Margaret Lefranc

Margaret Lefranc
Margaret Lefranc. Photo by Laura Gilpin.
Born	Margaret Anglin Frankel (1907-03-15)March 15, 1907 Brooklyn, New York, United States
Died	September 5, 1998(1998-09-05) (aged 91) Santa Fe, New Mexico, United States
Occupation	Modernist painter

Margaret Lefranc (Schoonover) (March 15, 1907 – September 5, 1998) was an American painter, illustrator and editor, an American Modernist with early training as a color Expressionist with classical training, and, according to Sharyn Udall, art historian, a woman “on the edge of the avant-garde.”^[1] She produced portraits, figures, florals, still lifes and landscapes in a variety of compositions reflecting her own view of the surrounding influences. Her media included oil, watercolor, gouache, pastel, drawing, etching and monotypes. At age eighteen, she received accolades from Alfred Stiegliz^[2][3] and, at twenty-two, received rave reviews in La Revue Moderne, November 1928 in Paris during exhibitions of “Dancer” and “Mme M. en Pyjama”— Self Portrait in Pajamas, 1929.^[4]

Margaret Lefranc, was born in Brooklyn, New York, under the name of Margaret Frankel. Her parents, Abraham Frankel and Sophie Tiplitz Frankel were sixteen and seven respectively when they immigrated with their parents from Moscow and from the capitol of Georgia. Over the passing years during their marriage, Abraham owned a shirt factory, a shipping line, distributed Western films, built the Lowe’s theater in Brooklyn, owned other real estate and was the first person to have a small orchestra in vaudeville. They had four children, but one son died. They spent summers in Hunter, New York, at a farmhouse built in 1776 which Abraham purchased. Lefranc was oftentimes in poor health which made it difficult for her to attend school regularly.

Lefranc was the youngest. Her sister, Celeste, had bought Margaret some plasticine from which Lefranc made a bas relief of an Indian head. At that age of six, she decided to become an artist.^[5] The Brooklyn home inspired the young artistic inclinations with colorful medallions and portraits of famous people on the library ceiling and a print of Rosa Bonheur’s Horse Fair on a wall. Margaret rode horses with her mother and learned jiu jitsu. Eventually her mother, tired from housekeeping, talked Abe into moving into two suites at the Hotel Pennsylvania located in Manhattan (across the street from Pennsylvania Station) where they could all eat in the hotel dining room if they had guests, or, if Margaret was alone, in the hotel cafeteria. Margaret spent a lot of time alone when she wasn’t in the hands of a caregiver.

Early Education and Berlin—1920-1921

Starving Woman in Germany, 1921. Charcoal on paper by Margaret Lefranc.

In Brooklyn Lefranc attend private schools, Adelphi Academy and Hunter College Model School. Later at the age of twelve and living at the Pennsylvania Hotel, she was chauffeured to her formal classes at the New York’s Art Students League where she attended for three or four hours. She worked in charcoal drawing reproductions.

Abe’s shipping business closed with the beginning of World War I when one of his tankers was torpedoed by the Germans and the survivors were shot in their lifeboats. Life changed for the Frankels when Abe was commissioned by the U. S. Government to scrap the German fleet.^[6] The girl’s parents preceded her to Germany but left her in the care of Celeste, her sister, who was nine years older and married. Lefranc finished the last few months in school, and at the age of thirteen, traveled by freighter to join her parents in Berlin where she contracted Rheumatic fever. She spent almost a year in bed, didn’t speak German until six months later, and, at that time, wasn’t exposed to the masses of people dropping dead in the streets due to hunger.^[7] Abe built her a small studio on the roof of the apartment building. Between her bed and her studio, she drew in charcoals under the tutelage of a young art student who eventually told her parents to leave her alone and let her develop on her own. Once he brought an old woman he had met on the street to pose by Lefranc’s bedside for a small amount of money. By that time Lefranc was aware that the money from the sketch made it possible for the woman to buy some food. When Lefranc felt fairly well, she took classes in charcoal drawing and charcoal portraits at “Kunstschule des Westens” (School of the West).

After a year in Berlin, the Frankel’s moved to Paris. Lefranc was determined at a young age that Paris was the only place for her to be since she was an artist.

Education in Paris—1922-1932

Self Portrait, 1927. Oil on canvas by Margaret Lefranc.

On one return to New York to renew her passport at age eighteen, Lefranc was introduced by Claude Bragdon, a close friend of not only Lefranc’s sister but also of Georgia O’Keeffe (artist) and Alfred Stieglitz (photographer and art dealer). Stieglitz looked at her art very seriously and said, “Young lady, you’re very gifted. But you are also very French. Come back after you’ve lived in America for ten years.”^[8][9]

In Paris, Lefranc became interested in contemporary developments. She saw the works of Marc, Kollwitz, Lehmbruck, Heckel and other artists of “Die Brucke”, Klee and Kandinsky. She loved the great old masters, but it was the modernists who stimulated her profoundly. She particularly loved Lovis Corinth.^[10] She practiced the use of light and shadow in the development, on a two-dimensional surface, of forms in a three dimensional space. Diane Armitage, freelance writer and digital video artist, wrote about one of the artist’s self-portraits, “Lefranc appears to have ‘come into her own’ early on when faced with the prospect of confronting a ‘persona’…by the way of realist techniques which slid into abstraction…she was able to incorporate some of the ‘isms’ of the day.” ^[11]

She studied at the “Académie de la Grande Chaumière”, the Russian Academy, “Academy Russe in Paris”. Her teachers included Basil Tchoukaieff, Antoine Bourdelle, Charles Bissiere; and with André Lhote, she learned the method and technique of paint application which more closely resembled her approach—an academic mixture of flat, dryly handled planes of color, inspired by Cubism, and more literal descriptive passages.

Hunter House, 1936. Oil on canvas by Margaret Lefranc.

Felice Swados Writing Novel, 1940. Oil on canvas by Margaret Lefranc.

In 1930 because Lefranc was fluent in German and French, she understood what Hitler was saying. Lefranc also struggled with her signature signing “MF” then “FRA” and also “Frankel.” When she was older and times were changing for the worst, she graduated to signing “Lefranc.” In 1929 childhood friend, Diane Ruben (later Mrs. Lionel Trilling), left Paris for New York after an extended stay with Margaret.^[12] Frankel finally returned to New York, and seven years later exhibited in the 1939 World’s Fair in Flushing, New York. But her first task was to save the family’s 1776 farmhouse from the courthouse steps in Hunter, New York, and set about repairing it. She immediately set up the Hunter Colony and invited her young friends she had met when teaching art at Camp Allegro: Felice Swados, who became science editor for Time, and her future husband, Richard Hofstadter, a Pulitzer Prize winning author, and their friends, all who paid a stipend and spent summers working on productive projects whether painting, music, a thesis, or a book. Lefranc painted portraits including her own, the apple orchard and other landscapes. A portrait of Felice Swados typing her book, House of Fury, while sitting in an evening gown in Lefranc’s apple orchard, now resides in the library of St. John’s College in Santa Fe, New Mexico, along with the Swados book. As Susan Ressler, author, noted, “Lefranc’s portraits are unflinching in their honesty and often experiment with abstract form. Her landscapes seem gentler and more empathic…reveling in the beauty and the wonder of the West.”^[13][14]

Clifton “Kip” Fadiman, author, radio and television personality and Lefranc’s brother-in-law’s brother, dubbed the artist “Ur” Hippie. Lefranc’s next door neighbors were Betty Comden (Mrs. Steve) and Betty’s working partner for many musicals, Adolph Green, present for collaboration. There was a mutual sharing of parties, Lefranc’s swimming pool and Comden’s tennis court. Also, frequenting were Leonard Bernstein, Judy Holliday and others interested in the theater.

Guild Art Gallery, New York—1935-1937

In 1934-1935, Lefranc was a guest of Rene d’Harnoncourt on the Art in America Radio programs speaking about American and European art. During that time Lefranc decided to fund, open and direct an art gallery for gifted Americans located at Thirty-seven West Fifty-Seventh Street on the fifth floor. In Andrea Pappas' scholarly article about Lefranc's Guild Art Gallery, she states that the Guild served as the launch site for Arshile Gorky with his first New York one-man drawing exhibition.^[15] When he was starving, Lefranc also fed him at Luchow’s Restaurant. Lefranc eventually released him from his contract when Julian Levy promised Arshile Gorky an income of twenty-five dollars a month, which she couldn’t match, plus exhibitions. Levy did give him $700, but an exhibition didn’t occur until 1944, almost nine years later, a fact supported by Hayden Herrera, author, in which she also discusses Margaret Lefranc (known later as Margaret Schoonover).^[16] Lefranc also represented Chaim Gross (sculptor), Saul Baiserman, Theodore Roszak, Ary Stillman, Jean Liberte, Lloyd Raymond Ney, Donald Forbes, Philip Reisman, Max Weber, Yasuo Kuniyoshi, and many others. In 1980, Lefranc was asked to contribute her papers of the Guild Art Gallery to the Archives of American Art, Smithsonian.^[17] On vacations and on weekends Lefranc painted five paintings a day in Hunter, often the subject of her work during those years, including self-portraits because, as Lefranc said, “I was the cheapest model I could find.”

“Two years later, disgruntled with the commercial side of art,”^[18] Lefranc closed the gallery in 1937.

Taos, New Mexico— Frieda Lawrence (Mrs. D. H.) and W. H. Auden— Summer 1939

Hopi Woman Basket Maker, 1956. Etching on paper by Margaret Lefranc.

Determined to see the land of her birth which resulted in a trip to New Mexico, Lefranc took a circuitous route with her friend, Annette Stevens Rada (photographer), to Florida, across to Texas and north to Las Vegas, New Mexico, and finally stopped to visit her friends, Dr. Rudolph “Rudy” Kieve, assistant director at the insane asylum, and his wife, Marjorie. Through the Kieve’s, Lefranc met Frieda Lawrence and rented a townhouse from her. At the same time, having been apprised by Thomas Mann of the arrival of his son-in-law in Taos, the Kieves met W. H. Auden and Chester Kallman at the bus station in the center of the village. Auden was traveling as tutor and paid companion to Kallman.

Auden knocked on the Lawrence townhouse door where Lefranc was and declared imperially, “This is mine. I rented it.” Lefranc answered, “You did? Well, I’ve paid the rent on it to Mrs. Lawrence—and besides, I’ve just cleaned it.” Lefranc calmed everyone down by feeding them a steak. When the vacation was over, Auden insisted on accompanying Lefranc to California. It was a journey and vacation Lefranc would never forget. She wrote about Frieda Lawrence, Auden and Kallman, Witter Bynner and others in a published article in 1992^[19] and which was later serialized.^[20]

Lefranc did her first western paintings—landscapes of New Mexico—while on a summer visit to Taos in 1939.^[21] Before leaving Taos, Lefranc promised Frieda that when she had one thousand dollars saved, she would return to live in New Mexico.

Return from Taos to New York—1939-1945

The years from 1939-1945 were disappointing for Margaret Lefranc except for some of the friends she met. Mixed in with the vacation to Taos, Lefranc assisted in her family’s real estate investments, worked as a textile designer and stylist (1938-1944); and served on the staff of the Cooper Union Museum (1944-1945).^[22] She also met and lived with Raymond Elton Schoonover, a book store owner of Dutch descent, for a year. Though he was thirteen years her junior, they married in 1942 and divorced in 1945.

At Cooper Union Lefranc, also known as Margaret Schoonover, had been hired as a curator, but that never came to fruition what with Ms. Mary S. M. Gibson having been appointed for life by the Hewitt sisters. Lefranc did, however, arrange exhibitions for the art students upstairs. Margaret also donated several of her own works of art to the museum. “During my vacations and every weekend that I could, I returned to Hunter to paint. In November 1945 when the war had ended, I trained three people to take over my job at Cooper Union, which I thought was terribly funny."

By the time she left Cooper Union, Lefranc had already met Alice Marriott, author and anthropologist, who had come to New York in 1940 to help to set up the first American Indian Exhibition which was a landmark in American Art at the Museum of Modern Art, along with Rene d'Harnoncourt, Mary and Frederic Douglas and Kent Fisher.^[23] Margaret had already met D'Hornoncourt when guesting on his Art in America Radio program discussing European and American Art. D'Harnoncourt, Frederic "Eric" Douglas and Alice Marriott were all friends. Margaret joined the group soon afterwards when Dr. Rudy Kieve wrote a letter of introduction for Marriott to present to Margaret when Marriott was in New York. After that, friendships continued by correspondence and then vacations.

It was a busy year 1945. Once Lefranc realized that her husband wouldn’t change his rambunctious nature, she placed all of his belongings on the apartment landing, called him to retrieve them, rented out the apartment, divorced him on June 19, 1945, then escaped from family and former husband and went West by invitation of Alice Marriott when she said, "Why don't you come out West to live?...We can arrange to work together."^[24]

Marriott had received a Rockefeller Foundation grant to study the Indian potters of San Ildefonso Pueblo, near Nambe and Santa Fe, New Mexico. The war was over, so Margaret decided to give it a trial for six months, team up with Marriott and paint as much as she could in the Southwest. It turned out to be the beginning of a new life for her. Besides Margaret remembered her promise to Frieda Lawrence that she would return when she had saved one thousand dollars.

Nambe, New Mexico—Alice Marriott—1945-1955

Lefranc arrived in Santa Fe in her old 1935 Dodge to disruptive events. Plans had changed due to Alice Marriott’s explosive temper directed toward the owner of two casitas. Lefranc and Marriott were suddenly homeless as it was the end of World War II, and The Los Alamos project (Los Alamos National Laboratory) had swallowed all rental property in and around its area. The closest place they found was a boarded up empty house in Nambe consisting of three small rooms in a row, each with a door to the outside. It looked exactly like a railroad car with a discreet privy fifty feet away. The worst part—it had no heat, no water and no electricity! Of course, there was no furniture either. But it did have rodents. It was a life experience which Lefranc illustrated for Alice Marriott in The Valley Below^[25] and a story detailed for Lois Katz, author,^[26] and for Sandra D’Emilio.^[27] At first Lefranc was horrified by the condition of the place for it was a drastic change for a woman who had been reared elegantly at various points of her upbringing. Putting that aside, since winter was almost upon them, Lefranc began securing the house. After winter the serious construction on the adobe began and lasted for years since she was experienced at repairing the Hunter family home and building a studio when she had returned from Europe and took ownership.

The Corral, Nambe New Mexico, 1948. Oil on canvas by Margaret Lefranc.

In Nambe, gazing from one of the front doors, Margaret saw the spectacular distant sierras which she painted regularly along with other Nambe scenery. The lives of these two independent women were complicated with adventures and misadventures while attempting to produce art and books. It was full of Indian dances and socializing with neighbors of different languages and patterns. Also notable friends appeared with no prior notice since Margaret refused to have a telephone to avoid family calls. Counted as friends were Randall Davey and his wife, Belle; Alfonso Ortiz, Pueblo anthropologist, John Brinckerhoff Jackson, publisher of “Landscape”; and Frederic Douglas, Denver Art Museum, Curator of Indian Art. Lefranc went sketching with Nicolai Fechin, upon his trips from California to visit his daughter, Eya, a dancer, and her then husband Dane Rudhyar, an astrologer and philosopher—who were neighbors of Lefranc’s. She also kept O’Keeffe’s cat, Mommy, and later Anselmo, who was dropped off in a gunnysack by Maria Chabot, when Stieglietz died. Anselmo loved classical music on Sunday’s.

Nambe, 1953. Crayon and charcoal on paper by Margaret Lefranc.

Lefranc completed Indian illustrations of pottery in the round (instead of the usual flat panel), portraits of Maria Martinez and her home life, illustrated and painted in oils Indian dances at the Pueblos as well as her Spanish neighbors and their environs. Also part of the time included trips to Oklahoma to meet with the University of Oklahoma Press in Norman regarding her illustrations for Maria: The Potter of San Ildefonso (still in print) and five other books. She also illustrated Alma Big Tree, a Kiowa Medicine Woman and traveled to Southern Cheyenne Reservation to paint an elder, Mary Inkanish, who was an expert on beadwork, which gouache was used as a frontispiece for one of Marriott’s book. Additional trips included Iowa, Wyoming, Montana, and other states intermixed with her own exhibitions at the Museum of New Mexico, Santa Fe; the Philbrook Museum, Tulsa Oklahoma; the Oklahoma Civic Center, Oklahoma City; and others. She collected pottery, assisted Marriott in establishing small historical museums set up in store fronts, and traveled for research and artifact gathering. Occasionally trips to Mexico, New York and to Florida were fit in for painting and visiting her parents who had relocated to Miami for health reasons

A noted painter, illustrator, and editor, in 1948 Lefranc received a “Fifty Best Books of the Year” award from the Library of Congress in conjunction with the American Institute of Graphic Arts for her synoptic illustrations of pottery in Maria: The Potter of San Ildefonso; and in 1952 for Indians of the Four Corners, she was honored by the same organizations with a “One Hundred Best Books of the Year.” Eventually she was adopted by a Nambe Pueblo Indian medicine woman, Leonidas Romero y Vigil, and also later became trusted friends of Maria Martinez, Laura Gilpin, Georgia O’Keeffe and many others which included her Spanish and Indian neighbors. As Lefranc explained to Diane Armitage, “When the Indians had a fight at the Pueblo, the elders came over one evening with a package and they handed it to me. Keep it for us. We’re having a fight. This is our sacred fettish. We’re afraid someone might try to steal it. I never opened it. I kept it for two years.”^[28][29]

Lefranc illustrated books written by Marriott:

• Dance Around the Sun, T. Y. Crowell, 1977
• Hell on Horses and Women, University of Oklahoma Press, 1953
• Indians of the Four Corners, T. Y. Crowell, 1952
• Maria: The Potter of San Ildefonso, University of Oklahoma Press, 1948
• The Valley Below, University of Oklahoma Press, 1948
• Indians on Horseback, T. Y. Crowell, 1948

Autumn Foliage, 1990. Monotype on paper by Margaret Lefranc.

In 1945 Lefranc bought property in Santa Fe, New Mexico. In 1954 she built a house at the same time when Marriott became indisposed and their thriving partnership broke apart. Lefranc eventually sold the Nambe house, and they went their separate ways, for which Marriott later expressed deep regret. Lefranc rented her house in Santa Fe until 1969 and moved to Florida to care for her ailing parents.

In 1956 Lefranc (under the name of Margaret Schoonover) donated ninety-two pieces of pottery to what is now known as the Sam Noble Oklahoma Museum of Natural History, University of Oklahoma. Before the contribution, this collection Lefranc exhibited artistically on a rust colored adobe wall in Nambe in a new living room which she had just finished building when Georgia O’Keeffe and Maria Chabot arrived for tea. “Georgia walked in, didn’t say a word, looked around very seriously and then turned to Maria and said, ‘Why can’t I have a room as beautiful as this.’^[30] Lefranc was thrilled for the appreciation she received. Alice Marriott was not.

Miami and Santa Fe—Lefranc and Sandra McKenzie—1956-1998

Sandra McKenzie, President, Margaret Lefranc Art Foundation. Bust by Audrey Corbin Wright. Photograph by Sara J. Vacha from Miguel Benavides web design.

Upon leaving Nambe in 1956, Lefranc moved to Miami, Florida, to care for her ailing parents. She assumed the management of their real estate, invested in the stock market and eventually bought the second oldest house in Coconut Grove which she restored. At the same time Margaret was painting, jurying shows, making new and close friends—which included

Margaret Lefranc with Winter. Photograph by Klara Farkas.

Klara Farkas (photographer), Larue ‘Sunny’ Storm and Marjory Stoneman Douglas, recipient of The Presidential Medal of Freedom from President Clinton in 1993. Lefranc successfully sold her art, and exhibited at various museums throughout the United States while taking classes at the University of Miami to see what the “youngsters” were doing. She even accompanied them to Yanhuitlan Oaxaca, Mexico. There the artist abstracted the essence of figures by using blocky color forms to make up their shapes and thin brushstrokes to give the forms their figural presence. There were a number of paintings in gouache and casein on paper—portraits, fans, figures of female and male Indians, churches and street scenes.

Margaret Lefranc, Governor Bruce King, and Sandra McKenzie, President of Margaret Lefranc Art Foundation

Margaret Lefranc following the Governor's Award for Excellence in the Arts—Painting, 1996. Photograph by Matt Gray.

Until 1997 Lefranc continued to visit Santa Fe to make repairs on her home, to visit her adopted Indian family at the Nambe Pueblo, and, of course, to paint. Also, she traveled to the Hunter home in the Catskills which she still owned all the while taking care of her parents and their interests. After her parents died during the 1960s, her traveling included Greece and a brief trip to Paris, but she mainly established a pattern of splitting into increments of six months each living in Miami and Santa Fe and keeping up with her friends, Laura Gilpin, Georgia O’Keeffe and others.

In 1975, four years before Lefranc's closest friend Laura Gilpin died, Lefranc met Sandra McKenzie who was visiting from New York. On Christmas Day in the artist’s home in Coconut Grove, McKenzie saw two examples of Lefranc’s art which affected her profoundly. The two corresponded regularly over the years (with Lefranc nicknaming her “McKenzie”). Eventually McKenzie moved to Coconut Grove. Coincidentally, Lefranc broke her hip after returning from Santa Fe, and McKenzie, who was more than three decades younger than the artist, volunteered to provide care during the recuperation.

With Laura Gilpin long gone, the artist's life took a new turn with her business manager and companion’s collaboration. With a colored portrait Lefranc had painted, Lefranc was televised in Miami regarding a close Floridian friend and neighbor, for “This Is Your Life, Marjory Stoneman Douglas,” a celebration of Douglas's One Hundredth Birthday, a video which premiered with dignitaries.^[31] McKenzie began cataloguing all of Lefranc’s art first in Miami and then in Santa Fe, where McKenzie chauffeured the artist at the end of six months. In 1994, the artist and McKenzie formed the Margaret Lefranc Art Foundation to protect her art collection. First as Director, and later appointed President, McKenzie also read and organized file drawers of newspaper articles, exhibition announcements, reviews, invitations, one-person and group exhibitions, and compiled all educational background and awards. In addition, she met with curators, scheduled and taped interviews, found exhibitions for Lefranc and prepared the paintings for exhibitions. Any articles Lefranc had written, McKenzie found an audience. McKenzie nominated, unknown to Lefranc, and later Lefranc received the 1996 Governor's Award for Excellence and Achievement in the Arts, Painting, presented by Governor Gary and New Mexico's First Lady Dee Johnson. Over the years, McKenzie captured eighty-five years of Lefranc’s art history—a legacy of research preserved for the future including the first book, A Lifetime of Imaging: The Art of Margaret Lefranc, and then produced a film by the same name.^[32][33]

Defining Lefranc’s art at this time were major exhibitions at the Governor's Gallery in Santa Fe, New Mexico, the Independent Spirits exhibition at the Gene Autry Western Heritage Museum, Los Angeles, California, which traveled to other museums; and also the State Department’s “ Breaking Boundaries, American Women Artists in France, Exhibition in Paris.^[34]

On September 5, 1998, Margaret Lefranc died with Sandra McKenzie by her side, promising to continue her legacy.

References

External links

• Official website