Zoltan Sepeshy, Factory Rhythm (Back of Hudson Motor Plant), c.1947, Private collection
Zoltan L. Sepeshy (1898–1974) was a Hungarian-born American painter. He was trained ar the Royal Academy of Art in Budapest and the Fine Arts Academy in Vienna, and he emigrated to the United States in 1921. He taught at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. After fifteen years as an instructor and director of the painting department, Sepeshy became Director of the Academy in 1946, and in 1959 the role was expanded and renamed President.
During the Depression years, government and corporate patronage promoted public artworks designed to inspire civic pride, social unity and job productivity. Like many of his peers, Zoltan Sepeshy was commissioned by the Federal Art Project to create murals for government buildings, including post offices in Michigan and Illinois.
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Florence Elliot McClung, Junius St., Dallas, c.1940 @themeadowsmuseum
Florence McClung (1894-1992) was born in St. Louis, Missouri. She was a painter, printmaker, and art teacher. She moved to Dallas, Texas, as a child with her family in 1899 and lived there until her death. She later was associated with the Dallas Nine, an influential group of Dallas-based artists
In the early 1920s in Dallas, McClung studied painting with artists like Frank Klepper, Thomas Stell and Alexandre Hogue. She painted for periods of time in Taos, New Mexico between 1928 and 1932, joining a circle that included Hogue, Mabel Dodge Luhan the Taos Society of Artists By the mid-1930s, McClung was well-established as a painter; the Metropolitan Museum of Art in New York purchased her painting Lancaster Valley in 1936.
Soon afterward, she completed degrees in art, at Southern Methodist University, Texas State College for Women (now Texas Woman's University) and Colorado School of Fine Arts, where she studied printmaking with Adolf Dehn. She was also Director of Art at Trinity University in Waxahachie, Texas, from 1929 to 1941.
In addition to making art, in Dallas McClung became active in artists' associations and worked to promote recognition of women artists. She was an active member of the Printmakers Guild in the 1940s and 50s (it was renamed as Texas Printmakers in 1952). This guild was made up of a small group of Texas women artists, who founded it after being excluded because of their gender from the Lone Star Printmakers of Dallas, headed by Hogue and Jerry Bywaters.
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