Jul 242017
 

Architect Jean Taylor Strange moved to Chapala with her husband William Strange in January 1965 (having bought a house in Chapala Haciendas in December 1964) and resided there for more than forty years.

Jean Taylor Strange. Photo from Grierson (2008)

Jean Taylor Strange. Photo from Grierson (2008)

Besides the fact that she worked with her husband on researching his radio documentaries about Mexico for the Canadian Broadcasting Corporation (CBC), Jean Strange has a significant additional claim to fame since she was one of the first women in Canada to graduate with a degree in architecture.

A short profile of Jean Strange, who graduated from the School of Architecture at the University of Toronto in 1948, is included in Joan Grierson’s For the Record: The First Women in Canadian Architecture. The profile includes some photographs of her work and quotes Jean Strange as saying that, “My architectural training has enriched my life immeasurably. I cannot claim that any of these years had been dull.”

Jean was educated in the U.K. and Switzerland and then enrolled in the architectural course at Brighton Art School and Technical College in 1937. Two years later, part way through her studies there, she visited Canada on what was meant to be a six week trip as a student member of the Overseas Education League. The second world war broke out while she was in Canada, preventing her from returning home. She enrolled at the University of Toronto and was placed in the second year of the program of the class of 1943.

In 1943, she had completed all formal studies but still lacked the one year of experience required to be awarded her degree.

Since the war was still ongoing, she joined the Women’s Royal Canadian Naval Service, working in operations and base planning. This included a spell as assistant to Captain William Strange in the Directorate of Naval Information.

Discharged from the Naval Service after the war, she worked for the Central Mortgage and Housing Corporation (CMHC) in Ontario under architect Sam Gitterman, gaining the year’s experience required to complete her B. Arch degree in 1948. The following year she transferred within the CMHC to the publications section under Humphrey Carter.

Jean Taylor Strange with Ted Raines, Design Center, Ottawa, 1954. Photo from Grierson (2008)

Jean Taylor Strange with Ted Raines, Design Center, Ottawa, 1954. Photo from Grierson (2008)

Carver, in his memoir, Compassionate Landscape, writes that “I was also very lucky that through this whole period Jean Strange worked for me, with her meticulous sweet patience for the small-scale problems of housing design and the page-by-page layout of the publications that issued from our office. I had first known Jean as an English school-girl and wartime-evacuee who came to the Toronto School of Architecture in 1939. Later, she joined the Navy, married Captain William Strange, historian and broadcaster, and now they live in Mexico.”

Jean Taylor married Captain William Strange in 1950. She continued to work for the CMHC until 1959 when her husband was working in Jamaica, training staff for the Jamaica Broadcasting Corporation. In Jamaica Jean was a volunteer researcher and her husband’s assistant.

In 1962, the Stranges took two trips to the Yucatán Peninsula collecting information about the Maya for a CBC special. Shortly afterwards they decided to relocate to Mexico and bought a home in Chapala Haciendas.

Jean Strange assisted her husband with the research and writing of further documentaries about Mexico for the CBC, including a program on Cortés and the conquest of Mexico, entitled “The Bold Ones” and one about Emperor Maximilian and his wife Carlota.

Jean Strange continued to live in Chapala after the death of her husband in 1983.

Sources:

  • Humphrey Carver. 1975. Compassionate Landscape. University of Toronto Press.
  • Joan Grierson. 2008. For the Record: The First Women in Canadian Architecture. Toronto: Dundurn.
  • Guadalajara Reporter 30 April 1964, 2; 18 Nov 1965, 6.
  • Peter C. Newman. 2005. Here Be Dragons: Telling Tales Of People, Passion and Power. McClelland & Stewart.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jul 132017
 

Captain H. E. William (“Bill”) Strange OBE was Director of Naval Information in the Canadian Navy before “retiring” to Mexico with his wife, Jean, in January 1965 (having bought a house in Chapala Haciendas in December 1964) . He then proceeded to research, write and produce several radio documentaries about Mexico for the Canadian Broadcasting Company (CBC).

Strange was born in Corazal, British Honduras (now Guyana) in 1902. His father was the then District Commissioner. He attended a boarding school in the U.K. from the age of seven. When the first world war broke out, Strange became a cadet in the Royal Navy, and undertook training at Osborne and Dartmouth. Following his discharge in 1918, due to a vision problem, he moved to Trinidad, where his parents were then living and worked in that country’s oil fields. After Trinidad, he took teaching positions in England and Egypt.

Strange emigrated to Toronto, Canada, in 1929. During the next decade he worked in a variety of jobs related to sales, advertising, writing and public relations but found most success in writing radio scripts and plays. Among his weekly productions were “Who’s Who in Music”; “Let’s Disagree”; and “Echoes from History”. In 1935 he published a novel, Sunset in Ebony, based on his experiences in Trinidad.

When the second world war began in 1939, Strange used his skills to focus on radio programs designed to assist the allied cause. After producing about 20 half-hour shows in a series for CBD titled “They Shall Not Pass”, he started a long-running series named “Carry on Canada”. In 1941 he visited England as a CBC war correspondent “to look at the blitz”, collecting material for another book (below) and for several radio specials, one of which became the first Canadian program to win the top award at Ohio State University’s Institute of Education by Radio. Royalties from the book all went to the Navy League of Canada.

Strange joined the Royal Canadian Navy (RCN) in 1942 as an information officer. He served as Director of Naval Information from late 1945 until his retirement in February 1959. Much of his time with the RCN was spent making radio broadcasts.

After the second world war ended, Strange established the RCN’s first peace-time public information organization. During his time with the RCN Strange produced dozens of radio plays, booklets and articles as well as several books, in addition to documentary series, including a tri-service show called “Comrades in Arms”. In 1948 he founded The Crowsnest, the magazine of the Directorate of Naval Information.

William Strange wrote several books related to Canada and the second world war, including Canada, the Pacific and War (Toronto: Thomas Nelson, 1937); Into the blitz; a British journey (Toronto: Macmillan, 1941); The Royal Canadian Navy, 1942-1943 (Canadian Print and Lithographing Co, 1943); and Ships Mean Security (Toronto: The Navy League of Canada, 1945).

For his many and varied services, Captain Strange was awarded the OBE in January 1946.

Captain William Strange married Jean Taylor in 1950. In his memoir, Here Be Dragons: Telling Tales Of People, Passion and Power, Peter C. Newman pays tribute to Captain William Strange for having been an outstanding mentor to him in the early 1950s. Newman also refers to Strange’s wife, Jean, “his wonderful architect wife”.

From 1959 to 1961, the Stranges were in Jamaica where Bill was writing and training staff for the Jamaica Broadcasting Corporation.

In 1962, the couple took two trips to the Yucatán Peninsula collecting information about the Maya civilization for a CBC special. Shortly afterwards they decided to relocate to Mexico and bought a home in Chapala Haciendas, from where they began to explore the rest of Mexico, working on new projects for the CBC. A brief note in the 30 April 1964 edition of the Guadalajara Reporter informs us that “Capt. and Mrs William Strange have returned from a trip to Mexico City, Tlaxcala, Cholula and other spots. He’s doing research for a program on Cortés and the conquest of Mexico for Canadian Broadcasting Corporation, Toronto.”

From a lengthier piece in the same newspaper the following year (18 November 1965) we learn that the Stranges have returned to Chapala Haciendas after spending the summer settling affairs in Canada. Captain Strange’s 90-minute radio documentary about Hernan Cortés’ conquest of Mexico, “The Bold Ones”, was being broadcast by the CBC national network. Strange had already completed a new project, the story of Emperor Maximilian and his wife Carlota, which the CBC had agreed to produce and broadcast.

In 1966, Strange entered an “experimental film” entitled “Dimensions” into a contest held as part of Guadalajara’s annual Fiestas de Octubre celebration. The film won “Capitán William Sprange” (sic) a silver sombrero.

It was in 1966 when Strange was appointed to the first board of directors of the newly-formed Anglo-Mexican Institute (IAM) in Guadalajara. Less than a year later, he became president of the IAM’s governing council and he was still actively involved in IAM affairs when it celebrated its 10th anniversary in September 1976.

Captain William Strange, OBE, CD, RCN, died in Chapala in 1983.

Sources

  • Anon. “Founder of The Crowsnest Retires.” The Crowsnest, March 1959.
  • Guadalajara Reporter 30 April 1964, 2; 18 Nov 1965, 6;
  • Informador 11 Sep 1966; 28 Oct 1966; 3 July 1967; 11 Sept 1976
  • Peter C. Newman. 2005. Here Be Dragons: Telling Tales Of People, Passion and Power. McClelland & Stewart.
  • William Strange. 1941. Into the blitz; a British journey. Toronto: Macmillan.
  • Captain William Strange Papers (Director of Naval Information): Speeches and Related Materials in National Defence Headquarters Directorate of History and Heritage.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Jun 082017
 

The Black American artist Arthur Monroe, born in Brooklyn in 1935, grew up in New York and traveled in Mexico, before settling in California and becoming an integral part of the abstract expressionist movement of West Coast painters and poets. He lived and painted for three years in Ajijic in the early 1960s.

Monroe studied art and first encountered abstract impressionism (and its links to jazz) in New York, where he studied at Pratt Institute, the Brooklyn Museum Art School and City College. The East Village at the time was a “caldron of creativity stirred by poets, painters, sculptors and jazz musicians.” Monroe, whose studio was close to that of Willem De Kooning, became close friends with the famous jazz musician Charlie Parker. His love for jazz has never diminished.

Arthur Monroe. Street Games - Skully. 2001.

Arthur Monroe. Street Games – Skully. 2001.

Deciding that he needed to look at less traditional forms of visual art, and determined “to escape American racism and discrimination”, Monroe traveled to Mexico (and later to South America), where he became immersed in the rich spirituality and iconography of the ancient cultures: the Maya of the Yucatán Peninsula, the Zapotec and Mixtec of Oaxaca, and the Olmec of eastern Mexico.

From Mexico, Monroe returned to live in California, first in Big Sur and then in San Francisco, where he quickly became part of the legendary Beat Era of North Beach in the late 1950s. (Other Beat Era artists and authors with links to Lake Chapala include Al Young, Ned Polsky, Alexander Trocchi, Don Martin, Clayton Eshleman, Ernest Alexander, Jack Gilbert, ruth weiss, and Stanley Twardowicz).

Arthur Monroe. Jam Session. 1991.

Arthur Monroe. Jam Session. 1991.

Monroe’s circle of Beat Era friends included painters Michael McCracken and Michael Bowen. The three painters shared a huge loft-studio relatively near Pier 23. Monroe had a Volkswagen Bug and avoided any parking issues by the simple expedient of driving into the elevator and storing his vehicle, when not in use, in the studio. Later, the trio of artists found themselves unable to meet the rent. Monroe put his works into storage and when that bill wasn’t paid, they were auctioned off: many of the paintings ended up in the hands of two Santa Cruz art collectors for a measly $400 in total.

Monroe’s interest in Mexico continued. In the early 1960s, as the Beat Era was drawing to a close, he was back in Mexico, living and painting for three years in Ajijic. It was in Ajijic that Monroe first met the poet and writer Al Young who also lived in California. In a 1969 newspaper interview, Young recalled that,

“At that time, Ajijic (near Guadalajara) was crammed with hippies … Arthur was one of the beatniks who had sort of lasted into the hippie era … The Mexicans loved him. They all called him by one name: Arturo. He was a very romantic figure, wearing the Mexican straw hat that the peasants wore. He was painting, and he was highly respected.”

In 1965, Monroe held an exhibition of his work at the Posada Ajijic, at the invitation of the inn’s manager Peter Spencer. In August 1965, Spencer announced that he would host a series of four solo shows in the hotel, each lasting two weeks, starting with Charles Littler (of the University of Arizona Art Department) and followed by Dick Poole, Arthur Monroe and John Thompson.

Back in California, Monroe continued to paint but took an establishment position as Registrar at the Oakland Museum. In addition, Monroe has taken an activist role in fighting to preserve indigenous petroglyphs scattered throughout California and has researched the history of African-American soldiers in World War II for a future book.

Arthur Monroe with a self-portrait.

Arthur Monroe with a self-portrait.

As a painter, Monroe has always remained an abstract expressionist, preferring to let his ideas emerge gradually on the canvas to having any pre-determined drawing guide what he wanted to portray. Some works have taken up to three years to complete as he continually seeks to convey new “visual truths”. His work was included in a group show at the Cabrillo College Gallery in 1969 to mark Black Culture Week. He has also exhibited at the Richmond Art Center and the Museum of the African Diaspora.

Monroe’s many one-person shows include an exhibition of large paintings at the Santa Cruz Art League’s Da Vinci Gallery in January 1991, the Don O’Melveny exhibition in December 2001, and the major show “The Inside of Now”, held at the Wiegand Gallery on the campus of Notre Dame de Namur University in Belmont, California, in 2006. A newspaper preview of the show described Monroe’s large-scale canvasses as “vibrant with rhythm and color”, “unplanned, improvisational works, created in the moment”. Al Young, then Poet Laureate of California, said of Monroe that, “With playful clarity and depth, he paints his emotional response to the wayward world — and always with loving spontaneity.”

Sources:

  • Judith Broadhurst. 1991. “The beat goes on for artist Arthur Monroe”, Santa Cruz Sentinel, 25 January 1991, p 11.
  • Terry St. John. Arthur Monroe (website)
  • East Bay Times, 16 March 2006
  • Guadalajara Reporter, 5 August 1965
  • Santa Cruz Sentinel (Santa Cruz, California), 23 February 1969, p 13; 18 January 1991.

Other posts related to Beat artists, poets and writers:

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 5:39 am  Tagged with:
Jun 012017
 

François de Brouillette was an artist and poet who was born in Vermont on 22 April 1906 and died in Santa Barbara, California, on 12 February 1972.

It has so far proved impossible to reconstruct a reliable time line for various significant events in his life, but de Brouillette is known to have visited Lake Chapala numerous times over a period spanning more than forty years, and definitely painted the lake, probably on numerous occasions.

A few years ago, two of his oil paintings connected to Lake Chapala – “Lake with Boat San Juan Cosala” and “San Juan Cosala Steeple” were in an auction of paintings belonging to Mr. and Mrs. Lucien Lemieux, though it is unclear when these works were painted.

From contemporary newspaper reports, we know that he spent several weeks in Chapala over the winter of 1966-67, a few years before he died. During that visit, Anita Lomax, who wrote for the Guadalajara Reporter, met de Brouillette when she called on another artist, Jesús “Chuy” Alcalá, at his studio in Chapala.

Lomas later wrote that de Brouillette had known the Chapala area since 1926, and was “an artist of great versatility”, though “his forte is restoring fine paintings.” Lomax reported that she had first met de Brouillette in 1962 when he exhibited a selection of his paintings at the Galería del Arte (in Guadalajara) and that de Brouillette was based in Houston, Texas, but continued to travel regularly for work and pleasure. Lomax found that de Brouillette was quite the raconteur, more than willing to talk about his many adventures and misadventures while researching and restoring old paintings.

Francois de Brouillette. Untitled.

François de Brouillette. Untitled portrait. Date unknown.

Precisely where de Brouillette acquired his art knowledge remains something of a mystery, but he was living in Hollywood, California, and described himself as a “portrait painter” when, shortly before his 26th birthday, he married Joanna Catherina Tenneson in Yuma, Arizona, on 9 April 1932. Tenneson,  aged 33, was also living in Hollywood. Sadly, the marriage did not last very long.

In addition to his painting, de Brouillette was also becoming well known as a writer, with poems or articles published in the Honolulu Star-bulletin, Outlook, Town and Country, Wide World News and Harper’s Magazine. He compiled one poetry collection, Peon’s prayer, published in 1933 by the Bella Union Press in Los Angeles (at which time de Brouillette was apparently living in California). While some reports attribute a second book of poetry – Youth is a beggar – to him, its details do not appear in any of the usual bibliographic sources.

brouillette-francois-de-peon-s-prayer-title-page-1933s

de Brouillette married for the second time in 1935. His second wife, Velma Mildred Henard (1912-1968), who preferred Mildred to Velma, later remarried to become Mrs Edgar Taylor. She was an artist and professor of art education who taught at the University of Southern California for 18 years. Mildred became an authority on Mexico’s ancient sculpture and pottery. In the 1940s and 1950s, she and her second husband amassed a large collection of archaeological pieces from the area of Chupícuaro (Guanajuato), later purchased by the actress Natalie Wood for the Fowler Museum of the University of California of Los Angeles.

Mildred’s parents had a ranch near Wellington in the Texas panhandle and in May 1935, de Brouillette, a “nationally known painter-poet”, was invited to give art classes in Wellington and helped reorganize the Wellington Art Club. By this time, de Brouillette had, apparently, already acquired a serious interest in archaeology and the tropics, having spent five years in Florida, Cuba, the West Indies, Mexico and the Hawaiian islands. Advance publicity in the local newspaper said of the artist that, “As an archaeologist his journeys have taken him into Mayan country of Yucatan, Aztec lands, back mountain sections of Mexico, visiting Indian tribes never before visited by the white man. He lived and worked with the last tribe of the Aztecs and the Tonala Indians in Jalisco. His adventures and genius give promise of a great new name in western art and lore.”

Exaggeration aside, de Brouillette had clearly already traveled quite widely in Mexico and was much in demand as a speaker and lecturer. In June 1935, he was guest speaker for the Wellington Kiwanis Club and spoke about the background of the “last tribe of Tonala Indians”. In December, he lectured, exhibited and read poetry at Southwestern University.

In 1936, de Brouillette was director of the Miami Federal Art Galleries in Florida, an institution that had 780 pupils and 30 instructors. At about this time he was responsible for taking “the first exhibit of paintings ever sent abroad by the United States government”, a collection that included 36 water color paintings, for an exhibition in Havana, Cuba.

In September of 1936, de Brouillette, who had already gained a reputation as a fine portrait painter, was in Dallas working on a portrait of John Nance Garner, the U.S. Vice President, for the Washington Press Club. The following year, de Brouillette conducted a two weeks’ art class at Saint Mary’s Academy in Amarillo in March 1937, teaching figure, portraiture and still life.

He and Mildred held a joint exhibition of their recent artwork at the Country Library in Wellington in September of that year. de Brouillette showed various portraits, mainly of local people, while his wife showed mainly scenic works and still lifes. Both painters also had works accepted into the juried show that opened at the Witte Museum in San Antonio in December 1940.

Newspaper accounts list several places (Washington D.C., Miami, California, Texas) as “home” for the de Brouillettes in the 1930s, but it appears that from 1940 to at least 1947, they were living and working mainly in San Antonio, Texas. For at least part of this time, the couple operated an antique shop on Broadway.

de Brouillette had oil paintings accepted into two consecutive major Texas annual juried shows. “The Mine Fell In” was included in the “7th Texas General Exhibition”, which ran from November to December 1945 at the Dallas Museum of Fine Arts in Dallas, Texas, and “The Novice” was accepted into the “8th Texas General Exhibition”, which ran from October 1946 to January 1947, opening at The Museum of Fine Arts in Houston, before moving to the Witte Memorial Museum in San Antonio and The Dallas Museum of Fine Arts.

Somehow, de Brouillette even found time to be the director of the Little House School of Art in San Antonio in 1947, an institution which trained dozens of fine young artists.

Newspapers in the 1950s include very few references to de Brouillette, apart from the occasional mention that he is undertaking a commission to paint a portrait of some then-famous personage.

By the time of his visit to Guadalajara in July 1962 and his exhibit at La Casa del Arte (Av. Corona #72), de Brouillette was billing himself in publicity adverts as “an acclaimed portraitist”, who was “considered to be one of the five finest restorers in the world.”

Sources:

  • Guadalajara Reporter : 21 January 1967; 25 February 1967
  • Molly Heilman. 1940. “New Artists In Witte Exhibition”, San Antonio Light, 15
    December 1940, p 42.
  • Informador (Guadalajara): 9 July 1962; 14 July 1962
  • The Megaphone (Georgetown, Texas). 1935. 3 December 1935: Vol. 29, No. 11, Ed. 1.
  • San Antonio Express (Texas). 1947. “Art School Directors To Address Students”, San Antonio Express, 8 June 1947.
  • The Wellington Leader (Wellington, Texas). 30 May 1935; 6 June 1935, p 8; 1 October 1936, p 1; 1 April 1937, p 9; 23 September 1937, p 1; 6 January 1938, p 9; 23 February 1939, p 3.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

 Posted by at 5:26 am  Tagged with:
May 082017
 

Bob Somerlott was a well-respected writer of both fiction and non-fiction who lived in Ajijic for several years in the early 1960s before moving to San Miguel de Allende, where he resided for almost forty years.

Robert (“Bob”) Somerlott was born 17 September 1928 in Huntington, Indiana, and died, following surgery, on 22 July 2001 in León, Guanajuato. He attended Northwestern University, Michigan State University and the University of Michigan, and then worked for about 15 years as an actor and stage director before moving to Mexico and becoming a professional writer.

According to Michael Hargraves in Lake Chapala: A Literary Survey, Somerlott spent the winter of 1958 at Chapala and then lived intermittently at Ajijic from late 1962 through the spring of 1965, before moving to San Miguel de Allende. While Somerlott apparently first settled in San Miguel in 1963, we know from contemporary newspapers that he was in Ajijic over the winter of 1964-65 since in December 1964 he is mentioned as being mid-way through a 12-week competition organized by the Ajijic chess club, playing against Phillip Hildreth and his wife Gina Dessart Hildreth, John Mersereau, Dick Bishop, Larry Hartmus and Lou Wertheimer.

At some point during his several decades of residence in San Miguel, Somerlott was academic director of the Instituto Allende, a college for English-speaking students. Somerlott’s interests were far-ranging. His works draw heavily on his particular keen interest in everything historical, including archaeology. History-related themes frequently made their way into his books.

His first major success as a writer came when he had a short story accepted for the January 1964 edition of Atlantic Monthly; it went on to win that publication’s annual fiction award. The following year, Somerlott had a short story entitled “The Hair of the Widow” published in the January 1965 issue of Ellery Queen Mystery Magazine. That story was “based on a tale told to him early one morning on the pier in Ajijic by an old man” and was “supposed to be true, naturally, as all ghost stories are!” In 1967, his story, “Evening at the Black House” was chosen by Alfred Hitchcock for his Alfred Hitchcock Presents: Stories That Scared Even Me. Somerlott also had a piece published in American Heritage in 1971.

Somerlott’s first novel, The Flamingos, written partly in Ajijic and partly in San Miguel, was published in 1967.

The Flamingos is not an especially strong first novel since both plot and dialogue are somewhat predictable but, in the words of the Kirkus Review, is “a most entertaining commercial novel”, in which “The author brings an assortment of expatriate Americans with a full range of sexual tastes to a flyblown Mexican shoreline village”, and a variety of Mexican characters who suddenly find themselves in the path of a major hurricane. “The only bull in the book is a muscular lesbian whose company built a defective dam above the town not destined to outlast such a storm.” As the anonymous reviewer concluded, this would be a better movie than a book.

Some locales and incidents in The Flamingos are clearly derived from Somerlott’s experiences in Ajijic and San Miguel, though heavily disguised. For example, there are descriptions of the “city” of Nexcotela, half-way to the coast, with its waterfall, mineral baths, American Legion and “Café International”, a bar that somewhat resembles The Beer Garden in Chapala. Much of the book is set in the fictional coastal city of San Antonio Tlaxtalapan on Mexico’s west coast. (Clearly, therefore, the title is a misnomer since flamingos are only found on Mexico’s eastern coast!). The city has a “Mexican-North American Institute” that is the educational front of the missionary arm of the church.

The novel’s minor characters include Stephen Mayers, a one-handed, ex-military American who had been a fine amateur pianist. His maid, Adela, is a petty thief whose husband, Roberto, “graduates” into a hitman, employed by two brothers from Guadalajara. The two main characters are Matthew Selkirk, a 58-year-old former professor and translator, an openly gay member of the “American colony” and 26-year-old, blond, blue-eyed Clay McPherson who has fled the U.S. because he believes he has murdered his mother. The relationship between the two men is often strained but Clay eventually risks his own life in order to try to rescue Matthew.

Hard on the heels of The Flamingos came The Inquisitor’s House (1968).

Somerlott then changed track and published a book about occultism – “Here Mr. Splitfool”: An Informal Exploration Into Modern Occultism (1971) (released in the U.K. as Modern occultism) – and another non-fiction work, The writing of modern fiction (1972).

Hargraves has pointed out that Here Mr. Splitfoot includes the following tangential reference to Lake Chapala:

“Throughout Latin America today there are divinas who gaze into a glass, a jewel, or a bowl of water in attempts to find the missing property of clients. Sometimes they have remarkable results, as in the Mexican village near Lake Chapala, where a divina announced that a lost watch would be found wrapped in a blanket—and this proved to be perfectly true. In another Mexican case a ring, supposedly stolen, was described as being lodged in a drainpipe—and so it was true. Despite numerous correct hits and the continued popularity of divinas, there has been to date no realty scientific study of this facet of crystallomancy.” (p 221)

Somerlott then wrote several mystery novels under the pen name Jessica North, including The High Valley (1973), River Rising (1975), The Legend of the Thirteenth Pilgrim (1979) and Mask of the Jaguar (1982), before returning to use his own name for Blaze (1981) and Death of the Fifth Sun (1987). A Spanish language translation, by Miquela Misiergo, of Death of the Fifth Sun, was published as La Muerte Del Quinto Sol (1991).

In later years, Somerlott focused on non-fiction. He co-edited The Penguin Guide to Mexico 1991 (1990) and wrote San Miguel de Allende (1991) before completing a series of historical works including The Lincoln Assassination in American History (1998); The Little Rock School Desegregation Crisis in American History (2001); and The Spanish-American War: “Remember the Maine” (2002).

Sources:

  • Drewey Wayne Gunn. Gay American Novels, 1870-1970: A Reader’s Guide. (McFarlane, 2016).
  • Guadalajara Reporter: 10 Dec 1964; GR 14 Jan 1965
  • Michael Hargraves. 1992. Lake Chapala: A Literary Survey (Los Angeles: Michael Hargraves).

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

May 042017
 

American artists Paul Charles Hachten (born 1934) and his then wife Cynthia “Casey” Siddons Jones lived in Ajijic from 1968 to 1969, following their marriage on Valentine’s Day 1968. However, Hachten was still listed in a  local newspaper in April 1971 as having a studio in Ajijic, at Independencia #28.

Peter Huf, who was living in Ajijic at the time, recalls that the Hachtens did not exhibit very much at all, though we do know that Paul Hachten was part of the group show for the re-opening of La Galeria in Ajijic, a show entitled “Art is Life; Life is Art”, which ran from 13 December 1968 to January 1969. The other artists in that show were Cynthia Siddons (his wife),  Tom Brudenell, Alejandro Colunga, John Frost , Jack Rutherford, Peter Huf, Eunice (Hunt) Huf, John Kenneth Peterson, José Ma. De Servin, Shaw and Joe Wedgwood.

Prior to that, Hachten was one of several Lakeside artists whose work was included in the First Annual Graphic Arts Show, which opened 5 June 1968, at La Galeria (Ocho de Julio #878, Guadalajara). Allyn Hunt described his works as “subtle excellent prints, the best being “Mr. Fields.” (Guadalajara Reporter, 15 June 1968)

Hachten also participated in the group show that marked the re-opening of La Galeria in Ajijic, a show entitled “Art is Life; Life is Art”. The show ran from 13 December 1968 into January 1969. The other artists in this show were Tom Brudenell, Alejandro Colunga, John Frost , Jack Rutherford, Peter Huf, Eunice (Hunt) Huf, John Kenneth Peterson, José Ma. De Servin, Shaw and Joe Wedgwood.

A few months later, one of Hachten’s works, an acrylic entitled “Blue Blue”, was chosen for inclusion in the 1969 Semana Cultural Americana – American Artists’ Exhibit – which ran at the Instituto Cultural Mexicano Norteamericano de Jalisco (Tolsa #300, Guadalajara) from 27 June 1969 to 4 July. This juried, group show included works by 42 U.S. artists (94 works in all) from Guadalajara, the Lake area and San Miguel de Allende.

At the time, Peter Huf was uncertain about the quality of Hachten’s art, but has since become convinced that it was actually way ahead of its time:

“I remember one time some of us went to his studio and he was putting the paint on some large canvas with a very wet sponge. We laughed about it, but when I think about it now, somehow he was far ahead of us all. I still have an etching of his which is very sensitive.”

One of Hachten’s painting from this time, Parsubin (1970) was acquired by the Dallas Museum of Art, and is now in its permanent collection. Parsubin is a color serigraph on aluminum with overall dimensions of 27 x 24 1/4 inches  (68.58 x 61.59 cm). It was included in a companion exhibition to a Jackson Pollock mural (Hornets Nest) at the Des Moines Art Center in 2012 as one representative of works influenced by the Abstract Expressionist (Ab-Ex) movement.

Paul Hachten: Parasubin (1970). Dallas Museum of Art.

Paul Hachten: Parasubin (1970). Dallas Museum of Art.

Amy N. Worthen, the Des Moines Art Center’s Curator of Prints and Drawings, explained in a presentation (reported afterwards by Heath Lee) that the cool and more impersonal 1960s Pop Art eventually came along and quenched some of the fire and heat of the Ab-Ex movement. She thought this was perhaps best illustrated by Paul Hachten’s print, Parasubin (1970), which seems to cage up the energy of Ab-Ex art with its orderly grids. Describing Parasubin‘s colors as “opalescent and unnatural”, Worthen pointed to this piece as an example of the “last gasp” of Ab-Ex style and an example of the inevitable overlap between art movements. In her view, by 1970, “Abstract Expressionism, now subdued and tamed, has lost its sting.”

Hachten’s parents lived in Buffalo, New York, and Hachten studied art at New York University and (from 1958) at the University of California at Berkeley. At the time of his marriage to Cynthia Siddons Jones in Mendocino, California, in 1968, he had a studio in the town, and the couple apparently planned to live there, but chose to move to Mexico instead. They spent the next year living and painting in Ajijic.

We have yet to learn more about Paul Hachten, beyond a report in the New Mexican, a Santa Fe newspaper, in July 1972 that “Paul Hatchen” (sic) was holding an exhibition of “graphics at the opening of his new gallery”. Hachten has rarely exhibited and currently lives in Seal Beach, in San Francisco.

[It appears to be complete coincidence that the surname Hatchen was used by the novelist Ross Macdonald for a married couple, Dr Keith and Mrs Pauline Hatchen, in The Zebra-Striped Hearse (1962), a book partially set in Ajijic.]

This is an updated version of a post first published on 21 April 2016. If you can add to this skeleton biography, please get in touch.

Source:

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

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Apr 272017
 

The renowned Mexican American artist Eugenio Quesada (1927-2011) lived in Ajijic in the early 1960s. Quesada had a distinguished artistic career and is considered an important figure in the history of Mexican American art.

Eugenio Reynaldo Quesada, usually known simply as “Gene”, was born in Wickenburg, Arizona, on 24 May 1927. He was born into one of the town’s pioneer families, the grandson of Teodoro Mazon Ocampo and Mariana Rodriguez Ocampo, who settled in Wickenburg, about sixty kilometers northwest of Phoenix, in 1860.

Eugene Quesada, 2009

Eugene Quesada, 2009

Quesada graduated from Wickenburg High School in 1945 and then served in the U.S. Navy. After the war, he attended Arizona State University (ASU), from where he graduated with a B.A. degree in May 1952. He continued his art studies in California and New York. In 1951, he was one of several artists who worked with French-born Mexican muralist Jean Charlot on the fresco “Man’s Wisdom Subdues the Aggressive Forces of Nature” in the ASU Administration building.

Early in his career, Quesada found inspiration in the oversized work of other Mexican muralists, including Jose Clemente Orozco and Diego Rivera. He went on to paint several murals of his own in Mexico between 1963 and 1970, but is better known today for his exquisitely executed charcoal portraits, often of children, ink sketches and small paintings.

He lived in Guadalajara and Ajijic for six years in the 1960s, a key period in his artistic development. In the words of his obituary:

“This long residence in Mexico flavored the stuttering lines, torsos and oblique forms that became the core of Quesada’s body of work. His work deals in the barest essentials in defining his subjects. Texture and color used to define form, rather than specific objects make his paintings appear larger than they are. His drawings suggest brief, but very effective visual statements.”

When he returned to Arizona, Quesada left several small paintings of Ajijic children with the Crump family in Ajijic. The family also owns Quesada’s portrait of Carlos Espiritu which dates from the 1960s. Espiritu was a well-known guitarist who resided in Ajijic and taught guitar for several years.

Eugene Quesada. ca 1964, Portrait of Carlos Espiritu. (image courtesy of Raymond Crump)

Eugene Quesada. ca 1964, Portrait of Carlos Espiritu. (image courtesy of Raymond Crump)

Quesada held his first solo show of paintings in March 1968, at the Casa de Cultura in Guadalajara. It was very well attended. His three sisters from Phoenix flew down for the opening and other guests included fellow artists Peter Huf and his wife Eunice Hunt, as well as Booth and Sue Waterbury, the then managers of Posada Ajijic.

At a group show in Guadalajara in June 1968 – First Annual Graphic Arts Show at La Galeria (878 Ocho de Julio, Guadalajara) – Quesada exhibited a portrait of a child entitled “Mire Pa’alla”. Other Lakeside artists with work in this show included Tom Brudenell, John Frost, Paul Hachten, Allyn Hunt, Peter Huf, Eunice Hunt, John K. Peterson and Tully Judson Petty.

Eugene Quesada. 1964, Sonañdo. Charcoal. (from Quirarte)

Eugene Quesada. 1964, Sonañdo. Charcoal. (from Quirarte)

After his years in Mexico, Quesada taught art at Glendale Community College and was professor of fine arts at Arizona State University in Tempe, Arizona, until his retirement in 1989. Following his retirement, he and his siblings established the Jose Franco and Francisca Ocampo Quesada Research Award Endowment at ASU which funds student research that increases the understanding of the Hispanic community.

Among the other one-person shows held by Quesada in his productive career were
shows in Tempe, Arizona (1970, 1972) and Glendale, Arizona (1980). Group shows included the Annual All-Student and Alumni Art Exhibit in Tempe (1955, 1956); San Francisco, California (1969); Phoenix, Arizona (1970); “Five Chicano Artists” in Paradise Valley, Arizona (1971); League of United Latin American Citizens, Washington, D.C. (1971); Mexican American Art Symposium, San Antonio, Texas (1973), “Chicanos and the Arts”, Phoenix ((1975); Group Exhibit, Yuma, Arizona (1975); Two-man exhibit in Tempe (1976); the Heard Museum, Phoenix (1976); the New Hispanic Exhibit, Washington, D.C. (1978); “Arte Sweat & Tears”, Museo Chicano, Phoenix, (1980); and “Primer Encuentro Cultural: Chicano”, University of Guadalajara, Jalisco (1983).

Gene Quesada. Untitled. 1968.

Gene Quesada. Undated. Untitled. (image courtesy of Raymond Crump)

Quesada’s work featured in two major traveling exhibitions of Mexican American art. The first was “Artists, Hispano / Mexican-American / Chicano Artists, Hispano / Mexican-American / Chicano Artists, Hispano / Mexican-American / Chicano” opened at The Lobby Gallery-Illinois Bell in Chicago in 1976 and then visited Witte Memorial Museum, San Antonio, Texas; De Cordova Museum, Lincoln, Massachusetts; Illinois State Museum, Springfield, Illinois; Mexican Museum, San Francisco, California and ended at the Boise Gallery of Art, Boise, Idaho, in March 1977. The second was “The Latin American Presence in The United States, 1920-1970”, organized by The Bronx Museum of the Arts. This opened in New York in September 1988 and then visited El Paso Museum of Art (1989), San Diego Museum of Art (1989), Instituto de Cultura Puertorriquena, San Juan, Puerto Rico (1989) and ended at The Center for the Arts, Vero Beach, Florida (1990).

Gene Quesada. Untitled. 1968.

Gene Quesada. 1968. Untitled. (image courtesy of Raymond Crump)

A major retrospective of Quesada’s work was held in 2010, entitled “Figurative Impressions by Eugene Quesada, 50 Years: Paintings, Prints, and Drawings – a tribute to the Mexican American Artist”. It opened in San Diego, California, in August of that year.

The following year, on 31 December 2011, following a long illness, Eugenio Quesada passed away in his native Wickenburg. Many of Quesada’s papers are now housed in the Arizona State University Libraries Chicano Research Collection.

These two short YouTube videos feature many examples of his art:

Sources:

  • Raymond Crump – personal communication
  • Guadalajara Reporter: 9 Mar 1968, 15 June 1968
  • Obituary: The Wickenburg Sun (Wickenburg, Arizona), 11 January 2012.
  • Jacinto Quirarte. 1973. Mexican American Artists. Univ of Texas Press.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Apr 242017
 

Veteran sports journalist Jack McDonald was already in his late sixties when he and his wife retired to Chapala in 1967. His retirement did nothing to diminish his productivity. McDonald (born John McDonald, but always called Jack) spent the next decade traipsing across Mexico, always in search of the next story. From his home in Chapala, he supplied a continuous stream of well-researched and well-written travel articles to publications north of the border and to the Guadalajara Reporter.

He also served a term as president of the Chapala Society (now the Lake Chapala Society) in the late 1960s.

McDonald was born on 21 October 1899 in Bussey, Iowa. At age 16, seeking adventure, he enlisted in the U.S. Army under an assumed name to serve under Gen. John “Black Jack” Pershing and chase after Pancho Villa on the Mexican border. He was sent home when his deception was discovered, but subsequently served his country with honor (in the Navy) during both the first and second world wars. As a chief petty officer and radioman, he was initially on a corvette accompanying convoys to Iceland and South America, but then on a destroyer, which came under fire in Okinawa, Iwo Jima and other battles in the South Pacific.

McDonald joined the sports department of the San Francisco Call-Bulletin in 1926 and was its sports editor from 1947 to 1959. He then wrote for the Call’s successor, the San Francisco News Call-Bulletin until its closure in 1965, when he joined The Examiner as a columnist and rewrite manager. During his career, he interviewed every well-known sportsman of the time, covering all sports and situations with equal dedication and expertise. He was the quintessential cigar-smoking reporter of folklore, who was known and respected by everybody he worked with.

McDonald covered 26 World Series, 28 Kentucky Derbies as well as countless heavyweight boxing championship fights and Rose Bowls. He won the San Francisco Press Club’s best sports story of the year three times. McDonald also served terms as president of the Press Club and of the San Francisco-Oakland Newspaper Guild. The “Jack McDonald scrapbooks of sports writing, 1926-1993” are among the papers and scrapbooks held in the archives of the California Historical Society in San Francisco.

McDonald’s first wife, Helen, died in 1961; the couple had been married for ten years.

After retiring in January 1967, McDonald and his second wife, Beatrice, moved to a home high above Chapala. During the following decade, McDonald was an indefatigable traveler (“never without a cigar or his pipe, ashes spilling over a rumpled shirt”) as he sought out new places in Mexico to write about. His travel articles appeared in a dozen newspapers in the U.S., U.K. and Canada, including the New York Times, Chicago Tribune and Toronto Star.

He also filed dozens of well-crafted pieces for the Guadalajara Reporter, which demonstrate his unrivaled interviewing skills and ability to ferret out the details that made his stories come alive.

McDonald contributed stories, both fiction and non-fiction, to Collier and Liberty magazines, and also wrote two books: Navy Retread (Vantage Press, 1969), his second world war reminiscences, and Something to Cheer about: Legends from the Golden Age of Sports (1986).

In 1978, he and his wife moved back to San Diego. Beatrice died in 1995, and Jack died two years later on 14 September 1997 at his Pacific Beach home in San Diego, at the age of 97.

Sources:

  • Eric Brazil and Zachary Coile. “S.F. editor, sportswriter Jack McDonald” (obituary), San Jose Mercury News, 18 Sept 1997; SFGate, 18 Sep 1997.
  • Robert V. Thurston. “New Book by Reporter Writer Tells World War II Experiences”. Guadalajara Reporter, 8 March 1969, p16.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Apr 032017
 

Author Martin M. Goldsmith was born 6 November 1913 in New York City and died in Sherman Oaks, Los Angeles, at the age of 80, on 24 May 1994. He wrote several acclaimed screenplays, including Detour (1945), adapted from his 1939 novel of the same name; Blind Spot (1947); and The Narrow Margin (1952) which earned him an Academy Award nomination.

He and his wife – Estela Quinn-Oaxaca (sometimes known as Stella), the younger sister of movie star Anthony Quinn – lived in Ajijic for a short time in the mid-1960s, while he was working on scripts for the TV series The Twilight Zone (1964).

Goldsmith, born and raised in New York City, left school at the age of 15 and spent several months hitchhiking and hopping freight trains across the U.S. By his early twenties, Goldsmith was selling the occasional story to magazines, and had moved to Mexico, where he wrote his first book, a crime novel entitled Double Jeopardy, published in 1938. By this time he was back in New York and about to move to Hollywood.

Once in the film mecca, Goldsmith took a job as a stage hand to get a close-up look at how movies were made. He completed his second novel, Detour, which was published in 1939. In 1944 Goldsmith sold the film rights to the Producers Releasing Corporation (PRC), with the proviso that he write the screenplay. Using Goldsmith’s meticulously detailed screenplay which included lighting and camera angles, director Edgar G. Ulmer was able to shoot the entire movie in less than a week. The 1945 movie is now recognized as a film noir classic and was added to the National Film Registry in 1992.

Thereafter, Goldsmith and his wife seldom lived in any one place for very long, preferring an itinerant life to staying in the Hollywood limelight.

For a time, the couple returned to Mexico. His screenplay The Lone Wolf in Mexico (1947) is about a good-natured jewel thief, while a coastal fishing village became the setting for his well-received comic novel The Miraculous Fish of Domingo Gonzales (1950). The Kirkus Review compared “this light, satiric, fanciful fable of the coming of civilization (from America) to Puerto Miguel (Mexico)” favorably to Steinbeck’s Tortilla Flat, concluding that it was “a pleasantly entertaining chronicle of the doubtful benefits of today’s advancements”, with “a bubbling sense of local character and event”. The novel is set in a small, sleepy fishing village which is “developed” (and in danger of being corrupted) when an American buyer of shark livers comes to town to do business with laid-back, deadbeat shark fisherman Domingo Gonzales.

Both Martin and Estela had pilots’ licenses, and whenever they had the funds and the opportunity, they would travel. They lived in numerous different countries, leading to significant gaps between Goldsmith’s credits. From the mid-1960s on, Goldsmith and his wife spent more time traveling than writing.

In 1964, we learn from Anita Lomax, writing in the Guadalajara Reporter, that “noted Hollywood writer Martin Goldsmith and his wife Estelita (a sister of Anthony Quinn) who flew here in their Piper Comache … are staying a while with us in Ajijic at Casita Mas o Menos”. Three years later, Lomax reported that another Hollywood couple, Abner and Sybille Bidderman, who had first heard about Ajijic from the Goldsmiths, were visiting Ajijic.

Martin Goldsmith wrote more than a dozen screenplays, including Dangerous Intruder (1945); Detour (1945); The Lone Wolf in Mexico (1947); Blind Spot (1947); Shakedown (1950); The Narrow Margin (1952); Mission Over Korea (1953); Overland Pacific (1954); Hell’s Island (1955); Fort Massacre (1958); The Gunfight at Dodge City (1959); Cast a Long Shadow (1959); Point of Impact (1959); What’s in the Box (1964); The Encounter (1964); Narrow Margin (1990).

His TV scripts included episodes of Playhouse 90 (1958); Natchez (1958); Goodyear Theatre (1959) and The Twilight Zone (1964).

Goldsmith’s books included Double Jeopardy (1938); Detour: an extraordinary tale (first published in 1939); Shadows at Noon (1943), a fictional account of an enemy attack on Manhattan; and the comic novel The Miraculous Fish of Domingo Gonzales (1950). He also wrote Night Shift, a stage play which ran for 24 performances at the Labor Theater in New York in the fall of 1977, and an autobiography which was never published.

According to Richard Doody, when Goldsmith’s publisher asked him what to tell his readers about his life, “the author replied that it was enough to say that he was there yesterday, here today and “… God knows where I’ll be tomorrow.””

After a prolonged period of declining health, Martin M. Goldsmith died on May 24, 1994.

Sources:

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Mar 162017
 

We looked in a previous post at the life and work of multi-talented German artist Paul “Pablo” Huf who spent his early childhood in Ajijic. Huf, born in Guadalajara in October 1967, is the elder son of two professional artists closely associated with Ajijic – Peter Paul Huf and Eunice Hunt. The family lived in Ajijic until Paul was six years old, at which point they moved to Europe, where they lived for a couple of years in southern Spain before eventually settling in Kaufbeuren in Bavaria, Germany.

After working as a car mechanic, social worker and educator, Paul Huf switched to art in his thirties and studied in Munich and Spain. After finding a box of his parents’ photos and mementos of Mexico while visiting them in Kaufbeuren, Paul Huf decided to research their courtship and revisit their old haunts. He returned to Mexico at age 40, for the first time since he had left as a child, and spent three months traveling to places where his parents had been more than forty years earlier, including San Blas, Ajijic, Zihuatanejo, Oaxaca and Veracruz.

The story of his parent’s romance is the basis for Huf’s fascinating contribution (“40 Años”/”40 Years”) to a group exhibition of work by German artists entitled Vistazo, La transformación de lo cotidiano, (“Glance, The transformation of everyday life“) held at the Museo Carrillo Gil in Mexico City from 15 March to 10 July 2007. During his travels, Huf wrote ten short texts that became the thread linking photographs and drawings recounting his parents’ love story. Here, for the very first time in English, are the ten short texts that Huf wrote for the exhibition.

1. San Blas

In January 1965 the Lions Club of San Blas organized a dance. Everyone attended. It had been a wonderful warm day, it grew dark early. The entrance was decorated with colored lanterns. Among the many guests who made their way to the party was a 25-year-old German.

Peter, who left Germany as a young man, had arrived a few weeks before from Texas and rented an apartment in the small fishing village to work on his art.

Eunice was 32, recently divorced after ten years of marriage. She had traveled to Mexico to rethink her life. She came from Canada, where she had studied art. Since she was the daughter of migrants from Banat, in Romania, she understood German.

Peter saw Eunice, and immediately liked her, but it was difficult to reach her because all the other men had also noticed this young woman. Peter pretended to know only German, so he managed to get some special attention. After the dance, they met every day in the square and took long walks with Eunice’s dog, Klara.

Eunice was impressed by an installation Peter had set up in his apartment. He darkened a room and hung a cord with an empty coconut from the ceiling. Inside the coconut was a candle. When the candle was lit, the cord swayed. Only with this flickering and unstable light could the black shapes be seen on the walls.

It was the beginning of a great love. In March, the couple moved to a large house on the square, where all rooms, except one, were uninhabitable due to spiders, dust accumulated over many years and piles of antique furniture.

Part of Paul Huf's 2007 exhibit in Mexico City. Credit: Paul Huf.

Part of Paul Huf’s 2007 exhibit in Mexico City. Credit: Paul Huf.

2. Desertion

In May of 1965 they were on a bus on their way to Mexico City; Peter had to go to the German consulate because his passport had expired. On arrival, they told him that his name was on a list of deserters, because he had ignored his call to military service. By the time more call-up letters arrived, he was already abroad. Nothing had kept him in his hometown.

Peter’s father had written a letter to the recruiting office, informing the relevant people that he was unable to communicate with his son. He himself had participated from the first day of World War II and had been a prisoner of war in France. He could not understand then, wrote his father, the behavior of his son.

Peter told the consul that he would stay in Mexico if they did not renew his passport. They renewed it.

3. Dogs and first class

A dog is an animal and animals travel with peasants and Indians in third class, thought the inspector. I am the inspector of the first class and these strange gringos have a dog with them. Animals should travel in the luggage compartment, but by no means in first class! You have to get him out, he has no right to be here, but the stupid gringo, overbearing, shows me a ticket, telling me that they have bought one for the dog! Who, what asshole, at the station, sold them a ticket for the dog?! A train ticket for dogs in first class! The dog even has a name, who has seen something like that?! A dog with a female name! The woman repeatedly caresses the black dog and calls him Klara. What nonsense! But I am the inspector of the first class and with me animals do not travel, even if they have a ticket, let alone when they have a name! Now, the guy tells me, to make matters worse, that Mexico is a democracy! Democracy, who cares? Mexico may be a democracy, but there is no democracy on this train; here I am in charge!

Halfway there, the train gradually slowed, until finally it stopped. The compartment door opened, the inspector stood in front of the couple, accompanied by two soldiers armed with machine guns readied for use. Accompanied by the soldiers, the inspector, and the machine guns, the pair got off the train. Klara was on a leash, as it should be. The other travelers watched the small group with curiosity. They walked on granite ballast under the hot sun until they reached the end of the train. They reached the luggage compartment, where they had to tie up the dog. They did not untie it until they reached Oaxaca.

4. Do You Know Arthur Rimbaud?

“I know him,” thought Peter, “that narrow guy, with his long hair hanging in his face, his tight, striped suit!” Then it occurred to him that they had often seen each other in Paris in the discos where they sat, listened to the latest discs of John Coltrane, and smoked cigarettes. Over the music the Frenchman had asked him: “Do you know Arthur Rimbaud?”. But when he wanted to answer, a woman had come up to them and interrupted the conversation. That had been a few years ago.

Now here was the guy standing in a bar in Oaxaca. Peter went up to him and said, “Of course I know Arthur Rimbaud!”

5. Dance

Jean was with a group of friends, mostly American women. Eunice and Peter joined them for cocktails, the atmosphere was good-humored. It was a pleasant night in Oaxaca, the flowers had a sweet smell. Afterwards they wanted to go dancing and the bartender directed them to a small street around the corner. They searched for a while until they found a house with a neon sign that said Love. The men there had opted to sit idly in a ragged room. When the volume of music rose, the Americans began to dance freely. At first, the regulars were surprised, but the atmosphere became hot as everyone wanted to dance with a gringa! The men were then offended when any of the women refused an invitation to dance, while the others continued dancing. More and more men rushed to join the dance, for the news quickly spread that there was a lively party in the former brothel.

Peter was the first to catch on, bringing chairs from all sides so that the women could sit, but as soon as a chair was vacated, the regular customers took it immediately.

It became late. By dawn, the women were completely exhausted and Peter accompanied them to the hotel. One by one they said goodbye. When only four of them remained, they clapped hands and promised to return the following night.

6. In Paradise

Mr. Campos was very happy to have rented the small house behind his barn. In Zihuatanejo, before the rainy season, it was always very hot, so very few tourists came.

Eunice woke up the first night because of a noise: she could hear hundreds of little feet walking nearby. When she got rid of the big mosquito net hanging over her bed, she turned on the light and found nothing unusual. However, she had the impression that lots of small pairs of eyes were watching her curiously from all sides.

They got up at five and went to the beach for a swim. On the way back they went shopping in the market. Afterwards, it was too hot to be outside. Eunice grabbed a tame iguana, which belonged to a fisherman’s child. The boy had taken the animal home and put it on the table. There it stood, paralyzed, for hours, while Eunice drew him.

They became friends of the inhabitants of the town and, as their house was the only one with a stone floor, they all liked to visit them to dance. Paradise is a beautiful place. One night they awoke because of a loud noise. A fat rat had fallen into the stone tank they used as a sink. The rat was swimming continuously in circles so as not to drown. Peter grabbed a towel and put it in the sink. The rat grabbed it, climbed up, quickly reached the edge, shook himself like a dog, and disappeared.

7. MS Orinoco

Every day Peter would go down to the port and ask if there was work. The wonderful days in paradise soon ended, and after three months he had returned to San Blas. Apparently, all the insects there who knew how to sting had come out at the same time. And then to complicate matters further, a guy arrived who went to Vancouver by car, taking Eunice with him. He was alone again, and without money.

He traveled to Veracruz in third class. He had once worked on a ship and knew that it was a large port. In a bar he met Harald, a German who, like him, had no documents but wanted to work on a ship. They got together and asked every day from boat to boat. They were told that, perhaps, once they could have worked on a ship without papers, but not now. Their money was running out. They moved from a decadent hotel to a worse one. Peter wrote letters to Vancouver, but received no reply.

One morning the rusty Norwegian cargo ship MS Orinoco received a large load of watermelons, which had to be taken to Portland and the crew needed immediate reinforcement. This was the chance the two Germans had been waiting for. The MS Orinoco was a ship that did not follow a fixed route but traveled to whichever ports had goods to be loaded. So they reached Portland, then Jamaica, then sailed for a long time in the Caribbean. The sea in the Caribbean is so lovely, says Peter, that one feels it is calling you. One of the sailors, Peter says, threw himself into the water and never came back up.

8. Toothache

The MS Orinoco had left the Caribbean and gone to Newfoundland; From there it carried dry fish to Jacksonville, Florida. Peter wrote letters to Vancouver. At every port the packager brought mail for the crew, but there was never anything for Peter. In Jacksonville, he began to have toothache: one of his fillings had fallen out and he had pus. It felt like the foreman of the ship was pounding his nerve with a giant hammer. On the way to Pensacola, Florida, the pain grew worse.

Before reaching New Orleans, in the Gulf of Mexico, the captain realized that they were facing a hurricane. The ship could not dodge it because it was too old and slow, so the MS Orinoco continued on its way into the storm. Hurricane Betsy broke on the rusty boat, struck it hard, shook it, destroyed the antennas and radar, and flooded the bridge. The ship and its crew fought for ten hours; miraculously they did not sink.

When they entered the port of Pensacola, Florida, Peter remembered he had toothache. The dentist in the harbor said to him: This molar looks horrible, the pain must have been awful. Peter replied: Yes, it was excruciating!

9. American Express

The rusty MS Orinoco had defied the hurricane but was heavily damaged. Another cargo was delivered in the Caribbean, then the ship crossed the Atlantic and arrived in Rotterdam. Here the crew was laid off and the Orinoco sent to the dry dock for a general overhaul.

Harald and Peter took their wages and went up to Amsterdam. They settled in a cheap hotel on the Damrak, shaved and showered, and went to the city to get their bearings.

When they crossed the Rembrandsplein, they passed an American Express office. Peter paused and said, “Wait a moment, Harald, I’ll just take one last look to see if any letter has arrived.”

Harald replied, “There’s nothing for you, you can forget that.”

But there was a letter: Eunice had written to him saying she had booked a flight to Amsterdam.

10. Return

In January 1967 Eunice and Peter boarded a cargo ship in Rotterdam bound for Veracruz. The cargo ship had five cabins for the numerous passengers, but they were the only guests on board.

Eunice had received all his letters and loved them. She had answered them but, because she always enclosed a few dollars in the envelopes, her replies had been lost along the way.

The ship left the great port. The couple looked back, toward Europe, which seemed smaller and smaller, as they hugged each other. After fifteen days of travel on the high seas, calm as a mirror, they were back in Mexico.

Eunice and Peter Huf, ca 1967. Photo courtesy of Eunice and Peter Huf.

Eunice and Peter Huf, ca 1967. Photo courtesy of Eunice and Peter Huf.

Note:

  • Sincere thanks to Paul Huf for granting his permission to reproduce the photo and texts of his exhibition in this post, and to Eunice and Peter Huf for permission to reproduce their photograph. All translations by Tony Burton.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Mar 132017
 

James F. Kelly was a writer and novelist who lived in Ajijic for more than twenty years from the early 1960s. More usually referred to as Jim Kelly, James Frederick Kelly was born in 1912 (in Ohio?) and educated at Staunton Military Academy, Swarthmore College and Columbia University School of Journalism. He also studied at the US Merchant Marine Academy in Kings Point, New York, and at the US Maritime Diesel School in Milwaukee, Wisconsin.

During the second world war, he was a member of the Merchant Marine and remained in the US Naval Reserve after the war, reaching the rank of lieutenant commander by the time his service ended. Kelly’s naval career took him to ports-of-call ranging from New Zealand, New Guinea and the U.K. to Brazil, Uruguay, Argentina, Ecuador; Peru and Chile.

kelly-james-insiderAfter the war, Kelly and his wife Gerda (a Danish-born model and circus performer) lived in Westport, where Kelly dedicated himself to writing while Gerda worked in the New York fashion industry. Kelly reviewed books regularly for The New York Times Book Review and The Saturday Review, wrote pieces for the New York Times Magazine and other publications and also undertook work, both creative and executive, for Compton and various other New York advertising agencies.

Kelly and Gerda, with their two children (Jill and James Jr.) moved to Ajijic at some point prior to October 1964. After moving to Mexico, he continued to write and to submit articles to U.S. publications. In October 1964, he took photographs of the piñatas at a party given for the 26th birthday of David Michael (son of Ajijic artist and boutique owner Gail Michael), “for an article he is doing for a New York publication.”

A few months later, “pretty, blond Jill Kelly”, is reported to have given a marionette show at La Quinta (Jocotepec’s best known hotel at the time), which “proved that talent runs in the family”.

In January 1966, Gerda and Jim Kelly purchased their own home in Ajijic: Casa Los Sueños (“House of Dreams”), the converted remnants of Ajijic’s former friary whose origins date back to the sixteenth century). They moved in to their new home, purchased from Ruth and Hunter Martin, the following month.

In the spring of 1966, the U.K. edition of Kelly’s novel On the Other Hand, Goodbye was published, and he was reported to be working on his next novel, which had a publisher’s deadline of August. (It is unclear which novel is being referred to here.)

In 1968 the couple founded and ran an Ajijic real estate venture, Servicios Unlimited. After eight months in temporary premises, the company moved into a building on Calle Independencia, opposite the Posada Ajijic, and next-door to Helen Kirtland’s looms (today, this is the store Mí México). In addition, Gerda Kelly worked as a columnist for the Guadalajara Reporter.

James Kelly continued to write the occasional piece for U.S. media into the 1970s, including an article about Dr Marcos Montaña Zavala and his wife Dra Soledad Ascensio de Montaña, who co-founded the Sanatorio de Santa Teresita, a health clinic in Jocotepec. This piece first appeared in Spanish in Selecciones (August 1970) and then in Reader’s Digest later that year.

James Kelly was the author of at least six novels: From A Hilltop (1941); The Insider (1958); On the Other Hand, Goodbye (1965); No Rest For The Dying (New York: Nordon Publications 1980); Music From Another Room (Dorchester Publishing, 1980) and Blind Passage (date unknown).

Music From Another Room is a murder mystery set in Michoacán, Mexico at the fictional hotel Hacienda de las Golondrinas. The characters and plot are eminently believable, testament to Kelly’s keen powers of observation and good knowledge of Mexico.

James Kelly passed away in December 1993; Gerda died five months later.

Acknowledgment:

  • My sincere thanks to Jill Kelly Velasco for her help in compiling this profile of her father.

Sources:

  • Guadalajara Reporter: 8 October 1964; 7 January 1965; 9 September 1965; 20 January 1966; 26 February 1966; 2 April 1966; 29 July 1967;  21 June 1969; 8 August 1970; 20 April 1974; 6 September 1975;
  • Michael Hargraves. 1992. Lake Chapala: A Literary Survey (Los Angeles: Michael Hargraves).

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Mar 092017
 

John Kenneth Peterson, known in his family as “Kenny”, was born in San Pedro, Los Angeles, on 24 September 1922, to Andrew Gustof Peterson (1886-1957) and Edith Anna Danielson (1892-1973). He passed away in Ajijic, Mexico, in 1984, at the age of 61, and is buried in San Diego.

Peterson was active in the Ajijic art community, for some twenty years, living from sales of his art and teaching from when he first arrived in the village in the mid-1960s.

John K. Peterson. "Lago Chapala" (1973)

John K. Peterson. “Lago Chapala” (1973)

As a child, Peterson began painting at the age of five, while recuperating from a serious illness. He graduated from Point Loma High School in San Diego in 1941. Two years later, he began a three-year stint in the U.S. Navy. On 24 June 1944, a year after entering the Navy, Peterson, 5′ 11″ tall with blond hair and blue eyes, married Josephine Ornelas. They had met in Bangor, Maine, and married in Orlando, Orange County, Florida. Ornelas was born in 1926 in El Paso, Texas, into a family originally from Chihuahua, Mexico. After an early career in modeling, she became one of the first female police officers in Richmond. The couple had three children: two girls and a boy, but separated and divorced in the mid-1960s.

After the war, Peterson, who had completed a few murals and portraits on his own time during his stint in the Navy, tried a succession of jobs, before opting to use his G.I. Bill entitlement to study at the Coronado School of Fine Arts in Coronado (near San Diego), California. He studied there four years (1948-1952), spending several summers (1949, 1950 and 1952) in Guadalajara. His tuition was covered by G.I. funds and scholarships.

John K Peterson. Self-portrait. ca 1952. Reproduced by kind permission of Monica Porter.

John K Peterson. Mirror image self-portrait. ca 1952. Reproduced by kind permission of Monica Porter.

He stayed on at the Coronado School of Fine Arts to teach watercolor techniques and engraving until 1954. During his time in the San Diego area, he completed seven murals in Coronado, and one – “Tahitian Dancers” – in 1952 at the Navy Fleet Sonar School. Peterson’s self-portrait from this time remains a prized family possession.

His art teachers included Monty Lewis, José Martinez [Guadalajara] and Dan Dickey (oils and frescoes), Donal Hord (sculpture), F. Robert White (drawing and etching), Eloise Bownan (portraiture), Frederick O’Hara (wood block cutting) and Rex Brandt, James Cooper White, Doug Kingman and Noel Quinn (watercolors). By coincidence, Kingman had also taught another long-time Lakeside artist, Eleanor Smart.

Throughout his life, Peterson was always ready to play a part and a San Diego newspaper from 1952 has a photograph of him lounging in fancy dress at the “Third Annual Costume Arts Ball”, held in Hotel del Coronado. More than twenty years later, he won first prize at the 1973 Halloween Costume Dinner Dance organized by the Tejabán restaurant in Ajijic. In the mid-1970s, Peterson was persuaded by hotelier Morley Eager, the newly-arrived proprietor of the Posada Ajijic, to dress up as Santa Claus to distribute presents bought by the Eagers for the village children. He may have been the first Santa the village kids had seen. According to Terry Vidal, who reviewed hundreds of paintings done over the years by young artists in the Lake Chapala Society’s Children’s Art Program, the earliest children’s art to feature Santa Claus dates back to about the same time.

Peterson’s two most noteworthy artistic achievements during his few years in Coronado were opening his own gallery, The Sidewalk Studio (131, Orange Ave.) in 1953, and winning the “People’s Choice” award at the 2nd annual exhibition of San Diego county artists in that same year, for a watercolor entitled “Red Can”.

John K Peterson. Laundry day, Ajijic. 1965.

John K Peterson. Laundry day, Ajijic. 1965.

In December 1954, Peterson moved to the San Francisco Bay area and entered the commercial art world, establishing the family home five years later in Point Richmond. He worked as an illustrator-engraver at Fiberboard & Co. in San Francisco, and also opened a gallery, the Triangle Art Gallery (TAG), in partnership with fellow artists Herbert Wasserman and Richard Godfrey. TAG (at (267 Columbus Ave.) opened in June 1956 with a showing of works by the three partners. Two months later, a show of drawings, lithographs and etchings by Richard Diebenkorn, James Budd Dixon, Walter Kuhlman, Edwin Durham and Frank Lobdell, together with sculpture by Sargent Johnson opened at TAG.

TAG hosted a North Beach Artists Group Show in December 1956, followed by an exhibit of paintings by Toshi Sakiyama in February 1957. A month later, a one person show of works by Peterson opened at TAG. The original TAG (another gallery of this name operated in San Francisco from 1961 to 2011) held its 1st Annual Exhibition from 16 June to 13 July 1957.

Peterson was accepted into the San Francisco Art Association (one of oldest in the U.S., and the oldest in California) in 1958, his work having been “previously exhibited in several of the SFAA annual shows”.

After about a decade in San Francisco, Peterson moved to Los Angeles in about 1962 and took a position as art director and illustrator at the Sterling Die Co. After two years in this position, Peterson, now separated from Josephine Ornelas, moved to Guadalajara. He lived and painted in the city during 1964 and 1965 before deciding to improve his prospects by moving to the village of Ajijic on Lake Chapala. Within months, he had opened a studio-gallery and was giving private art classes to help make ends meet. Apart from vacation trips and a spell in San Diego Veterans Affairs hospital, he lived in Ajijic for the remainder of his life.

Living in Ajijic proved to be a wise decision. Peterson found time to focus on his art and participated in an extraordinary number of exhibits during his time in the village.

He was a founding member of both Grupo 68, an Ajijic art co-operative that was active from 1967 to 1971, and Clique Ajijic, the loose collective that succeeded it in the mid-1970s.

Other members of Grupo 68 included Peter Huf, his wife Eunice (Hunt) Huf, Jack Rutherford and Don Shaw. The members of Clique Ajijic included Sydney Schwartzman, Adolfo Riestra, Gail Michaels, Hubert Harmon, Synnove (Shaffer) Pettersen, Tom Faloon and Todd (“Rocky”) Karns.

The earliest show I’ve found recorded for Peterson in Mexico was in a group show by the four main members of Grupo 68 and friends at El Palomar in Tlaquepaque which opened on 20 January 1968. (Other artists on that occasion included Gustavo Aranguren, Peter Huf, Eunice Hunt, Rodolfo Lozano, Gail Michael, Hector Navarro, Don Shaw and Thomas Coffeen Suhl.) This was the start of regular Friday exhibits at the store.

From early in 1968, Peterson exhibited regularly (most Sunday afternoons) in Grupo 68 shows at the Hotel Camino Real in Guadalajara, and in many group shows in Ajijic, some at Laura Bateman’s Rincón del Arte gallery, and (later) in “La Galería”, the collective gallery the artists co-founded at Zaragoza #1, Ajijic.

Confusingly, “La Galería” was also the name of an existing gallery in Guadalajara (at Ocho de Julio #878) where the Grupo 68 artists and others (including Tom Brudenell, John Frost, Paul Hachten, Allyn Hunt, Tully Judson Petty and Gene Quesada) participated in the First Annual Graphic Arts Show of prints, drawings, wood cuts in June 1968.

The following month, Grupo 68 was exhibiting in the Tekare penthouse in Guadalajara (16 de Septiembre #157, 10th floor). That show was very favorably reviewed by Allyn Hunt in his “Art Probe” column in the Guadalajara Reporter, 27 July 1968). Concerning Peterson’s work, Hunt wrote that, “John Peterson displays several mosaic-like watercolors, the best of which are his ferris wheel pictures and “Butterfly”.”

Laura Bateman’s gallery in Ajijic, Rincón del Arte, “re-opened” in September 1968 as an artists’ co-operative, nominally headed by Grupo 68 artists, with a group show featuring works by Tom Brudenell, Thomas Coffeen Suhl, Alejandro Colunga, Eunice Hunt, Peter Paul Huf, John K Peterson, Don Shaw, Jack Rutherford and Joe Wedgwood. Grupo 68 joined with Guadalajara artist José María Servín the following month for a show at Galería del Bosque, Guadalajara, sponsored by the Organizing Committee of the Cultural Program for the XIX Olympics, being held in Mexico City.

Peterson held a solo show at Rincón del Arte, Ajijic, in November 1968, mainly comprised of pastels and watercolors, with Allyn Hunt, in his review, describing Peterson as “probably the area’s most provocative artist when dealing with conventional nudes.”

Naturally, Peterson was also involved in the month-long group show entitled “Art is Life; Life is Art” that marked the re-opening of La Galería in Ajijic (at Zaragoza #1) in December 1968. The artists on that occasion were Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Peter Huf, Eunice Hunt, John Kenneth Peterson, Jack Rutherford, José María de Servín, Shaw, Cynthia Siddons, and Joe Wedgwood. Only a few days after that show opened, Peterson was in Guadalajara for the opening of a Collective Christmas Exhibition at Galeria 1728 (Hidalgo #1728) which also featured works by Thomas Coffeen, Gustel Foust, Peter Huf, Eunice (Hunt) Huf and several famous Mexican artists: David Alfaro Siqueiros; Alejandro Camarena; José María Servín and Guillermo Chávez Vega.

Peterson’s pastels and paintings in a group show at La Galería, Ajijic, in April 1969 hung alongside works by Charles Henry Blodgett, John Brandi, Tom Brudenell, Eunice Hunt, Peter Paul Huf, Jack Rutherford, Don Shaw, Cynthia Siddons and Robert Snodgrass.

All four Grupo 68 regulars – Peter Paul Huf, Eunice Hunt, John Kenneth Peterson and Don Shaw – held a show at the Instituto Aragón (Hidalgo #1302, Guadalajara) in June. At the end of that same month, Peterson won 3rd prize in the abstract painting category in the juried show, “Semana Cultural Americana – American Artists’ Exhibit”, marking “American Cultural Week” in Guadalajara. The show featured 94 works by 42 U.S. artists from Guadalajara, the Lake area and San Miguel de Allende.

This was about the time when pulp fiction writer Jerry Murray first arrived in Ajijic and he later recalled how Peterson, “a jovial bearded guy” and “local resident artist” had helped him find a place to rent. Peterson’s studio, says Murray, was “cluttered with half a dozen easels with paintings on them and uncounted half-filled rum, brandy, and soft drink bottles.” Peterson and some of his exploits are also described in Henry F. Edwards’s The Sweet Bird of Youth (2008). In this thinly described, fictionalized autobiography about life in Ajijic in the 1970s, Edwards devotes an entire chapter to “George Johannsen”, a “General Custer lookalike”.

An Easter Art Show at Posada Ajijic in March 1970 saw Peterson exhibiting alongside Peter Huf, Eunice Hunt, John Peterson, John Frost, Don Shaw, Bruce Sherratt and Leslie Sherratt.

In the summer of the following year, Peterson was one of the many artists with works in the Fiesta de Arte held on 15 May in a private home in Ajijic. (Among the artists involved in this show were Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Dorothy Goldner; Burt Hawley; Peter Huf; Eunice Hunt; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Showaltar (?); Sloane; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.)

An advert for Peterson’s exhibit in June 1972 at El Tejabán restaurant-gallery says that after the show ends, Peterson is headed to New York for a one-man show. The details of this show remain unclear. It is also referred to in a Guadalajara Reporter profile of Peterson written by Joe Weston in July 1972. Weston describes Peterson as “a blonde, red-bearded Viking giant”, and quotes him as saying that, “I’m not owned by people or money or time… I dance and I drink and I like women and I talk loud and I shout with enthusiasm….” Asked why he likes Ajijic, Peterson responds that, “I like it here, the people, the colors, the general ambience, the way of life, the economics. That’s why I stay. But I’m not tied here. There are probably other places in the world as good or better. When I want to find them, adios!”

Local art critics were invariably impressed by the high quality of Peterson’s work. For example, Allyn Hunt, reviewing Peterson’s solo show at the Camino Real Hotel in Ajijic in September 1972, praised this “dexterous draftsman”, his “excellently-rendered pastels” and his “nimbly-produced sketches”. A year later, Hunt described Peterson’s exhibit at the Tejabán restaurant-gallery: water colors of Mexican street scenes created by slashing pointillist patchwork of pastel color, as well as carnival merry-go-rounds and “a deftly executed series of glowing nudes done in chalk”. Hunt found that the street-scapes were “at once delicate in their filigree form and vigorously bold in their deep overlaying hues”. Novelist and Hollywood screenplay writer Ray Rigby wrote that “John Peterson combines strength and violence with a forgiving hand. His flair for fantasy intermingles with reality… John Peterson’s work is fun.”

John K Peterson. Funeral Procession. ca 1975

John K Peterson. Funeral Procession. ca 1975

Peterson’s ability to capture a scene with rapid brush strokes was remarkable. Earl Kemp’s Efanzine of July 2002 (Vol. 1 No. 3) includes the following description of Peterson’s painting of a funeral held in Ajijic: “It [the funeral] was so big, in fact, it inspired local Impressionist painter John K. Peterson to immortalize the event on canvas. His picture shows a street scene looking right down the middle of the street to where, three blocks away, the Cathedral stands. From every doorway the townspeople are pouring, as if on cue, and forming a funeral procession down the center of the street to the church where the ceremony in honor of the passing of Pepe’s father would take place.”

John K Peterson. Chapala Pier. 1968. Reproduced by kind permission of Alan Pattison.

John K Peterson. Chapala Pier. 1968. Reproduced by kind permission of Alan Pattison.

Alan Pattison, who knew the artist well, describes a Peterson painting (above) that he owns and loves: “It is the old marina and pier in Chapala. The guys on the pier are bringing in a net full of fish. … Note the circular movement around the boat – John told me that the guy (whom John knew) was so hungover he could not get the boat out of the marina and was just going in circles. Note also the black sun – John told me that he too was hungover when he was painting the scene and the morning sun was in his eyes and it “pissed him off” hence, he painted it black!”

During the lifetime of the Clique Ajijic collective, Peterson exhibited in their group shows at Villa Monte Carlo in Chapala (March 1975); Galería del Lago, Ajijic (Colón #6; August 1975); the Hotel Camino Real, Ajijic (September 1975); Galería OM, Guadalajara (October 1975); Club Santiago, Manzanillo (October 1975); Akari Gallery, Cuernavaca (February 1976) and the American Society of Jalisco, Guadalajara (February 1976).

Besides these shows, Peterson participated in the “Nude Show” that opened at at Galeria del Lago in Ajijic in February 1976. Other Lakeside artists in this show included John Frost, Synnove (Schaffer) Pettersen, Gail Michel, Dionicio, Georg Rauch and Robert Neathery.

In June 1976, Peterson’s watercolors and engravings featured in a two-person show with the drawings and graphics of Kuiz López at the Villa Monte Carlo in Chapala.

Alan Pattison recalls that the artist’s studio in the early 1970s was on the second floor of a building on the west side of Calle Colón, part-way down towards the lake from the square. Earlier in his life, Peterson had met Ella Fitzgerald and had painted her a couple of times. One of the paintings was “especially whimsical, musical and alive”. He continued to love blues music throughout his life, and usually had blues music playing in the background while he worked.

In the late 1970s, Peterson suffered a serious accident, falling from his studio onto an outdoor sink below. The resultant head trauma caused Peterson to forgo his previous palate of darker tones and his paintings became brighter. He moved away from abstract and impressionist works towards pastels whose predominant colors were bright yellow, green, orange, blue and turquoise.

During his lengthy and prolific artistic career, Peterson had painted murals in San Diego and Los Angeles, and exhibited in New York, Cleveland, Youngstown, Dallas, Phoenix, Portland, San Francisco, San Diego and in many other major cities.

John K. Peterson was one of a kind. His artistic versatility extended to stained glass, fresco, sculpture, water colors, oils and wood blocks. According to Weston, in the small casita near the lake which he rented for $25 a month, he worked six hours a day and completed an average of 30 paintings a month. His generosity to friends and admirers of his work was legendary. In Weston’s words, he “might – and often does – give one of his works to somebody who likes it and can’t afford to buy it.”

In 1978 and again in 1979, Peterson applied for a Guggenheim Fellowship to undertake an artistic study of indigenous Indian life “to capture the richness of vanishing Indian culture” in Latin America. He was not successful on either occasion.

Peterson’s partner in later life was sculptor Margo Thomas (ca 1917-2011), fondly recalled by his daughter, Monica Porter, as “a very kind and wonderful woman”. Porter and Peterson’s sister, Marion Lee, met Thomas on several occasions in Ajijic. The artist’s relationship with Thomas was not all smooth sailing. On one occasion, after he had completed a large mural for her, the couple had a spat and so he refused to sign it. The couple traveled in Europe together but drifted apart as Peterson began to require more medical care in his final years.

John Kenneth Peterson, one of Ajijic’s larger-than-life characters, made invaluable contributions to the village’s cultural and artistic life and continued to paint until 28 August 1984, when he died of a brain aneurysm in his sleep. [1] A retrospective exhibition of his works was held at “El Lugar”.

Notes:

[1] CR 15 Sep 1984 erroneously gives John K. Peterson’s date of death as 2 September 1984; his Jalisco death certificate states that he died on 28 August 1984.

Acknowledgments

Thanks to Karen Bodding, Michael Eager, Tom Faloon, Alan Pattison for sharing with me their memories and knowledge of John K Peterson. Special thanks to Dani Porter-Lansky for providing me with copies of reviews, exhibit invitations, and other published and unpublished documents pertaining to her grandfather’s life, and Monica Porter.

This is an updated version of a post first published on 21 July 2014.

Sources:

  • Efanzine – July 2002 – –e*I*3- (Vol. 1 No. 3) July 2002, published and copyright 2002 by Earl Kemp.
  • Coronado Eagle and Journal: Number 26 (28 June 1973).
  • Guadalajara Reporter: 13 Jan 1968; 3 Feb 1968 ; 15 June 1968; 27 July 1968; 14 Sep 1968; 28 Sep 1968; 24 October 1968; 9 Nov 1968; 16 Dec 1968; 19 April 1969; 26 April 1969; 21 Mar 1970; 3 Apr 1971; 3 June 1972; 1 Jul 1972; 23 Sep 1972; 9 Jun 1973; 10 Nov 1973; 21 June 1975; 15 August 1975; 31 Jan 1976;
  • El Informador : 20 April 1969
  • Katie Goodridge Ingram. 1976. “Lake Chapala Riviera”, Mexico City News, 20 June 1976, p 13.
  • The San Diego Union : 9 March 1952

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

 Posted by at 6:05 am  Tagged with:
Mar 022017
 

Multi-talented German artist Paul “Pablo” Huf, the elder son of two professional artists closely associated with Ajijic – Peter Paul Huf and Eunice (Hunt) Huf – was born in Guadalajara in October 1967. According to his parents, his first word was alacrán (scorpion) because of the large number of those arachnids that shared their humble adobe-walled village home.

When Paul was six years old, the family moved to Europe, where they lived for a couple of years in southern Spain before eventually settling in Peter Huf’s home town of Kaufbeuren in Bavaria, Germany.

Paul Huf became an artist late in life and eventually returned to Mexico, at age 40, after finding a box of his parents’ photos and mementos of Mexico. He carried scans of them with him as he researched the story of how his parents first met and fell in love. This story formed the basis for Pablo Huf’s fascinating contribution to a group exhibition by German artists in Mexico City in 2007.

Huf does not consider that having being born in Mexico has had any particular influence on his art. His inclusion in this series of profiles of artists associated with Lake Chapala is justified on two counts: first, the fact that he spent his early childhood in Ajijic and, second, that he subsequently researched the history of his parents’ links to Ajijic and other parts of Mexico.

In his twenties, Paul Huf worked for several years as a car mechanic, studied social work and became a parole officer in Munich, but at the age of 30, he suddenly switched tracks and began seven years of formal art studies at the Academy of Fine Arts in Munich and at the Fine Arts Academy in Valencia, Spain. Since completing his studies in 2004, he has steadily built a career as a professional artist, with extended working periods in Sibiu (Romania), Amsterdam and in Pas du Calais (France).

Paul Huf’s artistic works combine photography, drawing and concept arts with writing.

Prior to his Mexico City exhibit, Huf spent time researching other artists who had been close friends of his parents in Mexico (such as Jack Rutherford, John K. Peterson and the other members of Grupo 68) and then spent three months in Mexico visiting places where his parents had been more than forty years earlier, including San Blas, Ajijic, Zihuatanejo, Oaxaca and Veracruz. One of his most surprising encounters was with someone who remembered partying with his parents in Zihuatanejo back in the mid-1960s!

Part of Paul Huf's 2007 exhibit in Mexico City. Credit: Paul Huf.

Part of Paul Huf’s exhibit in Museo Carrillo Gil, Mexico City, 2007. Credit: Paul Huf.

Based on his travels, Huf wrote ten short texts that became the thread linking the photographs and drawings in his contribution (“40 Años”/”Forty Years”), which was 3 meters in height and occupied 24 meters of wall space in the group exhibition entitled Vistazo, La transformación de lo cotidiano, (“Glance, The transformation of everyday life”). (The other artists in this show, held at the Museo Carrillo Gil in Mexico City from 15 March to 10 July 2007, were Uli Aigner, Benjamín Bergmann, Heike Dossier, Martin Fengel, Tom Früchtl, Haubitz+Zoche, Heribert Heindl, Endy Hupperich and Martin Wöhrl). Huf’s short stories were painted “Mexican style” on the walls of the museum by two rotalistas (Mexican advert painters/calligraphers). In conjunction with the display, slides of old family photos, newspaper clippings and examples of the invitation cards used for 1960s art exhibitions were projected onto the wall.

As Paul Huf rightly concluded, and his exhibit demonstrated, his parents’ Mexican love story is both special and glamorous. In 2014, when my wife and I had the opportunity to visit his parents, it was evident that both Eunice and Peter Huf had particularly fond memories of Ajijic in the 1960s and felt honored to have had their story publicly retold by their son. It was equally clear that their time in Mexico had continued to exert a very strong influence, especially on Peter’s own artwork.

Paul Huf currently lives in Munich, Germany, with his wife and two young children. He returned again to Mexico in 2008 and showed work in an exhibition entitled Hermandades Escultoricas (“Sculptural Brotherhoods”) at the Museo Fernando García Ponce-Macay in Mérida, Yucatán.

Huf has regularly exhibited works in Munich galleries since 2000. In addition, he has participated in shows in Rimini, Italy (2002); Amsterdam (2006); Belgium (2008); Sibiu, Romania (2008); Dunkirk, France (2008); Pecs, Hungary (2010) and Berlin, Germany (2011).

His work, ranging from a radio play to a “soccer-literature contest”, has won several awards, and one of his diptychs (two hinged plates), a work entitled “USA, 2005” was acquired for the Bavarian State Painting Collection. As a writer, he has published several collections of short stories, including You have to be as cool as Alain Delon, sagte Zelko (2006) and Vom Tod und vom Alkohol (“Of death and alcohol”) (2006).

Paul “Pablo” Huf may have tried in his twenties to escape the artistic magnetism of a childhood at Lake Chapala, but his inner creative drive eventually emerged and won out. The journey he then undertook to retrace his parents’ love story and compile an exhibit to celebrate his family’s time in Mexico, makes his contribution to the art world, and to the story of the artists associated with Lake Chapala, a very special one.

Acknowledgment

I am very grateful to Paul Huf for generously sharing memories and information about his life and career via emails and Skype (September 2016; February 2017).

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Feb 232017
 

Free-spirited Beverly Johnson (1933-1976), who was Ajijic’s unofficial photographer in the early 1970s, first moved to the village in 1961. She is one of the many people who helped make Ajijic tick in the old days who are really difficult to categorize.

In 1961, she extricated herself from a disastrous relationship in the U.S., shortly after the birth of her fifth child, and fled south, aiming to get her family as far away as possible from her former partner. Headed for South America, her car broke down in Guadalajara. Unable to afford the repairs, Beverly, an up-and-coming singer, asked the mechanic where she could find temporary work and was directed towards Ajijic where, the mechanic said, there was a sufficient concentration of Americans and Canadians who might appreciate her music and pay to hear her sing.

Photo of Beverly Johnson by Helen Goodridge. Reproduced by kind permission of Jill Maldonado.

Photo of Beverly Johnson in Ajijic by Helen Goodridge. Reproduced by kind permission of Jill Maldonado.

Once they had settled in Ajijic, plans to venture any further south were soon forgotten. Apart from occasional visits to the coast and periodic short trips to the border to renew her tourist papers, Beverly spent the remainder of her life in Ajijic. The tenuous roots that she initially put down in Ajijic grew steadily over the years and her children have maintained ties to the village that endure to this day.

It was while living in Ajijic that Beverly became a passionate photographer and a key figure in the artistic community despite never exhibiting and rarely commercializing her work.

This means that she does not meet my rule-of-thumb criterion that profiled individuals must have gained some recognition for their art beyond the immediate environs of the lake. But rules are made to be broken (a sentiment that epitomized Beverly’s entire life) and Beverly certainly brings something different and quite special to our story of how the artistic and literary community at Lake Chapala developed.

Beverly Johnson. The Bread Girl. ca 1972. Reproduced by kind permission of Tamara Janúz.

Beverly Johnson. The Bread Girl. ca 1972. Reproduced by kind permission of Tamara Janúz.

Beverly’s corpus of photographic work is now divided between her children and friends. Despite the fact that her photos were never exhibited, she became the unofficial “photographer of record” for people and events in Ajijic during the latter part of her time in the village.

Some of her photos did make it overseas. Most of her own photos were taken in black and white and developed in her own darkroom, but she also took the color photos used for international promotion by the owners of the Danza del Sol Hotel shortly after it was built. (The hotel’s architect, George Heneghan, and his wife, Molly, lived in Ajijic in the early 1970s.)

Beverly Estelle Johnson (née Hampson) was born in Grants Pass Oregon on 15 September 1933. She was living in Medford, Oregon, in 1961, when, lacking support from her family, she fled her husband (who was preparing to have her committed to an asylum) and drove south with her five young children (Tamara, Jill, Eric, Chris and Rachel), all under nine years of age.

They stayed a short time in Los Angeles, where Beverly hoped to make a living from her singing and guitar-playing. She recorded a promotional 45 there, but this was not an era when a single mother with five young children could find a music promoter prepared to back them. Among the other singers seeking stardom at the time was a young Joan Baez. Some years later, Beverly made a point of introducing herself to Joan Baez when she recognized her at the Beer Garden bar in Chapala.

From Los Angeles, Beverly decided to head for South America, but her car problems led her to Ajijic. Beverly soon became a fixture in the village – one of the completely unconventional characters that added spice and excitement to everyday life. As her daughter Jill recalls, “She was amazing and crazy and life with her was a roller coaster ride.” Beverly used her many creative talents – as “singer, poet, writer, chef, painter, photographer and mixed media like papier maché and rice paper balsa wood mobiles” to eke out a living for herself and her children.

Beverly Johnson and family. Reproduced by kind permission of Rachel Lyn Johnson.

Beverly Johnson and family, Ajijic beach. 1962. Photo by Saturnino ____. Reproduced by kind permission of Rachel Lyn Johnson.

When an offshoot of Timothy Leary’s group, led by Thad Ashby, arrived in Ajijic (from Zihuatanejo) in 1963-64, Beverly signed up to be a test subject (and later a monitor for tests) in the LSD “studies” conducted by Ashby’s group with the help of the University of Guadalajara Medical School. (Leary himself is said to have visited Ajijic, probably in the summer of 1964 or 1965).

At about this time, Beverly began a lengthy relationship with a local contractor, Antonio (“Tony”) Pérez, which resulted in two more daughters (Sara and Miriam) to feed.

Beverly’s oldest daughter, Tamara, later wrote an extraordinarily revealing autobiographical short story entitled, “The Beach: My Self in the Mirror” based on a family trip to Barra de Navidad in 1964, a month after Sara’s birth. Tamara writes that the visit lasted several months and describes how the family was so poor and had so little food to eat that their mother eased their hunger pains with tiny amounts of LSD. In Tamara’s words, “‘Turning on’ has been a monthly event in my life for a couple of years”. (The younger children recall only the “occasional” use). The story has a happy ending: fortune intervenes when a fisherman lands a large fish which they cook and share.

The family visited Barra de Navidad several times, often at a moment’s notice when immigration officials arrived in Ajijic to carry out a sweep of the village for undocumented foreigners.

At one point while living in Ajijic, Beverly got into trouble with the local authorities over the upkeep of her house. Ever-resourceful, she quickly found a solution that satisfied her need for individuality. In fact, her second-eldest daughter, Jill, thinks that her mother’s response helped create the colorful village we see today:

“Miss Beverly [as she was known around town] was the first person in Ajijic to paint her house in more than two different colors. The bullies at El Municipio told her she had to paint her house or they would fine her $200.00 pesos. That being a week of groceries back then, she decided to enlist her artist friends and went around collecting any extra paint they had. Then she put us to work on that front wall: at least twenty different colors, simple long colorful stripes all the way down the wall. Those bullies were so mad at her and she simply claimed that they did not specify how to paint but just to paint. We had the very first colorful house in Ajijic and, as you can see, now that it started a trend, the whole town is painted in colors.”

In the latter part of 1969, Beverly made a trip to California to renew her tourist papers. She returned with two new loves – photography and Michael Heinichen – and promptly set up a darkroom in Ajijic where Heinichen could teach her all about photography. Her love for Heinichen did not last long (he fell in love with Laura Katzman and moved to Jocotepec) but her love for photography lasted for the rest of her life.

Beverly Johnson. The Old Lady. Ajijic, ca 1972. Reproduced by kind permission of Jill Maldonado.

Beverly Johnson. The Old Lady. Ajijic, ca 1972. Reproduced by kind permission of Jill Maldonado.

Beverly soon became Ajijic’s unofficial village photographer, called upon for personal portraits, wedding photos, landscape shots, first communions, baptisms and even for portraits of the recently deceased for their families to remember them by.

Some of Beverly’s photographs have been published previously. Beverly’s children kindly provided the photos for my article featuring Beverly’s photos on Mexconnect – A Tour of Ajijic, Chapala, Mexico, in about 1970. The photos (together with one taken by Janis Carter) were chosen and captioned by Tamara. As second daughter, Jill, rightly says, Beverly’s black and white portraits of Ajijic families are “timeless and most precious”.

Beverly was not only  photographer but also engaged in several other forms of art. For example, in the 1970s she designed the posters for the weekly menu at the El Tejaban restaurant, in exchange for a free meal each week for her family. Beverly’s hand-painted, creative and colorful posters with expert calligraphy would be veritable collector’s items if they still existed.

Beverly was one determined lady, in line with her personal motto of “Bring it on baby”. Peter Huf who lived for many years in Ajijic with his wife and their two young sons has fond memories of Beverly as being a generous, intellectual, egotistical, hippie: “one of the real characters”.

Artist and author Henry F Edwards agrees. In The Sweet Bird of Youth (2008), his thinly disguised autobiographical account of life in Ajijic in the 1970s, he describes his first impressions on meeting “Sue Scobie” (Beverly Johnson):

“She was a young woman in her late twenties or early thirties with blonde hair and blue eyes. Her hair, cut short, was very curly; she was quite fair but with a minor blemish or two on her face. I immediately noticed that her teeth were slightly tobacco stained and immediately judged the cause from the cigarette in her hand at the moment. She had on some very ordinary house dress and a pair of Mexican sandals. She was very friendly and invited us in in a rather offhand, distracted way.”

Several former Ajijic residents I have interviewed have expressed their gratitude to Beverly for providing nursing care. Perhaps the most heart-warming story is that told by painter and muralist Tom Brudenell who contracted hepatitis while living in Jocotepec in the late 1960s. When Beverly learned that he was sick, she made it her mission to drive from Ajijic to Jocotepec daily for several weeks until he recovered.

Sadly, Beverly was unable to overcome her own extended illness, which necessitated liberal doses of tequila to dull the pain, and which culminated in a fatal heart attack on 27 December 1976. She was just 43 years of age, a tragically short life for such a caring, compassionate and creative individual.

To compound the family tragedy, Tony Pérez, father of the two youngest girls, died exactly one month later on 27 January 1977. Jill, the de facto head of the family given that her older sister Tamara was living in the U.S., made the difficult decision to leave Mexico and take her three younger sisters to stay with friends in California. They left on 1 March, only able to take with them whatever they could carry. After a bus to Guadalajara, train to Tijuana, taxi across the border and a Greyhound bus to Santa Barbara, they were able to start their lives anew in the U.S.

The family has never forgotten Ajijic. Rebeca Prieto, one of Beverly’s grandchildren, interviewed several members of the family in 2016 to compile a very interesting 28-minute Youtube video, Mi Familia, in which they reminisced about life in Ajijic and their journey north.

Is it too much to hope that one day an exhibition of Beverly Johnson’s photographs can be arranged in Ajijic to celebrate her important contributions to village life in the 1970s?

Acknowledgments:

My thanks to Tamara Janúz, Jill Maldonado and Rachel Lyn Johnson, as well as to Marsha Sorensen, Tom Brudenell, Don Shaw and Peter Huf, for sharing their memories of Beverly’s time in Mexico, and to Zasharah Araujo for drawing my attention to Rebeca Prieto’s video.

Sources:

  • Henry F Edwards. 2008. The Sweet Bird of Youth. BookSurge Publishing.
  • Guadalajara Reporter. 1977. “Beverly Johnson, 43, Dies in Ajijic.” Obituary in Guadalajara Reporter, 15 January 1977.
  • Tamara Johnson. 1997. “The Beach: My Self in the Mirror”, in Writing from Within: A Guide to Creativity and Life Story Writing, by Bernard Selling (Hunter House, 1997)
  • Jerry Kamstra. 1974. Weed: Adventures of a Dope Smuggler. Harper & Row, New York.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Feb 162017
 

Eunice and Peter Huf are artists who met in Mexico in the 1960s and lived in Ajijic on Lake Chapala for several years, before relocating to Europe with their two sons in the early 1970s.

Eunice Eileen (Hunt) Huf, born 27 February 1933 in Alberta, Canada, can trace her family’s roots back to Switzerland and Germany. Her mother migrated to Canada from Bessarabia in Eastern Europe. Her father was born in Alberta.

Eunice studied painting for two years in Edmonton, specializing in portraiture. She married young and worked for a couple of years before continuing her art studies at the Vancouver Art School (now the Emily Carr University of Art and Design) where she also honed her skills in photography. She then worked as a freelance artist in Canada and Arizona before deciding to visit Mexico to regroup following the break-down of her first marriage which ended in divorce.

Eunice Huf at Lake Chapala, ca 1968. Photo by Peter Huf. Reproduced by kind permission.

Eunice Huf at Lake Chapala, ca 1968. Photo by Peter Huf. Reproduced by kind permission.

Her visit to Mexico was life-changing. After relaxing and painting for a few weeks in the small tropical town of San Blas on the Pacific Coast, Eunice went to a Sunday night Lion’s Club dance where she met a tall, handsome, German artist, Peter Paul Huf. It was January 1965 and the start of a life-long romance. Forty years later, the Huf’s elder son, Paul “Pablo” Huf, retold the story of this romance in an enthralling art display in Mexico City.

After meeting at the dance, Eunice and Peter spent the next six months together, first in San Blas and then in Oaxaca and Zihuatanejo (Guerrero). It was in San Blas where they first met Jack Rutherford and his family with their vintage school bus, the start of a long friendship. Rutherford had dug the sand away from the walls of an abandoned building in order to display and sell his paintings. In February 1965, Eunice and Peter Huf exhibited together in a group art show on the walls of the then-ruined, roofless, customs house (partially restored since as a cultural center).

After visiting Zihuatanejo, Eunice returned to Vancouver in June 1965, while Peter returned to Europe. They eventually reunited in Amsterdam later that year and traveled to Spain and Morocco from where Eunice continued on to South Africa for a short visit.

By January 1967 they were back together (this time for good!) and aboard a ship bound for Mexico. After landing in Veracruz, they returned first to San Blas (where they displayed paintings in an Easter exhibition in the former customs house) and then to Ajijic, which the Rutherfords had suggested was a good place to live, paint and sell year-round.

Peter and Eunice Huf married soon after arriving in Ajijic and lived in the village from May 1967 until June 1972. They have two sons: Paul “Pablo” Huf, born in 1967, and Kristof Huf, born in 1971.

Eunice Hunt: Scarecrow Bride. Reproduced by kind permission of the artist.

Eunice Hunt: Scarecrow Bride. 1970. Reproduced by kind permission of the artist.

For almost all her time in Mexico (even after her marriage to Paul Huf), Eunice exhibited as Eunice Hunt, only changing her artistic name to Eunice Huf at about the time the couple left Mexico in 1972 to move first to Andalucia, Spain (1972-1974) and then to Bavaria, Germany.

Both Peter and Eunice Huf regularly exhibited their work in Guadalajara, Tlaquepaque and Ajijic. They also sold artworks from their own studios in Ajijic, located first in a building on Calle Galeana and then at their home on Calle Constitución #30 near the Posada Ajijic hotel. (This building, incidentally, was later occupied by artists Adolfo Riestra and Alan Bowers).

Eunice Huf supplemented the family income by giving private art classes to many people, including former Hollywood producer Sherman Harris, the then manager of the Posada Ajijic. Eunice kept an iguana, that she had borrowed to paint, under her bed, and had a little iguana, too.

Peter and Eunice were founder members of a small collective of artists, known as Grupo 68, that exhibited regularly at the Camino Real hotel in Guadalajara and elsewhere from 1967 to 1971. Grupo 68 initially had 5 members: Peter Huf, Eunice Huf, Jack Rutherford, John K. Peterson and (Don) Shaw (who was known only by his surname). Tom Brudenell was also listed as part of the group for some shows. Jack Rutherford dropped out of the group after a few months, but the remaining four stayed together until 1971.

The exhibitions at the Camino Real hotel began at the invitation of Ray Alvorado, a singer who was the public relations manager of the hotel. Members of Grupo 68 began to exhibit regularly, every Sunday afternoon, in the hotel grounds. Later, they also exhibited inside the hotel at its Thursday evening fiesta.

The Hufs’ first joint show in Ajijic was at Laura Bateman’s gallery, Rincón del Arte, which opened on 15 December 1967, when their firstborn son was barely two months old.

1968 was an especially busy year for the Hufs. They were involved in numerous exhibitions, beginning with one at El Palomar in Tlaquepaque which opened on 20 January. Other artists at this show included Hector Navarro, Gustavo Aranguren, Coffeen Suhl, John Peterson, Shaw, Rodolfo Lozano, and Gail Michael. The Ajijic artists in this group, together with Gail Michael, Jules and Abby Rubenstein, and Jack and Doris Rutherford, began to exhibit at El Palomar every Friday.

In May 1968 the Galeria Ajijic (Marcos Castellanos #15) opened a collective fine crafts show. Eunice and Peter Huf presented “miniature toy-like landscapes complete with tiny figures and accompanying easels” which were popular with tourists, alongside wall-hangings, jewelry and sculptures by Ben Crabbe, Beverly Hunt, Gail Michael, Mary and Hudson Rose, Joe Rowe and Joe Vines.

The next month (June 1968), the Hufs were back in Guadalajara, exhibiting in the First Annual Graphic Arts Show (prints, drawings, wood cuts) at Galeria 8 de Julio in Guadalajara. This show also featured works by Tom Brudenell, John Frost, Paul Hachten , Allyn Hunt, John K. Peterson, Tully Petty, Gene Quesada and Don Shaw. Reviewing the show, Allyn Hunt admired Eunice Hunt’s “Moon Trap”, saying it “has a lyrical, fantasy-like quality”.

Eunice Hunt: Still llife. Reproduced by kind permission of the artist.

Eunice Hunt: Still llife. 1969. Reproduced by kind permission of the artist.

The “re-opening” of Laura Bateman’s Rincón del Arte gallery in Ajijic (at Calle Hidalgo #41) in September was accompanied by a group show of 8 painters-Tom Brudenell, Alejandro Colunga, Peter Paul Huf, Eunice Hunt, John K Peterson, Jack Rutherford, Donald Shaw and Coffeen Suhl – and a sculptor: Joe Wedgwood.

At the end of October Eunice Huf held her first solo show in Mexico, showing 40 paintings at the Galeria 8 de Julio in Guadalajara (located at * de Julio #878). The show was one of the numerous art exhibitions in the city comprising the Cultural Program of the International Arts Festival for the XIX Mexico City Olympics. (Her show preceded a solo show of works by Georg Rauch also under the patronage of Señora Holt and the Olympics.)

At the same time as Huf’s solo show, Grupo 68 (listed as Peter Paul Huf, Eunice Hunt, John K Peterson and Shaw) shared the Galería del Bosque (Calle de la Noche #2677) in Guadalajara with José María de Servín. This event was also part of the Olympics Cultural Program.

Towards the end of 1968, the Hufs co-founded a co-operative gallery “La Galería” in Ajijic, located on Calle Zaragoza at its intersection with Juarez, one block west of El Tejaban. On Friday 13 December 1968, the month-long group show for the “re-opening” of La Galería in Ajijic was entitled “Life is Art”. It consisted of works by Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Peter Paul Huf, Eunice Hunt, John K Peterson, Jack Rutherford, José Ma. De Servin, Shaw, Cynthia Siddons (now Cynthia Luria), and Joe Wedgwood. Art lovers attending gallery openings at this time were often served a tequila-enriched pomegranate ponche alongside snacks such as peanuts.

Somehow, in this crowded year, the Hufs also managed to fit in an exhibition at Redwood City Gallery in California.

In February 1969, Eunice and Peter Huf joined with (Don) Shaw to exhibit at the 10th floor penthouse Tekare Restaurant at Calle 16 de Sept. #157, in Guadalajara. This location has fame as the first place where jazz was played in Guadalajara. Later that year, Eunice Huf had a showing at the co-operative La Galería in Ajijic.

“Grupo 68” (Eunice and Peter Huf, Don Shaw and John K Peterson) held a showing of works at The Instituto Aragon (Hidalgo #1302) in Guadalajara in June 1969.

7-7-7 show (Hunt, Huf, Shaw), 1969

Three of these artists (the Hufs and Shaw) held another show shortly afterwards in Guadalajara at Galeria 1728 (Hidalgo #1728). That gallery was owned by Jose Maria de Servin and the show was entitled 7-7-7. It featured seven works by each artist with the promotional material featuring a pose by the three artists emulating the Olympic scoring system.

The following year (1970), an Easter Art Show which opened at the restaurant-hotel Posada Ajijic on 28 March featured works by Eunice and Peter Huf, John Frost, John K. Peterson, Bruce Sherratt and Leslie (Maddox) Sherratt.

In June 1970, Eunice Huf’s work was included in a group showing at the Casa de la Cultura Jalisciense in Guadalajara. Other Lakeside artists with works in this show included Peter Huf, Daphne Aluta, Mario Aluta, John Frost, Lesley Maddox and Bruce Sherratt .

In May 1971, both Peter Huf and Eunice Hunt were among those exhibiting at a Fiesta de Arte in Ajijic, held at a private home. More than 20 artists took part in that event, including Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Dorothy Goldner; Burt Hawley; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Showaltar (?); Sloane; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.

A review of the Hufs’ “Farewell Show” at El Tejaban restaurant in Ajijic in May 1972 congratulated them on their contribution to the local art scene, saying that their “steady flow of exceptional paintings has been a bright force in the art community of Jalisco for the past six years.”

Eunice Huf. Red with clouds. Date?. Reproduced by kind permission of the artist.

Eunice Huf. Red with clouds. 1994. Reproduced by kind permission of the artist.

Shortly before leaving Mexico, the Hufs illustrated a short 32-page booklet entitled Mexico My Home. Primitive Art and Modern Poetry With 50 easy to learn Spanish words and phrases. For all children from 8 to 80, published in Guadalajara by Boutique d’Artes Graficas in 1972. The poems in the booklet were written by Ira N. Nottonson, who was also living in Ajijic at the time. The illustrations in the book are Mexican naif in style, whereas their own art tended to be far more abstract or surrealist.

Eunice and Peter Huf left Mexico in the summer of 1972 with every intention of returning, but never did, despite making plans in early 1976 for shipping their recent works from Germany to Ajijic for a show at Jan Dunlap’s Wes Penn Gallery. According to organizers, the artists wanted to return to Ajijic permanently. It appears that this show never actually took place, owing to complications of logistics and customs regulations.

On moving to Europe, the Hufs lived near Nerja, in Andalucia, southern Spain, for a time, before settling in 1974 near Peter’s hometown of Kaufbeuren in the Allgäu region of southern Germany. The couple now have studios in the house where he was born in Kaufbeuren. Their work, known for the use of bright colors, has appeared regularly in exhibitions over the years, with both artists winning many awards along the way.

Eunice Huf. Excerpt from "Taking time out".

Eunice Huf. Excerpt from “Taking time out”.

Eunice Huf’s lengthy artistic career has continued unabated. The long list of exhibitions in which her work has featured includes: University Exhibit, Edmonton (1962); City Gallery Vancouver (1963); Downtown Gallery, Tucson, Arizona (1964); Stellenbush, South Africa (1966); Galeria Aduana, San Blas, Mexico (1966); Rincon del Arte, Ajijic (1967); Galeria 8 de Julio, Guadalajara (1968); Redwood City Gallery, California (1968); La Galeria, Ajijic (1969); Tekare, Guadalajara (1969); El Instituto Aragon, Guadalajara (1970); El Tejon [? Tejabán ?], Ajijic (1971); El Rastro, Marbella, Spain (1972); followed by many other exhibitions in Spain and across Germany. Huf was represented by Munich-based Galeria Hartmann in International Art Fairs in Cologne and Basle.

Both Eunice and Peter Huf were regulars until 2013 at Munich’s Schwabing Christmas Market, held annually since 1975.

Unlike her husband’s works which are usually painted in acrylics, Eunice Huf prefers oils and line drawings. She has produced several somewhat whimsical, exquisite, little books featuring her deceptively simple line drawings, but also does larger works, including paintings described by one reviewer as shaped by the open expanses of her native Canadian prairies.

Acknowledgment:

I am very grateful to Eunice and Peter Huf for their warm hospitality during a visit to their home and studio in October 2014 which has led to a lasting friendship. Their archive of photos and press clippings from their time in Mexico proved invaluable, as did their encouragement and their memories of people and events of the time.

Sources:

  • Ira N. Nottonson. 1972. Mexico My Home. Primitive Art and Modern Poetry With 50 easy to learn Spanish words and phrases. For all children from 8 to 80. (Guadalajara, Mexico: Boutique d’Artes Graficas. 1972. 32pp, short poems illustrated with 16 paintings by Eunice and Peter Huf.
  • Guadalajara Reporter : 9 Dec 1967; 13 Jan 1968; 3 Feb 1968; 25 May 1968; 15 June 1968; 21 Mar 1970; 13 June 1970; 3 Apr 1971; 20 Nov 1971; 20 May 1972; 28 Feb 1976
  • El Informador (Guadalajara): 5 Jun 1970

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Feb 092017
 

Eunice and Peter Huf are artists who met in Mexico in the 1960s and lived in Ajijic on Lake Chapala for several years, before relocating to Europe with their two sons in the early 1970s.

Peter Huf was born 2 May 1940 in Kaufbeuren in southern Germany. A self-taught artist, he began to paint in 1960, while living in Paris. He lived in Paris from 1958 to 1963, and also spent time in Malaga (Spain), Copenhagen (Denmark) and Stockholm (Sweden) before crossing the Atlantic in 1964 to live in New York.

Huf then traveled to San Blas on Mexico’s west coast, where he first met his future wife, the Canadian artist Eunice Hunt. The couple met at a Lions Club dance on a Sunday evening in January 1965, and spent the next six months together in San Blas, Oaxaca and Zihuatanejo (Guerrero).

Peter Paul Huf. Ajijic, ca 1970. Photo by Eunice Huf. Reproduced by kind permission.

Peter Paul Huf. Ajijic, ca 1970. Photo by Eunice Huf. Reproduced by kind permission.

It was in San Blas where they first met Jack Rutherford and his family with their vintage school bus, the start of a long friendship. Rutherford had dug the sand away from the walls of an abandoned building in order to display and sell his paintings. In February 1965, Eunice and Peter Huf exhibited together in a group art show on the walls of the then-ruined, roofless, customs house (partially restored since as a cultural center).

After Zihuatanejo, the couple separated for several months but eventually reunited in Amsterdam later that year and visited Spain and Morocco. By January 1967 they were aboard a ship bound for Mexico. After landing in Veracruz, they returned first to San Blas (where they displayed paintings in an Easter exhibition in the former customs house) and then to Ajijic, which the Rutherfords had suggested was a good place to live, paint and sell year-round.

Peter Huf married Eunice Hunt soon after arriving in Ajijic and they lived in the village from May 1967 until June 1972. They have two sons: Paul “Pablo” Huf, born in 1967, and Kristof Huf, born in 1971.

Peter Huf. Untitled. 1968. Reproduced by kind permission of the artist

Peter Huf. From the “Mundo mono” series. 1968. Reproduced by kind permission of the artist

Both Peter and Eunice Huf regularly exhibited their work in Guadalajara, Tlaquepaque and Ajijic. They also sold artworks from their own studios in Ajijic, located first in a building on Calle Galeana and then at their home on Calle Constitución #30 near the Posada Ajijic hotel. (This building, incidentally, was later occupied by artists Adolfo Riestra and Alan Bowers).

Peter and Eunice founded a small collective of artists, known as Grupo 68, that exhibited regularly at the Camino Real hotel in Guadalajara and elsewhere from 1967 to 1971. Grupo 68 initially had 5 members: Peter Huf, Eunice Huf, Jack Rutherford, John K. Peterson and (Don) Shaw (who was known only by his surname). Tom Brudenell was also listed as part of the group for some shows. Jack Rutherford dropped out of the group after a few months, but the remaining four stayed together until 1971.

The exhibitions at the Camino Real hotel began at the invitation of Ray Alvorado, a singer who was the public relations manager of the hotel. The members of Grupo 68 began to exhibit regularly, every Sunday afternoon, in the hotel grounds. Later, they also exhibited inside the hotel at its Thursday evening fiesta.

Peter Huf. Totem. 1969.

Peter Huf: Totem. 1969. Reproduced by kind permission of the artist

The Hufs’ first joint show in Ajijic was at Laura Bateman’s gallery, Rincón del Arte, which opened on 15 December 1967, when their firstborn son was barely two months old.

1968 was an especially busy year for the Hufs. They were involved in numerous exhibitions, beginning with one at El Palomar in Tlaquepaque which opened on 20 January. Other artists at this show included Hector Navarro, Gustavo Aranguren, Coffeen Suhl, John Peterson, Shaw, Rodolfo Lozano, and Gail Michael. The Ajijic artists in this group, together with Gail Michael, Jules and Abby Rubenstein, and Jack and Doris Rutherford, began to exhibit at El Palomar every Friday.

In May 1968 the Galeria Ajijic (Marcos Castellanos #15) opened a collective fine crafts show. Eunice and Peter Huf presented “miniature toy-like landscapes complete with tiny figures and accompanying easels” which were popular with tourists, alongside wall-hangings, jewelry and sculptures by Ben Crabbe, Beverly Hunt, Gail Michael, Mary and Hudson Rose, Joe Rowe and Joe Vines.

Untitled. ca 1970. Reproduced by kind permission of the artist.

Peter Paul Huf. “Dejeuner sur l’herbe”. ca 1970. Reproduced by kind permission of the artist.

The next month (June 1968), the Hufs were back in Guadalajara, exhibiting in the First Annual Graphic Arts Show (prints, drawings, wood cuts) at Galeria 8 de Julio in Guadalajara. This show also featured works by Tom Brudenell, John Frost, Paul Hachten , Allyn Hunt, John K. Peterson, Tully Petty, Gene Quesada and Don Shaw.

A few months before his passing last year, sculptor Don Shaw, who lived in Jocotepec for many years and was a close friend of the Hufs, shared with me the story of how he had helped ensure that Peter Huf would never try to return to Ajijic in the dark after a night’s drinking or partying in Jocotepec. Shaw had made an arrangement with the local police that if they ever found Peter Huf drunk on the street, they would lock him up, no questions asked, overnight and contact Shaw the following morning to bail him out. At US$20 a time, this might not have been the cheapest hotel in town but at least it put a safe roof over his friend’s head. Shaw’s story reminded me that Huf himself had told me about how he had once been a film extra in the making of The Great Escape, filmed near Munich, playing one of a group of prison guards who were becoming drunk. The director agreed that some genuine drinks would make their behavior more lifelike but hadn’t counted on the number of re-takes then required to get his footage. After all their hard work, the extras were disappointed to discover that this scene never survived the final cut.

The “re-opening” of Laura Bateman’s Rincón del Arte gallery in Ajijic (at Calle Hidalgo #41) in September was accompanied by a group show of 8 painters-Tom Brudenell, Alejandro Colunga, Peter Paul Huf, Eunice Hunt, John K Peterson, Jack Rutherford, Donald Shaw and Coffeen Suhl – and a sculptor: Joe Wedgwood.

In October 1968, Grupo 68 (listed as Peter Paul Huf, Eunice Hunt, John K. Peterson and Shaw) shared the Galería del Bosque (Calle de la Noche #2677) in Guadalajara with José María de Servín. This event was one of the numerous art exhibitions in the city comprising the Cultural Program of the International Arts Festival for the XIX Mexico City Olympics.

Peter Huf. Untitled. Reproduced by kind permission of the artist

Peter Huf. “Ferne Welten”. 1975. Reproduced by kind permission of the artist

The following month, Peter Huf was helping plan a prospective show at Rincón del Arte intended to showcase work “purchased from Ajijic artists over the past 20 years”. It is unclear whether or not this show ever actually took place.

Towards the end of 1968, the Hufs co-founded a co-operative gallery “La Galería” in Ajijic, located on Calle Zaragoza at its intersection with Juarez, one block west of El Tejaban. On Friday 13 December 1968, the month-long group show for the “re-opening” of La Galería in Ajijic was entitled “Life is Art”. It consisted of works by Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Peter Paul Huf, Eunice Hunt, John K Peterson, Jack Rutherford, José Ma. De Servin, Shaw, Cynthia Siddons (now Cynthia Luria), Joe Wedgwood. Art lovers attending gallery openings at this time were often served a tequila-enriched pomegranate ponche alongside snacks such as peanuts.

Somehow, in this crowded year, the Hufs also managed to fit in an exhibition at Redwood City Gallery in California.

In February 1969, Eunice and Peter Huf joined with (Don) Shaw to exhibit at the 10th floor penthouse Tekare Restaurant at Calle 16 de Sept. #157, in Guadalajara. This location has fame as the first place where jazz was played in Guadalajara.

At the end of the month, Peter Huf had a solo show entitled “El Mundo Mono” (Monkey World) at La Galeria in Ajijic.

“Grupo 68” (Eunice and Peter Huf, Don Shaw and John K Peterson) held a showing of works at The Instituto Aragon (Hidalgo #1302) in Guadalajara in June 1969. Three of these artists (the Hufs and Shaw) held another show shortly afterwards in Guadalajara at Galeria 1728 (Hidalgo #1728). That gallery was owned by Jose Maria de Servin and the show was entitled 7-7-7. It featured seven works by each artist with the promotional material featuring a pose by the three artists emulating the Olympic scoring system.

The following year (1970), an Easter Art Show which opened at the restaurant-hotel Posada Ajijic on 28 March featured works by Eunice and Peter Huf, John Frost, John K. Peterson, Bruce Sherratt and Leslie (Maddox) Sherratt.

In May 1970, Peter Huf was afforded the honor of a one-person show, Pinturas de la Mente, at the Instituto Aleman (Goethe Institut) in Guadalajara.

The following month, both Peter and Eunice Huf were included in a group showing at the Casa de la Cultura Jalisciense in Guadalajara. Other Lakeside artists with works in this show included Daphne Aluta, Mario Aluta, John Frost, Lesley Maddox and Bruce Sherratt.

In May 1971, both Peter Huf and Eunice Hunt were among those exhibiting at a Fiesta de Arte in Ajijic, held at a private home. More than 20 artists took part in that event, including Daphne Aluta; Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Dorothy Goldner; Burt Hawley; Lona Isoard; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Showaltar (?); Sloane; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.

A review of the Hufs’ “Farewell Show” at El Tejaban restaurant in Ajijic in May 1972 congratulated them for their contribution to the local art scene, saying that their “steady flow of exceptional paintings has been a bright force in the art community of Jalisco for the past six years.”

Shortly before leaving Mexico, the Hufs illustrated a short 32-page booklet entitled Mexico My Home. Primitive Art and Modern Poetry With 50 easy to learn Spanish words and phrases. For all children from 8 to 80, published in Guadalajara by Boutique d’Artes Graficas in 1972. The poems in the booklet were written by Ira N. Nottonson, who was also living in Ajijic at the time. The illustrations in the book are Mexican naif in style, whereas their own art tended to be far more abstract or surrealist.

Peter Huf: Birds.

Peter Huf: Birds. 1967. Reproduced by kind permission of the artist

Eunice and Peter Huf left Mexico in the summer of 1972 with every intention of returning, but never did, despite making plans in early 1976 for shipping their recent works from Germany to Ajijic for a show at Jan Dunlap’s Wes Penn Gallery. According to organizers, the artists wanted to return to Ajijic permanently. It appears that this show never actually took place, owing to complications of logistics and customs regulations.

On moving to Europe, the Hufs lived near Nerja, in Andalucia, southern Spain, from 1972 to 1974, where they renewed their friendship with Jack Rutherford. While in Spain, Peter contracted typhoid (from a visit to Morocco) and was rushed from their isolated residence in the hills to the hospital in Torremolinos by former Ajijic resident Geoffrey Goodridge (the flamenco guitarist “Azul”) and his Dutch wife in their VW minivan.

In 1974, they returned to Peter’s hometown of Kaufbeuren in the Allgäu region of southern Germany and now have joint studios in the house where he was born. Their work, known for the use of bright colors, has appeared regularly in exhibitions over the years. Peter Huf’s art has won many awards along the way, including the colleagues’ prize of the Professional Association of Visual Artists (Berufsverband Bildender Kunstler).

Peter Paul Huf’s major solo shows include Augsburg, Germany (1966); La Galeria, Ajijic (1969); Instituto Aleman (Goethe Institut), Guadalajara (1970); Kunstwerkstatt und Galerie Pich, Munich (1980); and Haus de Kunst, Kunstsalon, Munich (1981).

Both Peter and Eunice Huf were regulars at Munich’s Schwabing Christmas Market, held annually since 1975. In 1994, Peter Huf founded The Art Tent at this market. The Art Tent, which Huf oversaw until 2014, gives some twenty artists – “painters, sculptors, object artists, and conceptual artists” an “opportunity to escape from the tightness of their booth and to display bigger works”, and has become a big attraction.

Mexican influences are still very apparent in Peter Huf’s work, even today. His paintings often incorporate geometric patterns and are mainly done using acrylics. To quote the artist, “My concept is my life and surrealism is part of it.”

Acknowledgment:

I am very grateful to Eunice and Peter Huf for their warm hospitality during a visit to their home and studio in October 2014 which has led to a lasting friendship. Their archive of photos and press clippings from their time in Mexico proved invaluable, as did their encouragement and their memories of people and events of the time.

Sources:

  • Ira N. Nottonson. 1972. Mexico My Home. Primitive Art and Modern Poetry With 50 easy to learn Spanish words and phrases. For all children from 8 to 80. (Guadalajara, Mexico: Boutique d’Artes Graficas. 1972. 32pp, short poems illustrated with 16 paintings by Eunice and Peter Huf.
  • Guadalajara Reporter : 9 Dec 1967; 13 Jan 1968; 3 Feb 1968; 25 May 1968; 15 June 1968; 9 Nov 1968; 21 Mar 1970; 13 June 1970; 3 Apr 1971; 20 Nov 1971; 20 May 1972; 28 Feb 1976
  • El Informador (Guadalajara) : 5 Jun 1970

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

 Posted by at 6:03 am  Tagged with:
Feb 022017
 

Artist Cynthia Jones Luria, “Casey” to her friends, has several connections to Ajijic and Lake Chapala. She lived in the village from 1968 to 1969, and from about 2000 to 2003.

Born in 1943, her birth name is Cynthia Siddons Jones (“Siddons” is in memory of her maternal grandfather, artist Harry Siddons Mowbray). Her family gave her the nickname “Casey” when she was two.

Casey Luria attended Colorado Women’s College in Denver, and graduated in the class of 1963.

Casey Luria. Low Tide. 2010 Reproduced by kind permission of the artist.

Cynthia Luria. Low Tide. 2010 Reproduced by kind permission of the artist.

Over the years, on account of three marriages, Luria has used various different names for her art, including Cynthia Siddons, Cynthia Jones Hachten, Cynthia Jones Benjamin and, since 2001, Cynthia Jones Luria and Casey Luria.

On Valentine’s Day 1968, she married fellow artist Paul Charles Hachten in Mendocino, California. Immediately after their marriage, the young couple moved to Mexico, where they lived in Ajijic from 1968 to 1969. Peter Huf, who with his wife, Eunice (Hunt) Huf, was active in the Ajijic art community at that time, remembers Casey as “a very fine artist with a great sense for irony”. Casey became good friends with another artist who had links to Ajijic for more than forty years: Henry Edwards and his wife, Corinne.

Painting by Casey Luria. Credit: Casey Luria.

Example of iPad art by Cynthia Luria.

Cynthia Siddons (as she then signed her artwork) is listed among the artists exhibiting in the December 1968 to January 1969 show for the “re-opening” of La Galeria in Ajijic. The show, which opened on Friday 13 December 1968 was entitled “Art is Life; Life is Art” and also included works by Tom Brudenell, Alejandro Colunga, John Frost, Paul Hachten, Peter Huf, Eunice Hunt, John Kenneth PetersonJack Rutherford, José Ma. de Servin, Shaw, and Joe Wedgwood.

In April 1969, Cynthia Siddons’ work was included in another show at La Galería in Ajijic, of “El Grupo”, together with works by John Kenneth Peterson and “guest artist” Charles Henry Blodgett. The members of El Grupo at the time, according to the Guadalajara daily Informador (20 April) were John Brandi, Tom Brudenell, Peter Paul Huf, Eunice Hunt, Jack Rutherford, Shaw, Cynthia Siddons and Robert Snodgrass.

Casey Luria. Sundown. 2015 Reproduced by kind permission of the artist.

Cynthia Luria. Sundown. 2015 Reproduced by kind permission of the artist.

Cynthia Siddons held a solo showing of her paintings at La Galeria (Zaragoza 1, Ajijic) which opened on Friday 4 July 1969. (She has also held one other gallery showing in Mexico since that time, under the name Casey Luria.)

Cynthia Benjamin (Cynthia Siddons). Tractores. Image: CABA, 2000.

Cynthia Luria (Cynthia Benjamin). Tractores. Image: CABA, 2000.

In April 1975, after divorcing Paul Hachten, Cynthia Siddons Jones married Jerome Benjamin.

Following the end of that relationship, in 2001 she married Robert (“Bob”) Alan Luria, also an artist, in Tucson, Arizona, a marriage that lasted until 2011. The couple were living in Ajijic at the time of their marriage and remained there for about three years in total. While living in Ajijic, and in association with Mexican folk art expert Marianne Carlson, they opened an art gallery on 16 de Septiembre, across the street from the Lake Chapala Society.

Luria says that, “It was our trips together around the country [to purchase artwork] that convinced Marianne that she had to do something to help save the crafts Mexico, knowing that it would cease to exist if the artists never made any money from their craft. She doesn’t do anything small, we discovered. Maestros del Arte is amazing. I hope it continues on for a very long time.” Luria is describing the origins and success of the annual Maestros del Arte art and handicrafts fair held at the lake. Luria is pictured, along with Carlson and Teresa Kendrick in a photo to commemorate the first Maestros del Arte show (in 2005 at the Hotel Italo in Ajijic) in the December 2005 issue of El Ojo del Lago. The event has become one of Mexico’s most important exhibitions of folk art, bringing in artisans and their work from all over the country to showcase and sell their creative output. Luria attended the show regularly until recently.

Cynthia Luria. Two Can. Gourd assemblage. 2005.

Cynthia Luria. Two Can. Gourd assemblage. 2005.

Casey and Bob Luria left Ajijic after Bob had two serious health scares. They settled in Silver City, New Mexico, where Casey ran a gallery called Bloomin Gourdworks, making whimsical gourd sculptures and totems to complement her jewelry designs. Her jewelry was shown at the Yellow Gallery in Silver City, and the gourd sculptures were displayed at Details, Art and Design in Tucson, Arizona. She also donated pieces for benefit auctions for the cancer society, the Tucson museum of art, and the city’s Symphony Orchestra.

In 2008, Cynthia (Casey) Luria joined with two fellow artists -Randi Olson and Connie Powers – to open a store called the “Silver City Bag Ladies” in Silver City, where they sold unique handcrafted bags. (Desert Exposure, October 2008). Luria is quoted as saying at the time that “We are experimenting with all sorts of materials, in all sorts of sizes and shapes. I guess you’d say, ‘Whatever’s your bag!'”

Luria currently resides in the Tucson area of Arizona where she is turning her attention to mastering papier-mâché sculpting. Though Luria’s first love was painting, and she continues to draw and paint, she has increasingly become devoted to sculpture. Her creations are often quirky, designed to amuse.

As an artist, Luria says that she paints primarily for fun and draws inspiration from Dr Seuss, as well as from Mexican and Aboriginal art. This link has some interesting and colorful examples of her iPad artwork, which she describes as “zen tangles and doodles” and “stream of consciousness painting”.

Sources:

  • El Informador (Guadalajara). 1969. 20 April 1969; 4 July 1969.
  • El Ojo del Lago. 2005. December 2005 issue.
  • St. Louis Post-Dispatch (St. Louis, Missouri). 1967. 19 February 1967.

Acknowledgment

Sincere thanks to Casey Luria for graciously sharing memories and information related to her career and time in Mexico. (This is an updated version of a post first published 16 June 2016.)

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

 Posted by at 6:18 am  Tagged with:
Jan 262017
 

Eugene and Marjorie Nowlen were an artistic couple who had a long connection to Mexico. The certainly visited Mexico prior to 1938, and first visited Ajijic on Lake Chapala in 1950. They became regular visitors to Lake Chapala from then until the 1970s. The work of both artists was included in A Cookbook with Color Reproductions by Artists from the Galería (1972).

The couple grew up in the small city of Benton Harbor in Michigan, which has a street named after Eugene Nowlen’s paternal grandfather, A. R. Nowlen.

Eugene Pratt Nowlen (aka Gene Nowlen) was born on 4 November 1899 and became an architect, completing his education at the school of architecture of the Massachusetts Institute of Technology.

Lillian Marjorie Poundstone, who usually went by her middle name, was born on 31 March 1901. An accomplished pianist, she studied at the University of Michigan (class of 1924) and became a music and dance teacher. While still in high school she won second place in a state local history competition. Her essay, along with other winning essays, was published in 1917 in “Prize essays written by pupils of Michigan schools in the local history contest for 1916-17”.

Eugen Nowlen. Festival. ca 1972.

Eugen Nowlen. Festival. ca 1972. (A Cookbook with Color Reproductions by Artists from the Galería)

Marjorie’s musical accomplishments also started at an early age. She receives Regular mentions in the local press as a pianist. In November 1925, for instance, a short piece in Central Normal Life said that she played the “Blue Danube” waltz by Strauss and “To a Toy Soldier” by Clarence Warner with “great technical skill and fine interpretative ability.” It is clear from these and other references that both Marjorie and Eugene were in the social elite of Benton Harbor.

On 11 February 1928 they were united in marriage, a marriage that was to last until Gene’s death in 1977.

In their first years of marriage, Eugene Nolen practiced as an architect in his native city (remodeling the building occupied by the Peoples Savings Association and designing new homes), while Marjorie gave piano and dance lessons at their home at #758, Pearl Street.

The couple had two children: Barbara Jean (possibly Barbara Gene) and Richard, usually referred to in press reports as “Dick”. The children performed Mexican dances at local shows, and in more than one report, it was stated that “their parents have visited [Mexico] and bought authentic costumes”. At age 7, another report describes “Barbara Gene Nowlen taking several bows after her dance in a gorgeous costume brought back from Mexico by her parents”. The family’s love for Mexico was evident. For instance, following another concert, Marjorie Nowlen was going to show “Mexican motion pictures”.

Eugene Nowlen. Untitled watercolor. Date unknown

Eugene Nowlen. Untitled watercolor. Date unknown.

A lengthy newspaper piece in 1942 reports that “Mrs Marjorie Nowlen” was working as a Red Cross nurse in Berrien County and had organized dozens of home nursing classes.

In 1943 the family left Benton Harbor and relocated to California, to Pasadena and Laguna Beach, where Eugene worked in real estate. The circumstances that led them to visit Ajijic in 1950 are unclear but, by the early 1950s, Eugene had retired in order to paint full-time. The couple promptly set off on an 18-month-long trip around the world, allowing plenty of painting time along the way.

On their return, Eugene Nowlen’s watercolors were shown at the Laguna Beach Art Gallery, in an exhibit, held in 1955, which also featured oils by Carl Schmidt of San Bernardino. The press report for this event says that Nowlen had won an award at the annual Madonna festival in Los Angeles for a watercolor entitled “Mexican Mother.” According to the Laguna Beach Art Association, Nowlen had several solo exhibits during his artistic career.

As an artist, Gene Nowlen developed his techniques by studying with several well-known artists, including Sueo Serisawa, Paul Darrow, Hans Burkhardt, and Leonard Edmondson.

In 1960, Nowlen’s “Market Day” was exhibited at a showing at a private home in Los Angeles, alongside works by many other artists, including one who also had close ties to Lake Chapala. One of the other paintings in the show as Priscilla Frazer’s “Mosaic Gate”. Frazer had a home in Chapala Haciendas for many years and her work will be subject of a future post.

The Nowlens were active in the Laguna Beach Art Association through the 1960s. For instance, in 1968, they co-organized a December art bazaar. According to a Los Angeles Times article in 1970, during Marjorie Nowlen’s chairmanship of the Exhibitions Committee at the Laguna Art Museum, she brought in experienced judges and the membership more than doubled from 300 to 640. The article describes her as “a soft spoken leader” and says that this “gracious, girlish grandmother with a gentle sense of humor” is “a doer.”

Marjorie Nowlen. Happy Moments. ca 1972.

Marjorie Nowlen. Happy Moments. ca 1972. (A Cookbook with Color Reproductions by Artists from the Galería)

Marjorie Nowlen exhibited at the Many Media Mini Show, Redlands Art Association, in 1970.

A Cookbook with Color Reproductions by Artists from the Galería (1972) included works by both Eugene and Marjorie Nowlen. (Other artists represented in this small volume include Luis Avalos, Antonio Cárdenas, Marian Carpenter, Jerry K. Carr, Tom Faloon, Priscilla Frazer, John Frost, Arthur L. Ganung, Virginia Ganung, Lona Isoard, Antonio López Vega, Luz Luna, Robert Neathery, José Olmedo, Hudson M. Rose, Mary Rose, Eleanor Smart and Jack Williams.)

Marjorie Nowlen also showed a work which received an honorable mention, in La Mirada’s Fiesta de Artes in Long Beach, California, in May 1974.

Gene Nowlen died on 27 September 1977 at the age of 77; Marjorie Nowlen passed away on 1 April 1998, at the age of 97.

Note:

While the 1940 US Census suggests that the Nowlens’ son, Richard, was born in about 1932, elsewhere it seems that he was actually born in 1929 and is the same Richard Nowlen who was murdered along with a female friend in the Mojave Desert, California in 1959, while on the run from Chino men’s prison.

Sources:

  • Central Normal Life, 25 November 1925, p1.
  • A Cookbook with Color Reproductions by Artists from the Galería. 1972. (Ajijic, Mexico: La Galería del Lago de Chapala).
  • Guadalajara Reporter, 30 Jan 1964, 7.
  • Independent Press-Telegram, Long Beach, California: 29 May 1955, p 51; 10 April 1960, p 57; 1 December 1968, p 149; 12 May 1974, p60.
  • Independent, Long Beach, California, 11 September 1959, p5.
  • Lael Morgan. 1970. “Art Exhibition Chairman Brings Changes to Laguna”, in Los Angeles Times (16 October 1970), E2.
  • Mirror News, Los Angeles, Monday, September 14, 1959 page 12.
  • The News-Palladium, Benton Harbor, Michigan: 2 August 1917 p 2; 21 December 1923, p17; 28 July 1925, p4; 1 January 1938, p41; 22 June 1938, p 3; 11 May 1939, p3; 13 May 1939, p3; 23 June 1939, p 4; 16 March 1940, p4; 30 April 1940, p4; 31 December 1941, p120; 3 December 1952, Page 4; 23 May 1953, p 4.
  • The Ogden Standard-Examiner, Ogden, Utah, 22 September 1959, p2.
  • Michigan Ensign, Volume 25, UM Libraries, 1921.
  • Nancy Dustin Moure. 2015. Index to California Art Exhibited at the Laguna Beach Art Association, 1918-1972. (Dustin Publications: Publications in California Art No. 11).
  • Cornelia M Richardson; Marjorie Poundstone; Edward Morris Brigham, jr.; Russell Holmes; Michigan Historical Commission.. 2017. Prize essays written by pupils of Michigan schools in the local history contest for 1916-17. (Lansing, Mich.: Wynkoop Hallenbeck Crawford Co.).
  • San Bernardino County Sun, October 4, 1970, page 36.
  • The Tustin News, Tustin, California, 14 November 1963, p14.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Jan 052017
 

The renowned western artist John A. Bruce, best known for his portraiture, visited Ajijic on Lake Chapala, probably in the 1960s. His name was recalled by long-time Ajijic visitor Dr. Jim Vaughan when I interviewed him in 1990. Vaughan said that Bruce had drawn a sketch of him, but that it had required several sittings, because Bruce “liked his tequila”. It is unclear how long Bruce stayed in Ajijic or whether he visited more than once.

John Bruce. Self-portrait. Credit: John Bruce / website

John Bruce. Self-portrait. Credit: John Bruce / website

John A Bruce was born in Los Angeles, California, on 8 April 1931. He served in the U.S. Army from 1949 to 1952, including 18 months as an infantryman in Korea. Following military service, Bruce began a long career as a commercial artist in California. He worked as Art Director at the Field Service Department, North American Aviation in Downey from 1952 to 1957. He then worked as an illustrator at Aerojet General Corp., in Sacramento, for three years, before starting his own company, Cal Graphic Advertising in 1960. Cal Graphic lasted three years until 1963 when he became Art Director at Barnes/Chase Advertising, in Santa Ana, a position he held until 1967. Following Barnes/Chase, he became Vice President of Gil Franzen Art Studio, in Los Angeles (1967-1969) and then Art Director at the Independent Press Telegram, in Long Beach (1969-1973) before once again seeking his independence by becoming a free-lance artist working on Disney’s EPCOT project in Burbank.

John Bruce. A Mountain Man.

John Bruce. A Mountain Man.

Bruce studied art at the Art Center School in Los Angeles and the Chouinard Art Institute, and gained a B.A. in Psychology (with a Minor in Art) from California State university in Los Angeles in 1965.

After the 1970s, Bruce focused more on his own art, as a partial list of his solo and group exhibitions confirms. His solo shows include Ghormley Gallery Los Angeles (1964); Les Li Art Gallery Los Angeles (1969); Upstairs Gallery in Long Beach (1971); and Christine’s of Santa Fe Gallery in Laguna Beach (1993). Invitational. Bruce’s group shows include: Laguna Beach Art Festival Laguna Beach, (1962-1965); Butler Institute of American Art Youngstown, Ohio (1970); Newport Invitational Art Show, Newport Beach (1975); Death Valley Art Show in Death Valley, California (1979-1982); American Indian & Cowboy Artist’s Show in San Dimas, California (1987-1995); El Prado Gallery Sedona, Arizona (1989); Prairie Fire Show Wichita, Kansas (1990-1992); Pepper Tree Art Show, Santa Inez, California (1991 to 1996);  San Bernardino Museum, California (1992); AICA (American Indian & Cowboy Artists) at the Autry Museum, Los Angeles (1996-1998); and Wind River Gallery in Aspen, Colorado (1997).

John Bruce. ca 1980. Native American Boy.

John Bruce. ca 1980. Native American Boy.

Bruce has won numerous awards for his art, including “Best of Show” at Vision 99 – Chicago Windy City Artists (1999), at American Indian & Cowboy Artists (1992; Autry Museum Masters of the American West (1996) and Festival of Western Arts, San Dimas (1996). Artworks by Bruce were adjudged “People’s Choice” at American Indian & Cowboy Artists (1988) and Art of the West Magazine (1992). At American Indian & Cowboy Artists, Bruce won Eagle Feather Awards in 1988 and 1989, and a Gold Medal for Oil Painting in 1992. At the Prairie Fire Art Show in Wichita, Kansas, he won Gold Medals for Drawing in 1990 and 1991 and for Oil Painting 1991. He also won a California International Artist of the Year award in 1975 and the John Grayback Award for Oil Painting at the American Artists Professional League (New York) in 1988. A number of lithographs by Bruce are in the permanent collection of the Smithsonian Institution in Washington, D.C.

Bruce has resided in Mariposa, California for many years and continues to find reward in his art.

In a 2010 blog post, David Lemon, a fellow member of the American Indian & Cowboy Artists, and friend of Bruce, explains that Bruce suffered serious health set-backs following a fight against cancer and an incident in the V.A. hospital which damaged Bruce’s back and right shoulder. Bruce responded to Lemon’s comments saying that he was not yet able to paint “due to the limited range of motion of my arm” but that he had begun working in charcoal and that it “feels great! I can’t imagine what my life would be like without some art in it.”

Sources:

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

Dec 192016
 

Poet and writer Jim Levy lived for about a year in Ajijic from mid-1968 until May 1969. Many years later, he has started publishing some of his poems,  essays and stories.

Levy, whose father was a Freudian psychoanalyst, was born in Chicago in 1940 and raised in Los Angeles. As a child, he spent several summers in Taos, New Mexico, a town he would return to later in life.

Levy attended the Thacher School in Ojai, California, and studied two years at Pomona College before traveling through the Southwest and Mexico by (like the Beats) hitchhiking and riding freight trains. After a year in Europe, he started classes at the University of California at Berkeley. Levy graduated with a B.A. in English and History and a teaching certificate.

At Berkeley he met Deirdre Blomfield-Brown, a married woman with two children. The couple married in 1966. In 1968-69 they spent a year in Ajijic.

From Ajijic, Jim and Deirdre returned to the U.S. to live in Taos. In a memoir entitled “¿Paradise Lost?” published in Hakod in 2009, Levy recalls their arrival in Taos:

We — my wife Deirdre, her two children, and I — came to Taos in a VW van in May 1969 with a white rat named Fortunata smuggled in from Mexico rolled in a sleeping bag. We had been living for a year in Ajijic on Lake Chapala. The scene in Ajijic was crazy, but in a Mexican village there was only so much trouble you could get into. In Taos, we found more ways.”

They tried to live as close to the land as possible:

– Although Deirdre and I had BAs and teaching credentials from Berkeley, we didn’t mind living without indoor plumbing or a phone — in fact we thought it was glamorous. We used a two-seat outhouse and carried water in buckets from the Rio Hondo. Like our counterculture neighbors, we “returned” to the land — a purely hypothetical return because my family was Jewish from Los Angeles via Newark and Germany, and Deirdre’s was Catholic from New Jersey via Ireland. My father was a Freudian psychoanalyst and her father was middle management for Bendix Corporation.”

In Taos, Jim edited a local “hippie newspaper called The Fountain of Light” for a time, on which Phaedra Greenwood (who would later become his second wife) was the staff reporter.

Levy’s marriage with Deirdre Blomfield-Brown ended in 1971. Deirdre subsequently changed her name to Pema Chödrön and became a Tibetan Buddhist nun, whose teachings, such as When Things Fall Apart and The Wisdom of No Escape, have reached a very wide audience. She is the director of the Gampo Abbey in Nova Scotia, Canada.

Also in 1971, Levy destroyed much of his previous writing, including several completed novels, because he did not deem them to good enough for publication. (He destroyed other works, on the same grounds, in 1985).

In 1972, Levy began living with Phaedra Greenwood and her son. Levy and Greenwood had a daughter two years later and married in 1977. In 1978 Levy embarked on a 35-year career directing non-profits, starting with the Harwood Foundation of the University of New Mexico.

Between his divorce from Phaedra Greenwood in 1994 and their eventual reconciliation in 2003, Levy lived and wrote in a variety of places, including Pátzcuaro and Oaxaca in Mexico, Montreal in Canada, Spain and California. Levy and Greenwood continue to make their home in Arroyo Hondo, New Mexico.

Levy began publishing his writing and poetry at the age of 74. His published works include Corazón (and Merkle): A man, a dog, and another dog (2014), Cooler Than October Sunlight, selected poems 1959-2004 (2015); The Poems of Caius Herennius Felix (2015), an extraordinary work about the discovery and translation of an imaginary first century Roman Spanish poet; Joy To Come, Literary and Cultural Essays (2016); and The Fifth Season: A Journey Into Old Age (2016).

Acknowledgment:

  • My thanks to Jill Maldonado (daughter of Beverly Johnson, unofficial town photographer of Ajijic in the 1960s) for bringing Jim Levy and Deirdre Blomfield-Brown to my attention. Johnson herself will be profiled in a future post.

Source:

  • Jim Levy. 2009. ¿ PARADISE LOST ? in Hakod – “The Voice of the Taos Jewish Center”, Vol 8 #2, Winter 2009/5770.

Other Lake Chapala artists and authors associated with Berkeley

Several other Lake Chapala artists and authors have close associations with either U.C. Berkeley or the California College of Arts and Crafts in Berkeley. They include the writers Ralph Leon Beals, Earle Birney, Witter Bynner, Willard “Spud” Johnson, Clement Woodward Meighan, Idella Purnell, and Al Young and the artists Tom Brudenell, Ray Cooper, Sylvia Fein, Gerald Collins Gleeson, Dorothy Goldner, Paul Hachten, John Langley Howard (1902-1999), Alfred Rogoway, Alice Jean Small, and Richard Yip.

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please email us or use the comments feature at the bottom of individual posts.

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