
195:
169:work included
146:Agnes Weinrich
141:
140:
138:
137:
132:
126:
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120:
119:
114:
113:Known for
110:
109:
95:
91:
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84:
80:
79:
71:
69:(aged 72)
65:April 17, 1946
63:
59:
58:
52:
41:
37:
36:
28:
27:
25:Agnes Weinrich
24:
15:
9:
6:
4:
3:
2:
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2504:Paul Landacre
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2426:Katrina Andry
2424:
2421:
2420:Howard Albert
2418:
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2015:
2011:
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2001:
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1990:
1983:
1976:. p. 46.
1975:
1974:
1966:
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1943:
1936:
1928:
1926:9781135638894
1922:
1918:
1912:
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1861:. T.F. Unwin.
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2462:May Gearhart
2432:John E. Buck
2397:Chiura Obata
2367:Daniel Kelly
2355:Sarah Brayer
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1729:The Register
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452:Janice Biala
448:Jack Tworkov
428:Lucy L'Engle
417:
414:Art activism
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257:Provincetown
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232:Julius Exter
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183:block prints
162:Provincetown
145:
144:
135:abstract art
67:(1946-04-17)
18:
2655:1946 deaths
2650:1873 births
2577:(born 1952)
2575:Brian Shure
2571:(1873–1963)
2565:(1885–1975)
2559:(1857–1922)
2550:Instructors
2542:(1877–1965)
2536:(born 1952)
2534:Brian Shure
2530:(1873–1963)
2524:(1891–1986)
2518:(1956–2013)
2516:Holly Meade
2512:(1884–1960)
2506:(1893–1963)
2500:(born 1953)
2488:(1868-1919)
2482:(1872–1955)
2476:(1900–1960)
2470:(1889–1957)
2464:(1872–1951)
2458:(1869–1959)
2452:(1874–1960)
2446:(born 1924)
2440:(1857–1922)
2434:(born 1946)
2428:(born 1981)
2422:(1911–2004)
2405:(born 1936)
2399:(1885–1975)
2393:(born 1947)
2387:(1895–1943)
2381:(1869–1954)
2375:(1931–2003)
2369:(born 1947)
2363:(1869–1937)
2357:(born 1957)
2351:(1860–1940)
2323:(1887–1966)
2317:(1873–1946)
2311:(1890–1986)
2305:(1879–1956)
2299:(1863–1951)
2293:(1873–1954)
2287:(1878–1955)
2281:(1884–1940)
2269:(1891–1971)
2267:Karl Knaths
2263:(1878–1956)
2257:(1872–1937)
2251:(1903–1984)
2249:Mabel Hewit
2245:(1873–1943)
2239:(1883–1955)
2237:Ada Gilmore
2140:October 29,
1813:October 27,
1579:October 12,
1311:October 11,
1224:October 13,
1012:Inter Ocean
757:Exhibitions
625:avant-garde
617:Louise Noun
345:Karl Knaths
320:Ada Gilmore
175:watercolors
2634:Categories
2522:Mabel Pugh
2486:Helen Hyde
2379:Bertha Lum
2273:Ethel Mars
1786:Shadowland
1097:October 8,
889:References
787:Touchstone
316:Ethel Mars
117:Modern art
46:1873-07-16
2217:American
261:Manhattan
94:Education
2604:Japonism
2342:in Japan
2229:Printers
1707:June 24,
1677:June 21,
1646:June 21,
1616:June 26,
1540:: 68–71.
1339:June 21,
662:(1912).
355:and the
247:styles.
241:academic
187:etchings
123:Movement
2619:Woodcut
2609:Ukiyo-e
2585:Related
2340:Studied
982:1358569
732:Rouault
179:pastels
2587:topics
1923:
1858:Cubism
1838:
980:
834:, and
826:, the
822:, the
430:, and
404:cubist
322:, and
219:under
177:, and
150:cubist
130:Cubism
104:, and
2413:Other
2173:, by
2117:(PDF)
1886:Mass.
1248:(PDF)
978:JSTOR
717:Times
713:Times
365:Weyhe
259:and
167:easel
2142:2022
1921:ISBN
1836:ISBN
1815:2022
1709:2014
1679:2014
1648:2014
1618:2014
1581:2022
1341:2014
1313:2022
1226:2022
1099:2022
748:York
640:and
243:and
189:and
185:and
76:, US
62:Died
56:, US
40:Born
970:doi
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