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>>> MY INTENTION WAS TO PUT TO REST THE IDEA THAT ALICE SCHILLE WAS A LOCAL ARTIST WHO WORKED IN A VACCUM.

SHE'S GOOD, BUT SHE WASN'T ANYTHING MAJOR.

I WANTED TO SHOW THAT SHE WAS, AND I WANTED TO SHOW WHO SHE WAS.

SHE WASN'T JUST EXHIBITING, SHE WAS INFLUENCING AND SETTING A TONE, AND BRINGING NEW THINGS TO THE TABLE.

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AND TO DO IT WITH MY DAD, WHOSE RESEARCH OVER THE YEARS HAS CONTRIBUTED TO THIS, WHO INSPIRED ME.

HE PIQUES MY CURIOSITY BY HAVING THIS KIND OF LINGERING QUESTION -- WHAT IS THE REAL STORY?

>> SHE'S WINNING THE GOLD MEDAL FOR WATER COLOR IN PHILIDELPHIA, IN CHICAGO, AND IN SAN FRANCISCO.

WHY IS SHE NOT IN ANY BOOKS?

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>> IF YOU'RE BASING YOUR JUDGEMENT OFF OF BOOKS THAT YOU READ, AND THESE WOMEN ARE NOT IN THESE BOOKS, THEN IT'S OUR GENERATION'S JOB TO PUT THE WOMEN IN THE BOOKS AND TO REWRITE THEM.

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>> ALICE WAS BORN IN COLUMBUS, OHIO IN 1869.

SHE WAS THE THIRD OF SIX CHILDREN.

HER FATHER RAN A SUCCESSFUL POP COMPANY CALLED "SCHILLE POP.î SHE ATTENDS THE COLUMBUS ARTS SCHOOL WITH THE ENCOURAGEMENT OF HER MOM.

AND AFTER GRADUATING, SHE BECOMES A FACULTY MEMBER THERE.

THE SCHOOL WAS FOUNDED IN THE 1870s BY A GROUP OF WOMEN TO PROVIDE AN OPPORTUNITY FOR WOMEN TO STUDY AND WORK IN THE FIELD OF FINE ARTS TO GIVE THEM A PROFESSION.

AND IN MANY WAYS, SCHILLE SETS THE EXAMPLE OF SUCCESS OF THAT MISSION.

SHE TEACHES FOR SEVERAL YEARS, AND THEN SHE DECIDES, YOU KNOW, "I REALLY WANT TO FURTHER MY CAREER.

ìTHE WAY TO DO THAT IS TO GET TO NEW YORK.î ìI JUST HAVE TO GET TO NEW YORK.î AND THE ART STUDENTS LEAGUE WAS WHERE ARTISTS COULD GO, WOMEN AND MEN IN THE SAME STUDIO SPACE.

IT WAS THIS AMAZING MESH OF ARTISTS, AND THIS WAS REALLY HER FIRST TRIP OUTSIDE OF THE STATE.

>> SHE TALKS ABOUT THE BIG STEP TO GET ON THE TRAIN TO NEW YORK, AND HER MOTHERS WORRIED ABOUT ALL THESE CRAZY THINGS.

AND SHE SAYS, "WELL, I'M GOING ANYWAY.î AND SHE WASN'T SUPPOSED TO TALK TO STRANGE PEOPLE, AND SHE SAID, "I STARTED TO TALK TO PEOPLE AS SOON AS I GOT ON THE TRAIN.î ìHAD A REALLY NICE TIME.î !

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>> SHE WAS FASCINATED INSTANTLY, AND IN MANY WAYS, THIS FASCINATION SPANS HER LIFETIME.

SHE TRAVELS ALL ACROSS EUROPE.

EGYPT.

MOROCCO.

MEXICO.

IT'S REALLY INCREDIBLE THE AMOUNT OF PLACES THAT SHE WENT, OFTEN TRAVELING ALONE OR OCCASIONALLY JUST WITH ANOTHER FEMALE PAINTER.

[NATURE SOUNDS] >> CAN YOU TELL US WHAT'S ON THE WALL HERE?

>> OH, THIS IS THE HALL OF FAME.

THESE ARE SOME OF MY FAVORITE PAINTINGS THAT TIM AND I HAVE SOLD OVER THE LAST 40 YEARS.

THERE'S JOHN SINGER SARGENT.

THERE'S WINSLOW HOMER, GEORGE BELLOWS, OF COURSE ALICE SCHILLE.

YOU KNOW, THE KEY FIGURES OF THE HISTORY OF AMERICAN ART.

>> WHAT'S THIS BOOK CASE?

>> THIS IS THE LAND OF ALICE.

THIS ALL NOTEBOOKS PRETAINING TO ALICE SCHILLE -- DATA, LETTERS, EXHIBITIONS, INTERVIEWS.

>> WOW.

>> A NEWSPAPER CLIPPING OF MY GRANDMOTHER.

>> ALICE SCHILLE PORTRAIT OF MRS. GABHART KENNY.

PAINTED WHERE MRS. KENNY WAS A YOUNGSTER.

>> MY MOTHER WAS PROUD OF THE FACT THAT SHE HAD HER PORTRAIT PAINTED BY THIS FAMOUS ARTIST.

THE ENTIRE LIVING ROOM OF OUR HOUSE WAS BUILT AROUND ALICE SCHILLE'S PORTRAIT OF HER.

WHEN WE STARTED THE GALLERY, WE HAD NO INTENTION, REALLY, OF EXPLORING THE LIFE OF ALICE SCHILLE, BUT ONCE WE STARTED LOOKING AT THE ART OF THE PERIOD, WE WENT, WOW, SHE WAS A LOT BETTER THAN THESE ARTISTS THAT ARE BEING SOLD.

>> WE JUST HAD TO DO PRIMARY RESEARCH.

>> SEE IF I CAN FIND THAT NEW YORK ONE.

YEAH, THIS IS ONE THAT SHE FOUND IN THE "NEW YORK TIMES.î >> I WILL NEVER FORGET, I WAS INTERNING AT MFA BOSTON, AND I WAS USING THEIR DATABASE AFTER WORK.

AND I WAS LIKE, "I'M JUST GOING TO POP IN HER NAME AND SEE WHAT COMES UP.î AND LIKE 300 ARTICLES POP UP, AND I FREAKED OUT.

LIKE, "OH, MY GOD.

DAD, YOU CAN'T --" SO I GO, I CALL HIM UP, AND I'M LIKE, "THIS IS SO EXCITING.î ìTHERE'S SO MANY ARTICLES.î AND HE'S LIKE, "YEAH, OKAY, WHICH ONES?î AND I SEND LIKE THE FIRST TEN, AND HE'S LIKE, "YEAH, I KNEW ABOUT THAT AND THAT --" I WAS LIKE, "OH, MY --" SO -- BUT THEN, I WAS LIKE, "I NEED TO KNOW WHAT YOU KNOW IN ORDER TO FIND SOMETHING NEW.î >> WE REALLY BEGAN TO REALIZE THAT WHAT WE ALWAYS THOUGHT THAT THERE WAS THIS SORT OF UNDERWATER MOUNTAIN OF MATERIAL THAT WE HADN'T DISCOVERED WAS THERE.

AND WE'RE GOING, "OH, MY GOD.

THIS IS REALLY AMAZING.î SHE WAS TRULY A MAJOR FIGURE IN HER TIME.

HEAVILY REVIEWED IN THE PAPERS.

AND I DON'T KNOW -- I JUST.

THERE WAS JUST SOMETHING ABOUT A PERSON THAT WAS SO GOOD AND JUST BEING WRITTEN OFF.

THAT CAPTURED MY IMAGINATION I THINK.

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>> THIS WAS DONE IN HOLLAND IN 1903.

THE FACT THAT THIS PICTURE WAS ACCEPTED IN THE SALON IN 1904 REALLY HELPED TO LAUNCH SCHILLE'S CAREER.

>> IF YOU GET INTO THE FRENCH SETTLE -- CRITICS IN THE UNITED STATES, THEY TALK ABOUT WHO WAS EXHIBITING IN THE SALON.

WHAT AMERICAN ARTISTS WERE ACCEPTED AND WHICH ONES WEREN'T.

IT'S A HUGE MOMENT FOR HER.

>> SHE'S RIGHT IN THE CENTER OF THE AVANT GARDE ART WORLD IN 1907 WHEN SHE GOES TO VISIT GERTRUDE STEIN.

>> SHE'S IN PARIS LOOKING AT THE WORKS IN THE BIGGEST COLLECTOR OF MODERN ARTS HOUSE.

SO SHE WAS LOOKING AT THE WORKS OF MORTISE, CEZANNE, AND PICASSO IN GERTURDE STEINS' HOUSE.

YOU KNOW, WHILE THESE ARTISTS WERE ALIVE, WHILE IT WAS AVANT GARDE.

AND THIS CAF… THAT SHE WENT TO, THE WHITE CAT.

IT WAS A TOTAL HANGOUT FOR ARTISTS AND WRITERS.

A LOT OF ENGLISH POETS.

THE SECOND FLOOR WAS KNOWN FOR BEING, LIKE, A KIND OF ABSINTHE DEN AND HANGOUT.

WHO KNOWS WHAT KIND OF CONVERSATIONS SHE WAS HEARING IN THERE?

WHO SHE WAS MEETING?

WHO SHE WAS TALKING TO?

SHE WASN'T BY HERSELF.

>> SHE MUST HAVE LOVED HER EUROPEAN EXPERIENCE.

BECAUSE THEN SHE COMES BACK EVERY SUMMER.

SHE BECOMES FLUENT IN FRENCH.

WHEN YOU THINK OF SCHILLE GOING TO PARIS IN THE SUMMER, AND THEN COMING BACK EVERY YEAR AND TEACHING AT THE ART SCHOOL.

AND SOMEHOW SHE'S ABLE TO LIVE IN BOTH WORLDS.

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[NATURE SOUNDS] >> PRAISE THE LORD JESUS.

OH, MY GOD, THEY'RE HERE.

HEY, TARA, THE CATALOG JUST ARRIVED.

THEY LOOK FANTASTIC.

TARA PRESENTED THIS PAPER AT THE COURTAULD INSTITUTE ON ALICE SCHILLE, AND TARA REALLY DID A GREAT JOB WITH THAT.

AND IT WAS VERY WELL RECEIVED IN LONDON.

>> PEOPLE WERE LIKE, "WHO IS THIS WOMAN?î ìHOW DO WE NOT KNOW THIS STORY?î ìWE WANT TO KNOW MORE.î SO WE DECIDED, "ALL RIGHT, WE'RE GOING TO FLESH THIS OUT.î ìMAKE THIS THE MAIN ESSAY FOR THE CATALOG.î THAT GAVE REAL SHAPE TO THE SHOW.

OH, IT LOOKS SO GOOD.

[LAUGHTER] THERE IT IS.

>> JUST LOOKS SURREAL TO SEE IT.

>> IT'S, OH.

I KNOW.

>> AND IT'S LIGHT.

I WAS IMAGINING IT BEING, LIKE SO HEAVY.

I THINK, JUST MENTALLY.

>> YEAH.

[LAUGHTER] [INDISCERNABLE] >> IT'S GONNA BE A BRICK, BUT NO.

IT'S NOT.

>> BUT I THINK IT'S ATTRACTIVE.

I THINK IT LOOKS GREAT.

>> UMM, DID YOU NEED HELP?

>> UMM.

>> WITH THEIR STUFF?

>> I STARTED TO SORT THROUGH IT.

I FOUND A LITTLE BIN, WHERE WE CAN PUT ALL THESE LITTLE EXHIBITION LABELS WHICH ARE KINDA COOL.

>> AND RIGHT HERE?

>> THE MOOD YOU FEEL WHEN YOU'RE IN FRONT OF AN ACTUAL ARCHIVAL DOCUMENT AS OPPOSED TO A PHOTO COPY, LIKE -- THAT'S IT'S HER HAND ON PAPER.

I FELT LIKE I WAS GETTING TO KNOW HER.

>> SHE HAS A NOTE ON HERE.

THE DRESS -- [SPEAKING FRENCH] >> YOU'RE ON YOUR COUCH AND YOU'RE FREAKING OUT BECAUSE YOU FOUND SOME MENU CALLED THE WHITE FROM 1907.

AND LIKE, NO ONE AROUND YOU CARES.

AND YOU WANT EVERYONE TO CARE.

YOU'RE LIKE, ìOH MY GOD, LOOK WHAT I FOUND!î ìLOOK AT THIS MENU!î AND THEY'RE LIKE, ìNEAT.î BUT YOU'RE HAVING A WHOLE EMOTIONAL EXPERIENCE.

YOU FEEL LIKE YOU'RE SITTING IN THE CAF… WITH HER.

THAT'S WHAT'S SO FUN ABOUT WORKING WITH MY DAD ON IT ëCAUSE YOU HAVE SOMEONE TO SHARE THE NERDY EXCITEMENT WITH.

ëCAUSE YOU CALL HIM, AND HE'S PUMPED.

HE'S LIKE, ìNO WAY!î ìOH MY GOD!î ìTHE MENU?

!î ìI CAN'T BELIEVE IT!î [NATURE SOUNDS] I LOOKED UP TO MY DAD SO MUCH, MY ENTIRE LIFE.

I RAN AROUND THIS GALLERY AS A KID.

ìHEY TARA.î ìYOU DANCING?î I HAD MY OWN LITTLE ART INSTALLATIONS UPSTAIRS WITH MY COUSINS, WHERE WE WERE ALLOWED TO LIKE, TAPE OUR LITTLE ARTWORKS TO THE WALL.

YOU WOULD ALWAYS SIT HERE.

IT WAS FOLLOW YOUR DAD TO WORK DAY.

SO HE WOULD SIT THERE ON THE PHONE AND I WOULD BE DOING MY HOMEWORK HERE.

WELL, PRETENDING I WAS HELPING.

THAT'S MY DAD, MY MOM, MASON, AND I. I WAS STARTING GRAD SCHOOL IN ART HISTORY IN BOSTON.

ABOUT A MONTH IN, I LOST MY MOM.

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I CAME BACK TO COLUMBUS FOR A PERIOD OF TIME, AND THERE WAS A MOMENT WHERE I HAD TO DECIDE LIKE, DO YOU GO BACK TO SCHOOL?

CAN YOU HANDLE THIS, OR DO YOU STAY HOME AND I WENT BACK TO GRAD SCHOOL.

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IT WAS ACTUALLY AN OUTLET FOR ME.

I MEAN ART HISTORY ALLOWED ME TO KIND OF -- AN ESCAPE TO DIVE INTO IT, AND REALLY THROW MYSELF INTO THAT.

YOU KNOW, I DON'T KNOW WHAT IT WOULD HAVE BEEN LIKE TO GO THROUGH SOMETHING LIKE THAT WITHOUT HAVING THAT PASSION KIND OF DRIVING YOU AND PULLING YOU THROUGH AND FEELING THAT SENSE OF PURPOSE, BUT ALSO SUPPORT.

>> BYE!

WE'LL HAVE TO COME OVER AND SEE YOUR DOG.

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>> IN 1911, SCHILLE GOES TO SOUTH CENTRAL FRANCE.

WHERE SHE PAINTS MOTHER AND CHILD IN A GARDEN.

THIS IS RIGHT BEFORE HER CAREER REALLY TAKES OFF.

SHE'S REALLY TAKING IN SO MANY THINGS THAT FRENCH ARTISTS HAVE IN THE PAST.

THE FASCINATION WITH THE LIGHT AND THE FLICKERING OF COLORS AND FLOWERS.

YOU FEEL THE SENTIMENTALITY OF THE SUBJECTS, BUT YOU'RE ALSO JUST SORT OF IN AWE OF EVERY LITTLE DABBLE AND DOT.

I SEE STAINED GLASS IN THIS PAINTING.

THIS IS A WOMAN WHO SPENT A LOT OF TIME IN CHURCHES, LATER CON VERTS TO CATHOLICISM.

STTHS HARD TO KNOW WHAT WAS GOING ON IN HER MIND, BUT NOUN IN LOOKING AT THE PICTURE, THE SENTIMENT.

PEOPLE ARE FASCINATED BY THE FACT THAT SHE NEVER HAD CHILDREN, BUT HAD THIS INNATE ABILITY TO PAINT CHILDREN.

SHE EVEN PAINTS A MOTHER/CHILD PORTRAIT FOR THE SUFFRAGETTE SHOW AT THE MET GALA IN NEW YORK.

A LOT OF WOMEN ARTISTS CAME TOGETHER AND GAVE A WORK TO THE SHOW AND ANY PROCEEDS WOULD GO TO THE CAUSE.

>> THESE ARE AMAZINGLY SUCCESSFUL, BRILLIANT WOMAN.

OBVIOUSLY, SCHILLE ONE OF THEM, AND THEY GAVE UP.

>> IT WAS A TOTAL SUCCESS, CROWDS FILLING THE SHOW, REVIEWED IN ALL THE NEW YORK PAPER.

AND IN THAT SITUATION, SHE'S USING A MOTHER/CHILD IMAGE TO PUSH A COMPLETELY DIFFERENT IDEA.

IT'S ABOUT THE FUTURE GENERATION.

ALSO ABOUT FAMILIES, WOMEN WITH FAMILIES, WHICH ARE FOR EVERYONE.

HER HAVING THIS CLOSE RELATIONSHIP WITH HER MOTHER NO DOUBT INFLUENCED THE WAY SHE LOOKED AT MOTHER/CHILD PAINTINGS.

LOSING HER FATHER WHEN SHE WAS RELATIVELY YOUNG, HER MOTHER TAKING OVER THE COUNTRY, HER MOTHER ENCOURAGING HER ART CAREER.

>> THAT'S THE CENTRAL INFLUENCE ON SCHILLE.

SHE SEES THIS STRONG WOMAN RUNNING A COMPANY AT A TIME WHEN VERY FEW PEOPLE WERE DOING THAT.

>> FOR MANY WOMEN, THE THOUGHT OF MARRIAGE, IT MEANT GIVING UP YOUR CAREER.

GIVING UP THAT PASSION, OR PAINTING AND EXHIBITING AT HOME, BUT NOT IN EXHIBITIONS.

IT PROBABLY PLAYED A MAJOR ROLE IN HER DESIRE TO REMAIN ALONE, TO BE ABLE TO HAVE THAT POWER OVER WHAT SHE WANTED TO DO.

>> TO ME, IT'S AN APEX OF HER CREATIVITY THAT SHE'S REACHING IN NEW MEXICO.

WELL, THEY HAVE A MONSOON SEASON IN LATE JULY AND IN THROUGH MOST OF AUGUST, AND THAT'S PROBABLY WHEN ALEX SCHILLE WAS THERE.

SHE RECOGNIZED THE MOST FASCINATING ASPECT OF THAT CHURCH FROM AN AESTHETIC STANDPOINT WAS NOT THE FRONT, BUT THE BACK AND THE SIDES.

THERE'S 15 TO 20 DIFFERENT TONES THAT SHE'S MODULATING IN THIS COMPOSITION.

AND SHE'S LETTING THE BARE PAPER ITSELF, WHICH IS REALLY THE SIGN OF A TRULY GREAT WATER COLORIST TO CONNATE THE AREA OF THE MOST INTENSE LIGHT.

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YOU COULD FEEL THE TEXTURE AND SOLIDITY AND THE SOUL, IF YOU WILL, OF THE CHURCH, AND AT THE SAME TIME, THE SOUTHWESTERN LIGHT THAT PLAYS ON THE FORMS OF THE CHURCH, SYMBOLIC OF GOD'S PRESENCE, OF A SPIRITUAL PRESENCE.

>> DEFINITELY WHAT MAKES SCHILLE STAND OUT IS NOT JUST HER ABILITY TO BLEND CERTAIN COLORS, BUT SHE ALSO LAYERS COLORS IN INCREDIBLE WAYS.

AND THAT ALLOWED FOR HER TO HAVE A REALLY UNIQUE PLAY OF COLOR, WHERE THERE'S SOME THAT ARE REALLY SHEER, SOME REALLY POP, AND IF YOU LOOK AT HER SUN SPOTS FROM 1911, SHE'S PLAYING WITH THE WATER AND THINNESS OF IT.

IT'S SO SUBTLE THAT YOU SEE LIGHT FLICKERING.

>> AND THEN IN 1923, SHE DOES SOME OF THE MOST AMAZING MODERNIST WATER COLORS OF HER CAREER IN MEXICO.

>> YOU FEEL THE HEAT OF THE PARTICULAR PLACE.

YOU FEEL THE COLORS.

THE WHY PEOPLE CONCENTRATE, THE WAY THEY CONGREGATE, THE CUSTOMS.

EVEN A SENSE OF THE SOUNDS AND THE SMELLS, THE COCOPHONY OF A NORTH AFRICAN MARKET.

HER HUMANITY, HER SENSITIVITY TO PLACE AND THE PEOPLE LIVING WITHIN THAT PLACE IN THIS RHYTHM THAT SHE HAS RUNS THROUGH ALL OF HER ART.

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>> DON'T FOLLOW THE CRITICS TOO MUCH.

FOLLOW YOUR HEAD WITH YOUR OWN POINT OF VIEW.

FIND THE DOMINANT LINE.

BUILD ON IT.

LET THE SUBJECT SINK INTO YOU UNTIL YOU FEEL THIS LINE.

OFTEN EASIER TO GET FROM MEMORY.

MEMORY SKETCHES ARE THE ESSENCE OF WHAT YOU FEEL.

WE DRAW FROM MEMORY ALL THE TIME.

THE MODERNS HAVE GOTTEN AWAY FROM SCIENTIFIC PERSPECTIVE IN ORDER TO CREATE MORE FREELY, MORE FORCIBLY.

PAY ATTENTION BETWEEN PLANES FOR DEATHS FOR INNER LIFE.

TENSION IS POWER AND SPACE.

WANT TO DO A THING SO MUCH THAT YOU ARE BLIND TO ALL OTHER THINGS.

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>> GOOD AFTERNOON.

KINNEY GALLERIES, THIS IS CAROL.

SURE, THE OPENING RUNS FROM 6:30 TO 8:30 AT THE MUSEUM.

>> SO LET'S JUST START WITH TODAY.

>> OKAY, WELL, I ARRIVED THIS MORNING AND MY DAD PICKED ME UP AT THE HOTEL IN HIS JEEP WITH THE TOP DOWN AND WE PUT THE ALICE SCHILLE TOTE BAGS IN THE BACK AND DROVE STRAIGHT TO THE MUSEUM.

I DON'T KNOW, I WAS REALLY NERVOUS, BUT IT WAS AMAZING TO GO INTO THE SPACE AND FIRST TO SEE THE BANNERS AND THEN TO GO INTO THE ACTUAL GALLERY SPACE.

>> AND THIS COLOR TONE IS PERFECT.

IT'S LIKE A GRAY WITH MAYBE A TEENY BIT OF GREEN OR SOMETHING IN THERE.

CLOUD GRAY.

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>> ALL OF THIS RESEARCH CULMINATED IN A MOMENT WHEN MANY ARE STARTING TO LOOK BACK AT ART HISTORY, REWRITE THE NARRATIVE, AND INCLUDE THE WOMEN WHO WERE A PART OF IT.

I LEARNED SO MUCH FROM THE SHOW, AFFIRMING THAT I'M ON THE PATH THAT I WANT TO BE ON.

I'M WHERE I'M MEANT TO BE.

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