. . . The Womens Headquarters was
planned and furnished by the Womens Official Exposition Board.
As Chairperson of the Womens Committee and designer of salons,
Miss Klaubers committee included cultural activists Mrs. Ivar
Lawson, Mrs. Frank Belcher, Miss Gertrude Gilbert, Mrs. George McKenzie
and Miss Alice Lee. A native of Massachusetts, Miss Lee had settled
in San Diego in 1902. She was a cousin of Theodore Roosevelts
first wife and a delegate to the Chicago Convention to nominate Roosevelt
for President on the Progressive Party ticket. When the former President
visited San Diego he was usually a guest at her home. Roosevelt was
among the dignitaries in San Diego in 1915 to visit the Exposition.
He rode in the first automobile to drive across the Cabrillo Bridge.
One of the spaces designed by Miss Klauber was an area described as
artificially lighted and not previously used in the Womens Headquarters
of the California Building. For opening festivities she and her committee
planned a temporary exhibition by Donald Beauregard, an artist associated
with the Archaeological Expeditions of the University of Utah and
the School of American Archaeology in Arizona and New Mexico during
the summer of 1909 and 1910. One womans opinion about the display,
recalled Miss Klauber, was that new art is a demonstration
of license and not liberty. 35
It is difficult to please everyone. The artist was acquainted with
Hewett and Klauber through his activities with the Archaeological
association. Unfortunately, he died a month before the Exposition
opened, not yet thirty years old.
. . . The Panama- California Exposition
of 1915-1916, with its ornately designed buildings, focused community
attention on a more sophisticated Mediterranean Renaissance Architectural
revival, stylistically, and added a romantic flair to the Parks
architectural wonders capturing the splendid Spanish legacy in southern
California history. It was to influence San Diego architecture through
the first half of the twentieth century replacing the innovative and
austere character of Gills style. Recognizing the fact that
the grounds were merely a fairyland setting, Goodhue had proceeded
to design it with the stipulation that it would be razed within two
years after the Exposition. 36
Time and the community had other plans.
. . . During the era of the landmark
New York Armory Show of 1913, Henris appearance in San Diego
in 1914 occurred with the planning of the Panama-California Exposition
whether by plan or by coincidence. An American painting exhibition
featuring the work of American artist, Robert Henri, 1865-1929, and
his circle generated as much media attention as the architectural
marvels on the fair grounds. A majority of the artists, the artists
of the revolutionary Ash Can Group, exhibited as a group only one
time at the MacBeth Gallery in New York City in 1908. 37
Some art historians consider its members the first moderns in American
art history. 38
Their show caused a sensation throughout the national art world before
the famous Armory Show of 1913 that shocked the country with its introduction
of Modern European art movements at the beginning of the twentieth
. . . Dr. Hewett ostensibly had planned
the art exhibition. Credit more likely should be given to Archaeology
Society patron Alice Klauber and Henri in collaboration with Hewett.
Alice Klauber invited Henri to visit San Diego as early as 1912. The
artist finally agreed to visit in 1914, after a severe winter in the
East. He was, Looking forward to California as a place where
the sun will warm me up to the right heat of production. Where I can
luxuriate in work, sunshine, fruit, flowers, good food, not have to
dress, not entertain or be entertained, nothing but work and sun and
the afore said. Its on somewhat better information, yours and
one or two others, probably Los Angeles painters Meta, b.1883,
and Bert Cressey, b.1883, residents of Hollywood, educated in Los
Angeles and New York, and who had been with Henri in Spain, that
I am now convinced that San Diego is one of the most interesting and
beautiful places in the world and we shall head that way and will
not be convinced otherwise
On May 25, 1914, the artist
wrote to Miss Klauber: The date of starting is almost fixed
for June 6. I expect to be off within a day or two of the 6th if not
the 6th. We have been delayed by matters of state that could not be
avoided. Anxious to get to California. As a postscript to
the letter and their mutual trip to Spain, he added: You
will be interested to know that the Metropolitan Museum has acquired
the gipsy (sic) woman - I think the one you liked best of those done
on our Spanish trip. H.
. . . An earlier letter dated April acknowledged
his retirement as a teacher and he hoped he would have
no class work scheduled here. Apparently, his retirement was short
lived. He was listed as an instructor of composition on the roster
of the Art Students League in 1917. 39
Klauber made all arrangements for the artists visit. Henris
presence in California marked the introduction of contemporary American
art making its first appreciable appearance on the West Coast. It
was coincidental that this visit concurred with the organization of
the Exposition. 40
. . . The artist must have changed his
departure date for by June 3rd he was in Los Angeles. The family stayed
several days before continuing to San Diego. Henri registered at the
U.S. Grant Hotel June 16, 1914, notifying Miss Klauber by night letter
of their arrival. Henri informed her that he preferred the suburbs
to Center City, the availability of models, interesting models,
to use as subjects was to be the determining factor and first consideration
for contracting a residence.
Henri with Marjorie
O and her sister, Violet in La Jolla.
photographer, Marjorie with dog in patio of Richmond Court residence,
courtesy of the Klauber family.
. . Klauber arranged for Henri, his wife Margie O,
and his sister-in-law, Violet, to live at Richmond Court, 7104 Glorieta,
La Jolla, a home along the coast designed by Irving J. Gill.
. . When Henri visited the area, La Jolla was described
as a remote village, a serene nearly empty housing tract where citizens
occupied themselves with tennis and self-edification, where the wealthy
and the art crowd congregated. A later tenant described the poured
concrete house as cold and damp. No longer extant, when Henri visited
the area it was about two years old and a bit old fashioned by those
conditioned by the new and decorative Mediterranean and Mission styles
specifically those of the architecture seen in the buildings of the
Exposition and evidenced by the work of William Templeton Johnson.
By 1911, Gill had departed the community for Los Angeles and his studio
was turned over to his nephew, Luis. At the time it was somewhat isolated
to Henris satisfaction.
photographer, Miss Richmonds home leased by Henri during his
visit to La Jolla, 1914, designed by
San Diegos early modern architect, Irving G. Gill, courtesy
of the Klauber family.
It no longer exists having given way to progress.