(gentle music)

- my intention was to put to rest the idea that alice schille was a local artist who worked in a vacuum. 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, but she was influencing and setting a tone and bringing new things to the table. - hello. - he we're he for lily. - solutely - anto do itith myad, ose resear over thyears has contbuted tohis, whinspired m she's wiing the ld medafor wateolor

phidelphia,n chicag and inan francco. why is sheot in anbooks? (gentlmusi not in tse books, and te then it's our generation's job to put the women in the book and toewritehem. (gentle sic)

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. she attends the columbus art 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 art, to give them a profession. and in many ways schille sets the example of the success of that mission. she teaches for several years, and then she decides, you know, i really want to further my career. and the way to do that is to get to new york. i just have to get to new york. and e art studts league was , 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 in new york. and her mother is worried about all these crazy things. anshe thenasn't suosed talk totrange pple. anshe said startedalking tpeople as soon i got on thtrain. "h a reallnice te." (jim lghing) entle muc) - she wafascinat instant. e travelall acro europ

egypt, morocco, mexico. it's really incredible the amount of places that she went often traveling alone, or occasionally just with another female painter. (nure soun) - [intviewer] n you te us wt's on t wall he? these arsome of favote paintgs that m d i haveold over e last 4years. there's jo singer rgent, there's nslow hor, orge belws, of course alice schle, at are othe key gures orge belws, of in t historyf americ art. - [interewer] at thisook case - this ithe la of alic this iall noteoks rtainingo alice hille, data, leers, exbitions,nterview

wow. newspapeclipping of my e alice hille porait mrs. gaart kenn pated whermrs. nny was youngste - myother waproud of the fact at she h had heportraitainted this faus aist. 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 exploring the life of alice schille, but once we started looking at the artf the peod, wt, "wow,he was aot beer than these aists "that arbeing so." wt, wet had do aot beer imary rearch.ists (indisnct) newaper. yeahthis w one thashe und in t new yortimes. - i wi neverorget i was inn (indisnct) newaper. and i wausing thr dabase aft work.

and i walike, "i just going toop in hename "and seehat comeup." and like00 artics poup and freaked out h my god, dad,ou can't i go, iall m up. and i'like, "thi is sexciting "there so manyrticles> d he's le, "oh ah. okaywhich on?" and i send like thefirs10e "oh, i kw about at and tt." and then was lik oh my - sobut then was le, "well,ow i neeto kn what yoknow "in orr to fd someing ne" - really gan to rlize thathere washis sortf undeater mouain of merial th we hadn discered washere d we're ing, "ohy god, is is rely amazi." heavy viewed ithe pape. ani don't ow, it w just sothing abt a rson thawas so gd. and just being written off,

that captured my imagination, i think. (gentle music) 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 salon, critics in the united states, ey talk out who was exhibiting ithe san, at amerin artists were acceptedwhich on weren, 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 situ in the biggest collector of modern arts house.

so she was looking at the works mortise, cezanne, and picasso in gerturde steins' house. while these artists were alive, while it was avant garde. and this cafe that she went to called la château, 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 an absent den and hang out. who knows what kind of conversatio she was hearing in there meeting, who she was meeting, who she was talking to. she wasn't by herself. - she must have loved her european experience, as in comes back every summer, she becomes fluent in french. when you think of schille going to paris for the summer, and then coming back every year and teaching at the art school, and somehow she's able to live in both worlds.

(car racing) (birds chirping) - oh, the catalogs. praise the lord jesus. oh my d. they' here. hetara, thcatalog just aivd they loofantasti tararesentedhis pape at the courtld instite onlice schle d tara really dia great job with that. and it was very well received in london. - people were like, "who is this woman? "how do we not know this story? and we wanna know more." soe decide "all rit, wee gonna esh thisut, at gave al she to thehow.

, it loo so good here iis. st like rreal toee it. - and 'st it's likmentallyeavy. oth laugng) - it'sonna be bric but no s no. - but i ink it'sttractiv - ah, i dooo. - bui thk it loo great.v did yoneed hel withheir stu? ere we c put allhese lile exhibion labe which e kind ocool. - and rit he. archiv documen as opsed to ahotocopy likehat it'ser - anpen the pap, shs has tes on he. thdress (saking in forei langue). you're oyour cou and yore freakg out use you und someenu caed the wte cat fm 19.

and like, no one around you cares and you want everyone to care. you're like, "oh my god, look what i found. and y"looat this nu." to care. and they're like"neat." buyou'reaving a ole otional expeence, u feel likyou'reitting in th. that's what's so fun working with my dad on it cause you have someone to share the nerdy excitement with cause you callim and 's pumped. he's le, "no w. oh my god, the menu, "i can'telieve i" i look up to my dad so mucmy entire life. i ran around this gallery as a kid. - [wan] hey, tarayou daing? - had my o little tis instlations stairsd. withy cousin where w werellowed tlike tap our litt artworkto the wl. would aays sit re, our litt artworkto the wl. whh was llow you dato work day. soe would t wouthe on thehone, and i would be doing my homework here and pretending i was helping.

that'sy dad, m mo mason a i. when ias startg grad sool art hisry in boon, about a nth in, lost my m. when ias startg grad sool art h(gentle music) i came back to colbus r a period of time and there was a mont where i had to decide like, do you go back to school? can you handle this or do you stay home? and i we back to graschool. it was actuall an olet for . danreally towape to divint mylf into at. don't kn what it would ve to gthrough somethg like tt dwiout havi that would ve passion iving yo and puing yothroughand feelg the

ofurpose, but so suppo. entle muc) (indistinct attering entle muc) - in 1911, schille goes to south central france. she's in (indistinct) where she paints mother and child in a garden. this was 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 that's spent a lot of time in churches, later converts to catholicism. it's hard to know what was going on in her mind, but you know when looking at the picture, the sentiment. people always are fascinated by the fact that she never had children, but had this kind of an innate ability to paint children. e even pnts a motherhildt for e suffratte showt thmet galan new yo.

a lot ofomen artts ca togethe and ga a work the sho d any preeds wou to the use. - these amazingly successful brilliant women, obviously schille one of them, and they gave up. - there was a total success, crowds filling the show reviewed in all the new york papers. in that situation, she's using a mother-child image to push a completely different idea. it's about the future generation. it's also about families and women and families. it's for everyone, her having this close relationship with her mother, no doubt influenced the way that she looked at mother-child paintings. losing her father when she was relatively young, her mother taking over the company, her mother encouraging her art career.

- that's a central influence on schille because 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, bunot in eibitions probablplayed amajor roli toe ab to havehat powe overhat she nted to . - to me, it's an apex of her creativity that she's reaching in new mexico. well, ey have monsoon seasony anin throu most ofugust.

and th's probly whenalice sclle. e recogned the mt fainating pect of that church from an aesthetic standpoint was not the front, but the back and the sides. there's 15 or 20ifferent tones that she's modulating inhis compition. anthen she letting the ba pape, which iseally thsign of a truls to conno t area th most tense lit. (gtle musi she feel the texture and the solidity, the soul, if you will, of the church. and yet 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 allows for her to have a really unique play of color, where there's some are really sheer, some really pop. and then if you look at her sun spots from like 1911, she's playing with water and like thinness of it, it's so subtle that you see light flickering. - and then in 1923, e does se of the most amazing modernist watercolors of her ceer in mico.

- you feel the heat of a particular place. you feel the colors, - you feel the heat of the y peopleoncentra,ce. e smellsof the snds,mostven f e cacophy of a north afcan mark. her humanity, her sensitivity to place, and the people living within that place, always in this kd of rhythm th she hasust runs through l of herrt. (singe humming

- don'follow t critictoo much linebuild ont.ind theomin let thsubject nk into you un, often sier to t from mory.heomin

mery sketches arthe sence ofhat you el. we drafrom mory l the ti. the moderns have gotten away from scientific perspeive in order to create more freely, more forcibly, feel tension between planes for depth, for inner life. want to do a thing so much that you are blind to all of the things. (singers humming)

good aftnoon, kenny gaeries. th is caro - [wom on phon surethe opening ru from 60 to 8:3at the meum. telle a. - okay. well, i arrived this morning and my dad picked me up at the hotel in his jeep with the top down (laughing) and we put the alice schille tote bags in the bag and drove straight to the museum. i don't know. i was really nervous, but it w amazing to go to e and first see the banners and then to go into the actual gallery space. and is colorto is peect.

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