Foundations of Los Angeles Modernism: Richard Neutra's Mod Squad

 (Click on images to enlarge)

From left to right, Franz K. Ferenz, Barbara Morgan (kneeling), David Giffen, Ragenhilde Liljedahl (Mrs. Giffen), unknown, unknown, Annita Delano, Richard Neutra, unknown, Harwell Hamilton Harris and Gregory Ain. (E. Merril Owens is one of the three unidentified students). Photo by fellow class-member Willard D. Morgan, early 1929. (See Gregory Ain: The Modern Home as Social Commentary by Anthony Denzer, note 39, p. 234).

The population of Los Angeles doubled during the 1920s fueled by a balmy climate, relentless boosterism and an economy based on the oil, movie and real estate development industries. Waves of immigrants descended upon Los Angeles from all over the country as well as overseas. Among the newcomers were also much of the artistic community seeking a clean slate and inspiration from a brand new city to break away from the hidebound styles in existence at the time such as the Beaux Arts and revivalist idioms in architecture and industrial design, to pictorialism in photography and representationalism in art.

The iconic photo above of Richard Neutra and his 12 disciples in his Academy of Modern Art class "A Practical Course in Modern Building Art" at his Lovell Health House construction site has always symbolized to me an avant-garde group of artists, architects and designers who were struggling to gain a foothold for their beliefs in the context of the rapidly metropolizing Los Angeles of the 1920s. Neutra pointing to the warp and weft of rebar and conduit in the floor slab of the Lovell Health House to me portrays the intertwined lives of the students in this class as they began to weave the very foundations of modernism in Los Angeles. This article is intended a be a cross-section of the beginnings of L.A.'s evolution as a modernist mecca using as a locus Neutra's course and students. I will explore related events leading up to the advent of Neutra's course and then follow selected student's activities as they advanced the cause of modernism, L.A. Style.

Annita Delano, to Neutra's right in the above photo and long-time UCLA Art Professor and a founding member of the UCLA Art Department in the 1920s, recalled in her Oral History Southwest Artist and Educator, (hereinafter referred to as Delano).

"Schindler and Neutra came to Los Angeles to work with Frank Lloyd Wright, and I was privileged to know them right away within the first year after they came here. It seems the architects, designers, painters, sculptors got together. The city was so much smaller. ... We met in a Frank Lloyd Wright house — that is, the Freeman House in Hollywood. It was tremendous to have this get-together with people who were creating. And that's how I got interested [in modern architecture]. (Delano, p. 237).

Beginning in 1928, R. M. Schindler replaced Wright as the Freeman "family architect" as he had done in 1924 for Aline Barnsdall. Over the next 25 years the Freemans would commission Schindler to design two guest apartments and over 35 pieces of furniture.

Freeman House living room, 1962 Glencoe Way, Hollywood, Frank Lloyd Wright, 1925, with much of the Schindler-designed furniture. From Chusid, Jeffrey M., "Freeman House, 1928-1953" in The Furniture of R. M. Schindler, p. 100. Julius Shulman Job No. 1512, 5-14-1953.


"The Freeman House of Frank Lloyd Wright," Antiques & Fine Art, Jan-Feb 1990. Julius Shulman cover photo. Note Alexej von Jawlensky painting at lower right purchased by the Freeman's from former tenant (in 1933) and representative of Jawlensky's Blue Four, Galka Scheyer. 

Noted art collectors and salonists, the Freeman's frequent parties gathered many of the same habitues as the Schindlers did for their regular Sunday evening Kings Road salon "events." The Schindlers and Freemans also cross-pollinated with attendees of regular get togethers at art patrons Walter and Louise Arensberg's house, book dealer and gallerist Jake Zeitlin's bookstore and numerous other Los Angeles avant-garde venues. (For an in-depth look at the Schindler Kings Road salon circle see my related article "Pauline Gibling Schindler: Vagabond Agent for Modernism, 1927-1936" (PGS)). 

Harriet Freeman was the sister of Leah Lovell who along with husband Philip commissioned Neutra to design what was to become his career-making masterpiece, the Lovell Health House. Edward Weston wrote in his Daybook entry for January 29, 1928, 

"...to supper and an evening of dancing and reminiscing at the Freeman home. (The house is by Frank Lloyd Wright: a fine conception except for the insistent pattern on cement blocks which weakens by over-ornamentation.) ... Harriet dances well: if she were smaller - in bulk - she would be ideal for me. We danced many times to exquisite Spanish tangos." (Author's note: Blue Four representative Galka Scheyer would also briefly live here in the guest apartment in 1931).

Franz K. Ferenz, (far left in the opening photo) founded the Academy of Modern Art shortly after moving to Los Angeles from New York in 1927. A Viennese emigre like Schindler and Neutra, Ferenz first came to the U.S. in 1914, the same year as Schindler. A citizen since 1919, Ferenz became a successful book dealer and gallery owner at 425 Madison Avenue (at 49th St.) where he sold Viennese arts & crafts, books on fine and industrial art and etchings and prints. (Bulletin of the Art Center, New York, June, 1923, p. 242).

Fine Arts Building, 811 West 7th Street, Walker & Eisen, 1927. (From internet).

Ferenz first opened his Academy on the seventh floor of the brand new Fine Arts Building at 811 West 7th Street designed by Walker & Eisen (see above) in 1928. Ferenz later opened another Academy branch at the Plaza Art Center at 53 Olvera St. in 1931. Ironically, Neutra's course in "moden building art" featuring his hard-edged, ornament-free "International Style" Lovell Health House would be taught in a classic Beaux-Arts building with Spanish Renaissance and Romanesque elements faced with ornate Gladding, McBean terra cotta and Batchelder-tiled art exhibition bays in the two-story atrium entrance lobby.

Salon of Ultra Modern Art announcement for a lecture on "Spacial Architecture" by R. M. Schindler, October 16, 1928. Courtesy of the Schindler Archive, UC-Santa Barbara Art and Design Collection, University Art Museum.

Ferenz likely quickly befriended fellow Viennese emigres Neutra and Schindler shortly after they moved to Los Angeles as he, along with Richard and Dione Neutra and Gregory Ain, attended an October 16, 1928 Salon of Ultra Modern Art event honoring R. M. Schindler (see above). (Levy, Juana Neal, "Affairs of the Week: Delightful Affair," Los Angeles Times, October 21, 1928, p. III-3). The Salon was hosted by Mr. and Mrs. Frank C. Wamsley at their 1121 El Centro Ave. studio in Hollywood.  Ferenz and Schindler were also listed as patrons of the Salon in a January 1929 Los Angeles Times article. (Nye, Myra, "New Art Salon Gains in Favor; Project of Sculptor's Wife," Los Angeles Times, January 25, 1929, p. I-8).

 

Course Announcement for "A Practical Course in Modern Building Art" taught by Richard Neutra for F. K. Ferenz's Academy of Modern Art. From Richard Neutra: Promise & Fulfillment, p. 175).

Around this same time Ferenz hired Neutra to conduct a series of lectures at his Academy of Modern Art which were religiously attended by Harwell Harris and Gregory Ain (second from right and far right in the opening photo). At Ain's and Harris's urging, Ferenz then hired Neutra to teach "A Practical Course in Modern Building Art" (see class announcement above) which began on January 29 and continued through May 29, 1929. (See The Organic View of Design by Harwell Hamilton Harris, p. 55 (Harris) and "Neutra to Lecture," Los Angeles Times, February 3, 1929, p. III-14). 

Ferenz, Ain and Harris were joined in the class photo at Neutra's Lovell Health House by Annita Delano, Barbara Morgan and her husband, class photographer and previous Neutra collaborator, Willard D. Morgan, David Giffen and Ragenhilde Liljedahl (Mrs. Giffen), E. Merrill Owens and three unidentified students (see opening photo).

Millier, Arthur, "A New Art", L.A. Times Mid-Winter Number, January 2, 1929.

Earlier the same month, and shortly after the groundbreaking for Neutra's Lovell Health House, L.A. Times art critic Arthur Millier published the above article in the annual Mid-Winter number equating the work of Neutra, Schindler and Lloyd Wright to a "new art" breaking away from the eclectic revivalism then in vogue around Southern California.

Sketch for Neutra class, Harwell Hamilton Harris, 1929. From Harwell Hamilton Harris by Lisa Germany, p. 30.

Neutra had each of his students choose an individual design problem and conducted the class as a working studio. Harris selected for his project a single family residence and Ain designed a prefabricated penitentiary. (Harris and Gregory Ain: The Modern House as Social Commentary by Anthony Denzer, p.31). It can be seen from Harris's above design sketch for a home for a boyhood friend that he was strongly influenced by Neutra's Lovell Health House, Jardinette Apartments and the work of Frank Lloyd Wright. No evidence remains of the class projects by Ain or the other students.

After the class ended, Harris, Ain, David Giffen and wife Ragenhilde Liljedahl (see credits in caption below) continued to work at night in vacant Academy of Modern Art classrooms on the various elements of Neutra's theoretical Rush City Reformed.  This extracurricular exercise in essence provided the fortunate apprentices an extremely intense three-year course in architecture and city planning squeezed into one. (McCoy, Esther, "Gregory Ain" in The Second Generation, p. 87 and Organic View of Design, p. 69).

 

From Terminals? - Transfer! by Richard J. Neutra, The Architectural Record, August 1930, p. 103. (From my collection).

While preparing the various elements of Rush City including the air terminal above, Neutra and his apprentices entered the Lehigh Portland Cement Airport Competition along with fellow Los Angeles architects, A. C. Zimmerman & William H. Harrison (first prize winners), H. Roy Kelley (honorable mention), Lloyd Wright, Charles A. Stone & Ulysses Floyd Rible, Clarence L. Jay, Arthur B. Gallion (future Dean of the USC School of Architecture), H. L. Gogerty and others. The above drawing and below model illustrate how the Rush City airport arrivals and departures would integrate with the other transportation infrastructure elements of a bustling metropolis.

Rush City Air Transfer, Air View of Model, Willard D. Morgan photo. From "Terminals? - Transfer!" by Richard J. Neutra, The Architectural Record, August 1930, p. 103. (From my collection).

American Airport Designs, Lehigh Portland Cement Company, 1930. (From my collection).

Neutra also published an article under Harris's byline in the April 1930 issue of Die Form "Ein Amerikanischer Flughafen" describing the Airport Design Competition which was also incorporated into the overall Rush City Reformed planning effort.

Ring Plan School, Rush City Reformed, Richard Neutra, Die Form, April 15, 1932. Courtesy Neutra Papers, Department of Special Collections, Charles E. Young Research Library, UCLA.

Note the integration of the above Ring Plan School within the context of Rush City below with appropriate green buffer zone between the school (No. 6 at the lower left in the below photo) and adjacent row housing and low, medium and high-rise apartment buildings.

Rush City Master Overview Drawing, 1929. Department of Special Collections, Charles E. Young Research Library, UCLA

Always thinking many steps ahead, in 1929 Neutra shrewdly made use of his impressionable and devoted disciples to form an American Chapter of the Congres Internationaux d'Architecture Moderne (CIAM) with Harris and Ain as officers. (See my California Arts & Architecture: A Steppingstone to Fame: Harwell Hamilton Harris and John Entenza: Two Case Studies for more discussion on this). CIAM's third international congress, with City Planning as the theme, was being held in Brussels in 1930. With design fees, Lovell Health House plans and Willard D. Morgan construction photos and drawings for a finally completed Rush City in hand, Neutra set sail for Europe and the CIAM conference by way of Japan in May 1930 in a monumental effort to make a name for himself.

Neutra wrote ahead of time to architects and editors in the cities he planned to visit along the way to arrange speaking engagements and publication of articles. All this exhaustive planning was being done while completing his second book Amerika: Die Stilbildung des Neuen Bauens in den Vereinigten Staaten (see below) which was also published during 1930. Ain and Harris, witnessing this whirlwind of activity first hand, were thus provided with the most invaluable experience in how to launch and market their own fledgling careers as they could ever have imagined. (See my The Post-War Publicity Partnership of Julius Shulman and Gordon Drake for a similar analysis of how Harris passed these lessons along to his disciple Gordon Drake in the 1940s).

Amerika: Die Stilbildung des Neuen Bauens in den Vereinigten Staaten by Richard J. Neutra, Verlag Von Anton Schroll, Wien, 1930. El Lissitsky cover photo montage includes images by Brett Weston (See PGS). (From my collection).

Annita Delano is a much under recognized figure in the advancement of Los Angeles Modernism as she was one of the more aggressive and successful avant-gardist cross-pollinators along with Neutra, Pauline Schindler and Blue Four representative Galka Scheyer seen below. Annita graduated from Porterville Union High School in 1914 and was her class valedictorian. She then moved to Los Angeles to attend State Normal School on Vermont near Melrose. Upon graduation, Delano began teaching there in 1918. In 1919, the Normal School became the University of California, Southern Branch. She befriended Pauline Schindler's sister Dorothy who joined the Physical Education Department faculty at the school from 1922-24 and taught alongside Edward Weston dancer muse Bertha Wardell. (For much more on this see my "Bertha Wardell Dances in Silence at Kings Road, Olive Hill and Carmel").

Delano and Scheyer most likely met at an event at either Kings Road or the Freeman House possibly as early as the summer of 1925 when Scheyer arrived from New York on June 8 with Gela Archipenko for a 10-day stay before continuing on to San Francisco to begin her West Coast efforts to market a group of expressionist artists she coined "The Blue Four," which included Lyonel Feininger, Wassily Kandinsky, Paul Klee and Alexej Jawlensky.

Herman Sachs and Galka Scheyer, Los Angeles, June 1925. (Baumgartner, Michael and Houstian, Christina, "The Blue Four: Chronology of Events" in The Blue Four: Feininger, Jawlensky, Kandinsky, and Klee in the New World, p. 327).

Scheyer was likely introduced to Schindler and future personal architect Neutra through a meeting arranged in advance by Lyonel Feininger. During her short stay Scheyer also met Pauline and R. M. Schindler friend from Chicago (and possibly even Vienna), collaborator and soon-to-be client, Herman Sachs (see above) who later helped her make contacts with people in the Hollywood film industry. (Houstian, Christina, "Minister, Kindermadchen, Little Friend: Galka Scheyer and The Blue Four" in The Blue Four: Feininger, Jawlensky, Kandinsky, and Klee in the New World, p. 42). 

"Program for the Chicago Industrial Arts School" by Herman Sachs, Hull-House, Chicago, April, 1921. (From my collection).

Like Pauline Schindler and Richard Neutra, Sachs had taught at Jane Addams' Hull-House in 1921 (see above) and was the American representative of the artist George Grosz, thus likely had much of interest to share with Scheyer regarding marketing European art in America. 

Scheyer moved into the Normandie Hotel in San Francisco and began lecturing on the Blue Four and soon met William H. Clapp, an artist who was part of the Society of Six group and director of the Oakland Art Gallery. Through his largess, Scheyer was able to mount numerous exhibitions in the Bay Area which she shrewdly parlayed into the below front-page article in the influential San Francisco Examiner.

 

From left: Galka Scheyer, Lyonel Feininger, Wassily Kandinsky, Paul Klee and Alexej Jawlensky. "Prophetess of "The Blue Four," San Francisco Examiner, November 1, 1925.

About this same time, Delano and fellow U.C. Southern Branch art teacher, Barbara Morgan, nee Johnson, were exhibiting under the banner of the short-lived Modern Art Workers group at the Hollywood Library, the Hollywood Writer's Club and Los Angeles Museum (see catalog cover below). R. M. Schindler, a close friend of both Delano and Morgan and many of the other "Workers" was called upon by the group's president and future client Gjura Stojana to design the catalog cover for their inaugural exhibition at the Hollywood Branch Library in October 1925. 

Catalog cover design for the inaugural exhibition of the Modern Art Workers at the Los Angeles Museum of Art, October 1926 designed by R. M. Schindler. Courtesy of the Schindler Archive, UC-Santa Barbara Art and Design Collection, University Art Museum.

The "Workers" exhibited along with other members from their salon circles such as group spokesperson and manifesto author Stanton MacDonald-Wright, fellow Delano art teachers at Otis Art Institute Harold Swartz (see below), Edouard Vysekal and Frederick Monhoff, former Harwell Hamilton Harris Otis sculpture classmate and soon-to-be Oscar statuette sculptor George Stanley (see below), Gjura Stojana, Morgan Russell, Conrad Buff, Helena Dunlap, Henri De Kruif, Mabel Alvarez, Thomas Hart Benton, and others. (See "Modernists Show: Hollywood Library," L.A. Times, October 11, 1925; "Modernists' Show at Los Angeles Museum," L.A. Times, March 14, 1926, p. III-19; and California Arts & Architecture: A Steppingstone to Fame: Harwell Hamilton Harris and John Entenza: Two Case Studies).

Sculpture class at Otis Art Institute, 1924: Fourth from left, future Schindler client and Herman Sachs employee Pasquale Giovanni Napolitano, Instructor Harold Swartz in center; continuing right: Ruth Sowden, who encouraged Harris to discover Frank Lloyd Wright and commissioned son Lloyd Wright to design the Sowden House seen in the Millier "A New Art" article above; Viola Kepler (model); George Stanley (future designer of the "Oscar" statuette); Clive Delbridge (Harris's client for his first building, the Lowe house); and Harwell Hamilton Harris. (From Otis Collections Online).

Neutra classmates Delano and Barbara and Willard Morgan collaborated with Scheyer on two Blue Four exhibitions in Los Angeles in 1926 at the Los Angeles Museum in October (see exhibition catalogue below) and Delano's University of California, Southern Branch campus in December. In her October review of the Los Angeles Museum exhibition Delano wrote,

"These artists have used all the decorative and structural elements in creating new forms. You will find color and light, perspective and modeling used in the modern sense. Some are built of successive planes moving into deep space all related to form a composition, while others are built of rhythmic color units which do not penetrate so deeply into space, but which present a harmonious ensemble through extreme simplicity of expressive line and subtle color gradations." (Delano, Annita, "The Blue Four," in Dark and Light, October 1926, p. 2).

Catalogue for traveling "Blue Four" exhibition, Los Angeles Museum of Art, October 1926. Courtesy of Getty Research Institute, Peg Weiss Papers.

Of the exhibition at the University of California, Southern Branch in December, Delano fondly recalled in her oral history,

"I remember putting up an exhibit for Galka Scheyer. She came with some other friends; a man helped her with these priceless paintings. We had no insurance or any guarantee that anything would be done if anything happened to them. We had Paul Klees; I put them all over the classrooms and up in that third floor — most of the classrooms were up on the second floor — and we had these originals all over the galleries, and the students could look at them directly." (Delano, p. 114).

Scheyer wrote of the University of California, Southern Branch exhibition in an unpublished manuscript "America's Youth and Modern Art,"

"The southern branch of the University of California is located in Los Angeles. The art department is very progressively minded and there I found the greatest amount of enthusiasm and the greatest appreciation. The Blue Four had already been showing in the Los Angeles Musem for six weeks when the university [Annita Delano and Barbara Morgan] came to me with the request that they be allowed to take over the exhibition for four more weeks for their students. An exhibition hall was made available, which however was not large enough and so paintings were also placed in the adjoining classrooms. The students had an opportunity to live with the pictures, rather than only being able to view them at certain times. The result was fantastic. The university newspapers had published reviews both for and against the exhibition even before I had given my lectures. ...  

One student came enthusiastically to me after a lecture and asked whether I wanted to live in her house. I turned down her offer, since I was only in L.A. for a few days. She looked at me very sadly and said: "But its a Frank Lloyd Wright [Freeman] house! Treat it as if it were your own." I accepted, moved later that night after a party into the F.L.W. house, where I [was given] the most beautiful room, with glass walls and doors that led to grass lawns, and a scintillating view of Hollywood, the oil wells sparkling like Jacob's ladders. It. was a dream filled with the perfume of flowers, light, and nightlife." (Galka E. Scheyer and the Blue Four Correspondence, 1924-1945 edited by isabel Wunche, p. 348).

Delano also curated numerous exhibitions for her Kings Road-Freeman House salon friends including Edward Weston, Peter Krasnow, Richard Neutra, R. M. Schindler and others at the same venue and later at the Westwood campus after the school moved in 1929 and changed its name to UCLA.

The campus exhibition apparently caused quite a stir as Scheyer wrote to Delano on Oakland Art Gallery letterhead as their "European Representative,"

"...I would also like very much to get a copy of the controversy in the University newspaper. ... I can only assure you that I had a very wonderful experience with your Art Department, and it was very much due to the "idealistic teachers", of whom you are one. My most sincere compliments to you and your friend Mrs. Barbara [Morgan]. Will you ask her if her friend the photographer [husband Willard] has taken photos of the pictures? I am very anxious to have copies. Thank you so much for your trouble, and please give my kind regards to your students." (Letter from Galka Scheyer to Annita Delano, December 13, 1926, from Archives of American Art, Annita Delano Papers, 1909-1975, microfilm roll 3000).

Scheyer visted Los Angeles regulary during 1927 and is mentioned in Edward Weston's Daybooks as having provided him a female costume and makeup job for a party at artist friend Peter Krasnow's house. (The Daybooks of Edward Weston, Volume II: California, p. 3). Scheyer also spent three months at Kings Road during the summer of 1927 studying with R. M. Schindler the aspects of modern architecture she could apply to her art lectures while also scouting out the Los Angeles scene for potential clients and a possible change of venue. During this period she undoubtedly regularly crossed paths with Delano and the Morgans.

On July 21, 1927 Edward Weston recorded in his Daybooks,

Madam Scheyer - clever, vivacious, - with a nice line of talk for club women and art students: she has climbed all over the culture hungry! However, I don't dislike her as some of my friends do. She amuses for awhile and can be simple when she knows the futility of pose. ... but I did buy a Kandinsky lithograph, - how could I resist it at $3? Kandinsky seems to me one of the few moderns whose work will live: he has something very personal, genuine, - he has both intellectual and emotional ecstacy. This print will bring me much joy." (Daybooks, pp. 29-30).

"Freedom in Creative Art Applied by Children," San Francisco Examiner, February 5, 1928. Courtesy of Getty Research Institute, Peg Weiss Papers.



Blue Four sales never quite materialized to the point of self-support for Scheyer so she had to resort to teaching art at the Anna Head School for Girls in Berkeley beginning in 1926 and continuing until 1931. She was a talented and inspired teacher evidenced by her student's work being the subject of numerous exhibitions organized for the Oakland Art Gallery and elsewhere. With Director William H. Clapp's backing, Scheyer was selected as the American Representative of the Oakland Art Gallery to the Sixth Annual Congress for Art Education to be held in Prague in the summer of 1928 where she would speak on the success of her students at the Head School. (see above article). Delano was also chosen to represent the University of California, Southern Branch at the conference. An exhibition of student work was sent, and Annita represented the Art Department for the University.

Delano and Scheyer left for Europe in early June. Weston's June 7th Daybooks entry reads,

"Karl Howenstein gave a farewell party to Annita Delano, going to Europe. ... A Great bonfire followed supper, in which was burned a papier-mache figurine of ghastly form and mien, pillaged, as the story goes, from the Pot Boiler's theatre at that hour when life ebbs low." (Daybooks, pp. 60-61). (Note, Karl Howenstein and wife Edith were tenants in the Kings Road guest studio in 1922-23 after moving to Los Angeles from Chicago. Howenstein, soon became Director of the Otis Art Institute and hired Delano to teach on her off days at UCLA.)

Harris reminisced about Howenstein's introducing him to the work of Irving Gill and Frank Lloyd Wright mentor Louis Sullivan,

"I had never heard of Sullivan, although I'm sure I had seen something of his, because it looked familiar to me when I did see his work later. It was not until, as a student at Otis, [I] went into the office of the director on some matter or other, that Karl Howenstein shoved over a typewritten sheet for me to read. It was something he had written for a magazine, and the occasion for the writing was the death of Louis Sullivan. I read it and didn't forget it, and, less than a year afterward, [Sullivan's] The Autobiography of an Idea was published. Howenstein spoke in his piece about the influence of Sullivan. He had worked for a short time for Sullivan, but in Sullivan's much later years. He talked, I remember, in this piece for publication about the influence that Sullivan had on draftsmen in various offices. ... I did read The Autobiography of an Idea, in 1926 I guess. I was very much taken with it and became a great admirer of Sullivan." (Organic View of Design, p. 89. Note, Howenstein's Sullivan tribute was written about the time Neutra met Wright at Sullivan's funeral and shortly thereafter moving to Taliesin to work for Wright. For much more on this see my "R. M. Schindler and Richard Neutra and Louis Sullivan's Kindergarten Chats").

Delano and Scheyer traveled together throughout Europe during the time Richard Neutra was toiling away on the Lovell Health House plans. Delano, armed with letters of introduction from Neutra and others and many snapshots of the architectural work of Frank Lloyd Wright, Neutra and Schindler, made quite an impression at numerous informal gatherings on the West Bank in Paris, the Bauhaus, Prague, Dresden, Switzerland and elsewhere. (Delano, p. 141). Delano met Sonia Delaunay, Marc Chagall, Albert Gleizes and others in Paris.

Sonia Delaunay business card, 1928. From Archives of American Art, Annita Delano Papers, 1909-1975, microfilm roll 3000).