Elizabeth Buchsbaum Newhall (1909-1942)-Part Two

Elizabeth Buchsbaum provided the illustrations for the biology textbook Animals Without Backbones: An Introduction to the Invertebrata, published in 1938. The authors were her older brother, Ralph Morris Buchsbaum (1907-2002), and Ralph's wife, Mildred Shaffer Buchsbaum (1912-1996). Elizabeth's drawings are in black and white and are characterized by great clarity and simplicity. Generations of biology students have studied and learned from her work. Apparently, one of the great graphic artists of the twentieth century was also a student of Elizabeth Buchsbaum. I'll let the artists themselves tell the story . . .

Here is the cover for the second edition of Animals Without Backbones, written by Ralph M. Buchsbaum and Mildred Shaffer Buchsbaum and illustrated by Ralph's sister Elizabeth M. Buchsbaum. The crosseyed planarian has become a standard image in biological illustration. It's one I remember from my own childhood reading.

Here is an interior illustration from the book, showing a colonial animal called an Obelia. Note the great clarity and simplicity of the drawing. (I have slightly altered the image by recoloring the background to an even tan color.)

Elizabeth Buchsbaum's depiction of planarian anatomy is also clear and readable. (Again I have recolored the background.)

According to undocumented sources on the Internet, Dutch artist M.C. Escher (1898-1972) is supposed to have been inspired by the drawings of Elizabeth Buchsbaum. Is there truth in that claim? I don't know. There isn't any doubt that Escher's flatworms look a lot like Elizabeth Buchsbaums' flatworms, but then both are based on real animals. Update (Dec. 5, 2018): According to Sherry Buchsbaum, granddaughter-in-law of Maurice and Mabel Buchsbaum, M.C. Escher was indeed influenced by Elizabeth Buchsbaum's depiction of planaria. See her comment below.

Here is Elizabeth's grasshopper from Animals Without Backbones . . .

And here is Escher's. I think a stronger case can be made that Escher was inspired by Elizabeth's grasshopper, depicted in both drawings in an almost orthographic projection. (Oddly, grasshoppers are in the order Orthoptera.) But if Escher was influenced by one drawing, why not by the other? And if that's the case, then an Indiana illustrator has her place in the study of one of the most renowned artists of the twentieth century. Either way, the art of Elizabeth Buchsbaum Newhall lives on, even now, seventy-four years after her death. Update (Dec. 5, 2018): In her comment below, Sherry Buchsbaum has pointed out that M.C. Escher's grasshopper came before Elizabeth Buchsbaum's. With that being the case, I wonder whether she was instead influenced by him.

To close out this article about Elizabeth Buchsbaum, I would like to mention her younger brother, Robert E. Buchsbaum. He was born on December 25, 1912, in Chicago and received his bachelor's (1936) and master's (1937) degrees from the University of Chicago. Buchsbaum was a conductor (of the Gary symphony and others), an oboist, an instructor of music, and an executive at Coronet Recording Company. After a very long and productive life, he died on January 31, 2001, in Columbus, Ohio.

Text copyright 2016, 2024 Terence E. Hanley

Elizabeth Buchsbaum Newhall (1909-1942)-Part One

Teacher and illustrator Elizabeth Buchsbaum Newhall came from a distinguished family of scientists and artists. Sadly, her mother died when she was only an infant, and Elizabeth herself lived only a very short life. In creating the illustrations for a textbook still considered a standard in its field, Elizabeth Buchsbaum combined the two sides of her family, the scientific and the artistic. Although she was also a fine artist, her reputation now rests on her drawings of insects, worms, and other invertebrates.

Elizabeth Mabel Buchsbaum was born in 1909 in the Philippines. Her father, then a first lieutenant in the U.S. Army, was Dr. Maurice (Morris) Buchsbaum (1867-1935), a native of Austria who had arrived in the United States in 1890 and who had been naturalized on October 1, 1896. Dr. Buchsbaum received his bachelor's degree from the University of Chicago in 1903 and his medical degree from Rush Medical College of Chicago in 1905. He also taught internal medicine at that school. Dr. Buchsbaum joined the Medical Reserve Corps on September 25, 1908, in Oklahoma. After being stationed in Wyoming, Dr. Buchsbaum was transferred to Fort Mills on the Philippine island of Corregidor. He began at that post on October 30, 1909, as an assistant to the surgeon and was later stationed on the island of Mindanao and at the Presidio in San Francisco.

Elizabeth Buchsbaum's mother was Mabel Victor Buchsbaum about whom almost nothing is known, despite the fact that she lies buried in a national cemetery. Mabel Buchsbaum passed away on November 25, 1909, and was first laid to rest in the Philippines. Her body was reinterred at San Francisco National Cemetery, located at the Presidio, on April 1, 1910. Considering the circumstances of Elizabeth Buchsbaum Newhall's death in 1942 and the fact that her birth year is estimated in census records as 1910 rather than 1909, I think it possible that Mabel Buchsbaum died in childbirth. In any case, her daughter would have been only an infant at her death. Her son Ralph, born on January 2, 1907, in Chickasha, Oklahoma Territory, was not even three years old at her death.

Elizabeth Buchsbaum's widowed father was honorably discharged from the U.S Army on January 15, 1912. Less than a month later, on February 10, 1912, he married Hermine Josephine Beck in Chicago. Born in Bohemia in about 1877, she came to the United States in 1893. As of the 1910 U.S. Census, she was the superintendent of a hospital on Wrightwood Avenue in Chicago. In short order after the Buchsbaums' wedding, a second son, named Robert E. Buchsbaum, came into the family. He was born on December 25, 1912, in Chicago.

By 1918, the Buchsbaums were living in Gary, Indiana. Incorporated in 1906, Gary was then only a dozen years old and like the rest of the lake region of northwestern Indiana served as a bedroom community for people studying and working in Chicago. I presume that Elizabeth attended school in Gary, as her family had lived there from as early as 1918 and as late as the census of 1930, when she would have been twenty years old. According to the website American Illustration Notables, Circa 1900-1970, she studied at the Art Institute of Chicago. She also attended the University of Chicago. By 1935, Elizabeth was a teacher at Jefferson School in Gary. In 1939, she was at Edison School in the same city. Gary is no longer what it once was. Unfortunately, Jefferson and Edison schools have both fallen into neglect and decay.

Sometime around 1939-1941, Elizabeth M. Buchsbaum married Franklin Newhall (1914-2005), an agricultural climatologist specializing in soil moisture. Afterwards known as Elizabeth Buchsbaum Newhall, she died, supposedly in childbirth, on the night of December 30, 1942, in Chicago. Although her death was reported in The Jewish Post, her remains were interred at the First Unitarian Church crypt in Chicago. She was survived by her husband, stepmother, and her two brothers. Her husband went on to marry two more times and to live into his tenth decade on earth.

To be continued . . .

Dr. Maurice (Morris) Buchsbaum (1867-1935), father of teacher and illustrator Elizabeth Buchsbaum Newhall. The photograph is from his graduation from Rush Medical College in Chicago, 1905.

Jefferson School, Gary, Indiana, where Elizabeth taught during the 1930s.

Updated December 5, 2018.
Thanks to Sherry Buchsbaum for corrections and for further information on the Buchsbaum family. (See her comment below.)
Text copyright 2016, 2024 Terence E. Hanley

Mac Heaton Art Gallery

This year--this month in fact--is the centennial year of the establishment of the National Park Service (NPS), a milestone in the history of conservation in America. Two thousand sixteen is also the bicentennial year of the State of Indiana. Lost in those two big celebrations is the fact that 2016 is also the centennial year of the first state parks in Indiana, acquired through the tireless efforts of Richard Lieber (1869-1944). McCormick's Creek State Park, located in Owen County, was Indiana's first. Turkey Run State Park, located in Parke County and Colonel Lieber's favorite, came next. Both were dedicated on December 16, 1916, in conjunction with the centennial celebration of Indiana statehood. A little more than two years later, in March 1919, the governor signed a bill creating the Indiana Department of Conservation. Colonel Richard Lieber was named the first director. In 1965, the Indiana Department of Conservation was renamed the Indiana Department of Natural Resources (IDNR). The agency still bears that name.

The Department of Conservation began publishing a magazine called Outdoor Indiana in February 1934. In this age when magazines seem to be dying, Outdoor Indiana is still in print. In June 1945, artist Malcolm C. Heaton (1925-2002) went to work for Outdoor Indiana. In time he became art director of the Department of Conservation. Nicknamed Mac, Heaton was a versatile artist, as the illustrations below will show. He was adept at painting, drawing, and even cartooning. He worked at a time when state conservation agencies employed some outstanding wildlife artists, including Charles Schwartz (1914-1991) in Missouri, Bob Hines (1912-1994) in Ohio, and Ned Smith (1919-1985) in Pennsylvania. Mac Heaton stood among them as an artist from what might be called the golden age of conservation in America.

"Cornfield Covey" by Mac Heaton, a painting depicting a river-bottom field in Greene County, the artist's home county, for the November 1963 issue of Outdoor Indiana. Unfortunately, despite all the efforts of conservationists, a covey of bobwhite quail has become a rare sight in Indiana.

A drawing of a gull by Heaton, showing that he worked just as well in halftone as in full color. This illustration is from an article called "Gulls of Michigan City" by James Landing, from Outdoor Indiana, August 1963.

On March 22, 1824, seven white men murdered nine American Indians near Pendleton, Indiana, in an event now called the Fall Creek Massacre. The men were tried and some were executed for their crimes. It was the first time in American history that a white man was executed for a crime against an Indian. Outdoor Indiana had an article about the massacre in its August 1963 issue. The author was Arville L. Funk. Mac Heaton provided the illustration.

In addition to being an illustrator, Heaton was a cartoonist. Here is one of his cartoons, from the back cover of Outdoor Indiana, February 1964.

Finally, another back cover drawing, this one illustrating a biological concept, "Coverings," from Outdoor Indiana, July 1964. 

Note: My computer died last month, and though I have a new computer, I have been without a scanner for a while. Now I'm back in the blogging business, but I have fallen well behind in my writing. Please bear with me while I catch up.

Text copyright 2016, 2024 Terence E. Hanley

Minnie Ellsworth Bartlett (1890-1977)

October is the month for weekend drives to see leaves change to their autumn colors. Now, an artist who drew pictures of leaves:

Minnie Ellsworth Bartlett was born on June 29, 1890, in Seymour, Indiana. Her real name was Joan Ellsworth Bartlett; her nickname may have come in honor of her aunt, Minnie Bartlett EuDaly (1867-1944). Minnie Ellsworth Bartlett's father, John E. Bartlett (1862-1940), was a well-admired artist and sign painter in his hometown and in southern Indiana. Minnie's mother, Rhoda Marie (Coulborn) Bartlett (1861-1922), died of pneumonia when she was still quite young. The Bartletts and related families were prominent in the civic life of Seymour.

Minnie Bartlett carried on in her father's mix of art and business. The first notice I have of her work is for cartoons she drew for a log-rolling and carnival in Seymour in 1905. These were displayed in the window of Cox Pharmacy when she was just fifteen years old. One was of Kin Hubbard's famed Abe Martin character from the Indianapolis News.

Minnie Bartlett graduated in 1907 from Seymour High School, an edifice surrounded by trees and once bordering a tract of forestland. From 1909 to 1911, she studied at the Herron School of Art in Indianapolis where her instructors were Clifton Wheeler, Otto Stark, and William Forsyth. In her last year at Herron, Minnie had her art on display in a student exhibit at Herron. More importantly, she landed a plum assignment to provide 133 illustrations for the Eleventh Annual Report of the State Board of Forestry, 1911 (1912). Her drawings were of the trees of Indiana, a botanical key that proved to be the life's work of Charles C. Deam (1865-1953), a self-taught botanist and the first Indiana state forester. The Trees of Indiana was issued in book form in 1919. According to one source, Minnie Ellsworth Bartlett's drawings were used in that edition as well. I have the first revision of The Trees of Indiana from 1932, a book illustrated not with drawings but with photographs.

Minnie Ellsworth Bartlett was listed as an artist in Indianapolis city directories for many years. Later she was employed as a stenographer and in other positions in business. I don't know her date or place of death, but I have found reference to an obituary for a Minnie Ellsworth, age seventy-three, in the Terre Haute Tribune, February 25, 1963, page 2. If anyone can find a copy of that obituary, I would very much like to see it. Joan E. Bartlett retired from Bethesda Hospital in Cincinnati, where she had worked as a clerk-secretary for many years, and died on December 27, 1977, at the Christian Science Nursing Home in Columbus, Ohio. She was eighty-seven years old.

Yellow-poplar is the tallest tree in the eastern United States, reaching heights of 200 feet or more in our pre-settlement forests. Indiana pioneers often built their cabins from poplar, which is naturally straight, easy to work, and resistant to termites. I have read of what was called a three-log cabin: three large-diameter yellow-poplar logs stacked one atop another to give plenty of head clearance inside. Also called tulip-poplar, tuliptree, or simply tulip, yellow-poplar is the state tree of Indiana. Its fall color is yellow. The springtime flowers, which give the tree its tulip name, are more colorful and very showy.

Sassafras is far more colorful in the fall, turning fiery orange and red. The fruits are also colorful. The stalk or peduncle is bright red, the fruit a strongly contrasting dark blue. The Latin name is now Sassafras albidum.

White ash, now reduced in numbers because of the emerald ash borer, is a common tree throughout Indiana and widely planted as an ornamental. The fruits are like little canoe paddles. Fall colors are extraordinary: an indescribable mix of purple, yellow, and crimson, all occurring on the same tree at the same time but at different depths for a unique three-dimensional color-effect.

Sugar maple is the king of the fall forest in brilliant, almost luminous, yellow and orange hues. We are nearing peak season for autumn colors. Go out and see them before they are gone.

Revised and updated, January 30, 2020. Thanks to the commenters below, Monique, William (Anonymous), and Theresa, for information that has led me to updating this article on Minnie Ellsworth Bartlett. Thanks also to the website Find A Grave and the people who have posted information there. If you go to that site (click on this link), you will find abundant information on the Bartlett family and related families.

Text and captions copyright 2014, 2024 Terence E. Hanley

The First Art School in Indiana

No one can say for sure who was the first Indiana artist, illustrator, or cartoonist. However, in a book called American Pioneer Arts and Artists (1942), the author, Carl W. Drepperd, is unequivocal about the date, place, and founder of the Hoosier State's first school of art:

At New Harmony, Indiana, William McClure opened the first school for drawing, painting, engraving and lithography in the state, 1826. Charles Alexander [sic] Lesueur was the art teacher at the New Harmony School, 1826 to 1837.

William McClure (1763-1840) was a Scottish-born geologist, cartographer, merchant, and educator. He is known as "the father of American geology." If a map is an illustration, then McClure might be considered one of the earliest of Indiana illustrators. He made a geological map of the United States published in 1809 and 1817. In the mid 1820s, he settled in Robert Owen's Utopian community of New Harmony, Indiana, and established a school for adults. Charles Alexandre Lesueur (1778-1846), the art teacher at New Harmony, was a French artist and naturalist and a friend of William McClure. He also served as a kind of unofficial artist of the New Harmony experiment. Also in residence at New Harmony was David Dale Owen (1807-1860), son of Robert Owen and a geologist and artist.

The community at New Harmony received visitors in the winter of 1832-1833 in the persons of  Prinz Maximilian zu Wied-Neuwied (1782-1867), a German aristocrat, explorer, naturalist, and ethnologist, and the artist Johann Carl Bodmer, better known Karl Bodmer (1809-1893). Bodmer was a painter, graphic artist, and illustrator. His work as such would place him in a category as one of Indiana's first illustrators, along with McClure, Lesueur, and Robert Dale Owen.

In his book, Drepperd mentions another early art school within a "female seminary" (the Monroe County Female Academy), located in Bloomington and maintained by Cornelius Pering from 1832 to 1849. Pering, an English-born educator, was born in 1806 and died in 1881.

Mollusks and zoophytes, drawn by Charles Alexandre Lesueur, one of the first Indiana illustrators. This drawing is from 1807, prior to Lesueur's arrival in the Hoosier State.

A drawing of the eastern quoll or eastern native cat (Dasyurus viverrinus), an Australian marsupial, also by Lesueur (date unknown).

Text and captions copyright 2013, 2024 Terence E. Hanley