All posts by Madeleine Bogan

Ellen Soderquist and Drawing the Nude

FAE is pleased to offer artworks by Dallas artist Ellen Soderquist. Ellen has been working as an artist since 1973, and has been teaching life drawing classes since 1979.  Highly respected as an artist and educator, Ellen is known for her exquisitely rendered and highly developed graphite drawings of the nude figure.  She teaches life drawing and lectures on the nude as a form of art explored by artists throughout history.

Ellen in the Studio, 1983
First Inspirations

Ellen Soderquist was raised in Texarkana, TX, where she showed an artistic inclination from a young age.  Because Ellen’s father was a photographer, there was always art on the walls of their home while she was growing up.  Along with his photographs, there were also drawings and watercolors by other artists, and they had artbooks in their library.  However, her favorite book was not an artbook, it was her mother’s copy of Gregg Shorthand.  She told me she “loved looking at that book and all those squiggles.  Before I learned to write, I remember writing pages and pages of squiggles.”  With amusement, her mother would later read the imaginary letters to her.

In Kindergarten, Ellen was inspired by one of her teachers who illustrated children’s books.  She would often draw her students while they were playing at recess.  During naptime, she would let Ellen peer over her shoulder to watch her draw.  Watching an artist work made quite an impression on her.

Image of a 2008 graphite on paper drawing of a nude figure and her shadow
Shadow Play: Yvette’s Gloves, 2008, Graphite on Coventry Rag paper
Why the Nude?

Ellen’s first formal art training was at Southern Methodist University in Dallas, Texas.  Unfortunately, she found her first drawing class, where they worked from still life setups, so tedious she nearly switched majors.  It was not until she first started drawing the nude from a live model that Ellen was “hooked.”  Even though life drawing was only “taught to discipline and train the eye and hand,” like the still life setups that had totally bored her, she completely embraced the challenge of drawing from the model.  She was fascinated with the discovery that “the slightest movement or nuance of pose can change everything.” To Ellen, this was a revelation.

Even though Life Drawing was not emphasized in SMU’s art program, Ellen was intent on pursuing drawing the figure. This discipline was only required for two semesters, but Ellen was able to outwit the Registrar by finding a way to take a life drawing class every semester.

The course load emphasized what Ellen refers to as the “isms,” studying abstraction, expressionism, and minimalism. These influences can be seen in Ellen’s rendering of the figure in the void, using a minimalist background to draw the viewer’s consideration to only the figure and what is being said through the body and its pose.

Vittoria Colonna #2 (yellow), 1985, Graphite and Nupastel on Rag Paper

Ellen received her Bachelor of Science in Art Education from Texas Tech University in 1968. Her portfolio included expressionistic paintings, watercolors, prints, drawings, and a few abstractions and landscapes – but more than anything the nude was the dominant theme throughout her portfolio.

In 1971, Ellen went to Austin to work for the University of Texas.  As an employee, she was able to take classes for free, so she signed up for a life drawing class in the UT Art Department.  At the same time, she was reading Kenneth Clark’s book, The Nude: A Study in Ideal Form, and came across the concept that the nude is not just a subject, but is a form of art. These realizations cemented her direction as an artist, and she decided that her art was “the nude”.

Odd Jobs and Influences

The University of Texas hired Ellen as an illustrator for academic papers and projects.  Her first job on campus was working for Gérard de Vaucouleurs in the astronomy department. Ellen was part of a team of artists that worked for NASA through the university to draw maps of Mars under the supervision of Dr. de Vaucouleurs. They worked from the Mariner 9 photographs of Mars’ topography to add in the planet’s albedo, or light and dark markings, with graphite.  Their work was published in Sky and Telescope magazine.  Ellen’s second job in Austin was working for the Zoology department, making illustrations for the professors’ published articles.  For this job she worked in ink on a kind of mylar called Herculene.

Ellen’s quadrant of the Mars albedo project, published in Sky and Telescope magazine

Both illustration jobs helped Ellen hone her drawing skills and define her later working practice.  While rendering her illustrations of fauna at the Zoology department Ellen became accustomed to working on mylar, and from the Astronomy department she worked with graphite. Drawing extensively with these materials led Ellen to her “particular technique” when she moved to Dallas and became a professional artist.

In her Dallas studio, 1983, this photo illustrates how Ellen sharpened her graphite and pencils in the same way that she learned from drawing Mars’ albedo.

In 1981 Ellen was awarded a $2,000 grant from the National Endowment for the Arts.  With that money, she purchased a drafting table and used the rest to produce a series of three lithographs in collaboration with Texas’ finest fine art print shop at the time, Peregrine Press.

Ellen in the studio, working on lithostone in 1982.
Controversy and Censorship

Ellen knew that her choice of subject matter would occasionally cause controversy.  She recalled her first group exhibit at DuBose Gallery in Houston, where she was confronted by a gallery patron who labeled her artwork as pornographic.  Ellen said she spent time visiting with the woman explaining what her artwork was about.  She was pleased to learn later that the woman had purchased one of her drawings.

Image of a 2008 graphite on paper drawing of a figure's torso from the side
Jamie’s Torso, 2008, Graphite on Arches Paper

In 1981, Ellen was surprised that one of her works was removed from an exhibition at the Plaza of the Americas, an office building in downtown Dallas.  The show’s sponsor, The Texas Fine Art Association, had awarded the work second prize.  One of the people in charge of the building decided to exclude five works from the exhibit, including Ellen’s, saying that they were inappropriate for public view.  Ralph Kahn, a Dallas dealer who was known to not shy away from controversy, offered to exhibit the five “inappropriate” works in his gallery.  Bill Marvel, art critic for the Dallas Times Herold, wrote an article about the incident titled, “No Nudes is Good Nudes.”

Dallas Times Herald article, “No Nudes is Good Nudes,” April 4, 1981

Ellen believes that people who react to her work in this way do not understand her intention. She wants “the graphite to feel like flesh on the surface of the mylar.”  She wants the gesture to convey the figure’s inner spirit to the viewer.

An Artist’s Voice

These encounters deeply affected Ellen. She wants her figures to communicate a sense of strength, intellect, and capability.  The critiques that she is most pleased with describe her figures as “intelligent, sensual, highly developed, elegant, and provocative.”  She has examined attitudes about the nude throughout the history of art and sees this art form as a means of “understanding our humanity.”

In numerous series of artwork, Ellen has pursued a conceptual itinerary that spans the gamut of human emotions and relationships and she has explored contemporary attitudes about the nude as well as those of other cultures throughout the history of art. She strives to bring the complex relevance of the unclothed human body to the consciousness of contemporary culture.


Available artworks by Ellen Soderquist on FAE

Detail image of an Otis Huband painting, there is a sculpture of a nude female torso in the center of the interior of a studioOTIS HUBAND: A Consummate Artist
Landscape of a farm house and a windmill by William ElliottDallas Painter WILLIAM ELLIOTT (1909-2001)
photo of a young Valton Tyler smoking a cigarette in the printroom at SMUThree Important Early Paintings by VALTON TYLER
Photo of the printmaker working in his studioYUKIO FUKAZAWA: Master Printmaker
An early painting of a male deer standing in the foreground of a deep rugged landscapeEarly Career Paintings by JIM STOKER: The Eternal Naturalist
a brush, pen and ink landscape drawing by Everett SpruceDrawings from the Estate of EVERETT FRANKLIN SPRUCE: Texas’ Most Celebrated Modernist
Watercolor and collage of an abstracted landscape by M. LeeMARJORIE JOHNSON LEE, An American Modernist
Photograph of John Albok with his cameraIntroduction to the photographs of JOHN ALBOK, Part II: the Photographic Archives Collection



To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

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The Photographic Archives Collection

Part I in the Photographic Archives Blog Series:

FAE is now representing the photography collection of Andy and Beckie Reisberg, whose Photographic Archives Gallery was a fixture in Dallas, Texas from its opening in 1989 through 2006.  In their time as art dealers, Andy and Beckie befriended many of the artists they exhibited and promoted, often acquiring hundreds of an artist’s photographs for their personal collection.

The Reisbergs graciously granted an interview with us to discuss their memories of these artists, who are the focus of this blog series.  In this first installment of four, the Reisbergs share with us their background as art dealers and gallery owners.  The following three posts will focus on the friendships they had with the photographers John Albok, Myron Wood, and Andy Hanson.

Left: John Albok (1894-1982) Right: Untitled
The Darkroom

Before they were art dealers the Reisbergs spent most of their time in their darkroom on Lovers Lane in North Dallas, building a specialty photographic negative printing and print restoration service.  As the quality of their work became known and their reputation grew, they established ongoing relationships with Southern Methodist University, The University of Texas at Arlington, The Dallas Historical Society, and the Dallas Public Library.

“We were darkroom subcontractors for the main library for over 25 years.  At that same time the DeGolyer Library was fulfilling orders from the public, from their permanent collection,” Andy explains.  “I would be the one to make a copy negative of a historical print, or printing from the historical negative.  That was a wonderful relationship for about 20 years.”  When the Reisbergs decided to expand their location to open an exhibition space, their ties with these institutions provided a vast resource to draw from.

The Gallery

The Reisbergs decided to begin hosting exhibits in 1989, “for the sheer joy of photography.  Our livelihood was still in the restoration and conservation of photographs, but the gallery became a gathering place for photographers in the Dallas/Fort Worth area, in particular, photography classes from high school to college level.”  In an effort to share their excitement about everything photographic, the Reisbergs “hosted many group shows for area educators and their classes.  Our calling card for the gallery read, ‘Specializing in Regional and Historical Photograph Collections.’”

“In 1991 we occupied the remainder of our 3,000 square foot building and formalized the gallery.  From 1991 to 2006 it was a regular feature in Dallas: The Photographic Archives Gallery.  I curated over 200 shows and brought together photographers, focusing on the Southwest from Texas, New Mexico and Colorado.”

Left: “Patio In Sunlight, Abiquiu, New Mexico,” 1980 Right: Myron Wood (1921-1999)

When asked about any particularly memorable exhibitions, Andy’s first thought was an exhibition he co-curated with a friend on contemporary pinhole photography they called Gleaning Light.  He recalls, “We organized a group show, with a call for entries around the country and the world.  We had artists from Mexico and Canada participate.  It turned out to be over 100 photographs from nearly 75 photographers.  This was the first time I’d been involved in organizing such a show.  It took about a year to put that show together.”

The Reisbergs coordinated gallery talks and workshops, as well as hosting travelling shows by the Texas Photographic Society.  They often produced catalogues to accompany their exhibitions, some of which are included on FAE’s artist pages, such as Andy Hanson: Another Side and John Albok’s For the Children.

Left: Andy Hanson (1932-2008) Right: “Cab Calloway,” 1978

Works from The Photographic Archives Gallery Collection are available on FAE here.  Check back for our next blog post in the series, about the Hungarian-American photographer John Albok.  Follow us on Facebook, Instagram, or Twitter to stay updated about FAE and new blog posts.


See all available works from the Photographic Archives Collection.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].

The Dorothy and Mat Garland Collection

AN INTERVIEW WITH LIFELONG COLLECTOR DOROTHY GARLAND is pleased to present artworks from the Dorothy and Mat Garland Collection. While Moving into a smaller space to enjoy retirement, Mrs. Garland realized she had reached the juncture faced by many a Collector: She now needed to de-access works from her collection.  To accompany the 2015 exhibit of works from Garland’s collection at Valley House Gallery, Garland wrote the essay for the catalogue “A Collector’s Story of Collecting Early Texas Art,” in which she gave an account of her lifetime of art collecting and shared some lessons she learned along the way. With some of the remaining pieces now listed on FAE, Garland graciously expounded on her perspective on collecting in an interview.

Dorothy with her late husband, Mat Garland
The Early Texas Art Collector’s Organization

Dorothy Garland has been a member of the Dallas based Texas Art Collector’s Organization (TACO), since 1990 and most recently a board member. She described the sense of community that is fostered by members’ shared love of Early Texas Art. The board meets twice a year to plan their Spring and Fall schedule. They arrange viewings of Early Texas Art in a fellow collectors’ home, museums, galleries, or artists’ studios.

As she described the organization, she remarked on the kind of kinship that occurs between members. During one TACO visit to a collector’s home, the man showed her where he had displayed two paintings purchased from her collection. He kindly offered that she could come visit the paintings whenever she wanted. This is the bond that can form over a shared love for art.

That enthusiasm and open exchange of ideas between TACO members is not dissimilar to the setting which fostered the very artistic movement they study. She described the artist meetups that would take place in a Dallas couple’s home during the Great Depression. “They hosted weekly meetups for artists to enjoy a homecooked meal and engage in discourse.” She said Speakers such as Herbert Marcus (of Nieman Marcus) and O’Neil Ford were invited, and any information that could help these artists was shared. With no jobs to be had, any money earned from selling an artwork could go a long way. “They were able to pursue what they loved, and although they may have been competitors they gathered as friends in their shared passion.”

“White Cliffs,” 1964, by Charles Taylor Bowling

One of these artists was Jerry Bywaters, who went on to become the Director of the Dallas Museum of Art. The watercolor “White Cliffs,” was created by a friend of Bywaters from the same circle, Charles T. Bowling. Created in 1964, this piece beautifully exemplifies Bowling’s preferred palette of grey, ochre, rust, and cool blue-green. It was likely inspired by one of his lithographs from the 1930s. Twenty-six of Bowling’s lithographs were donated by his family to the Jerry Bywaters Collection of Art of the Southwest at Southern Methodist University. An exhibition of his work, The Lithographs of Charles T. Bowling (1891–1985), was organized in 1991 at the Meadows Museum in Dallas.

“Red Barn with Wagon,” by Olin Herman Travis

Bowling also studied with Olin Herman Travis at the Dallas Art Institute, who frequently lead painting trips to the Ozarks in the 1920s. The plein air painting “Red Barn with Wagon” is a rare example of a rural Texas subject, a departure from the Ozarks landscapes that Travis tended toward.

Art is Personal

Perhaps the most important lesson expressed in her essay and in her interview, is finding out as much as possible about the artists. Her belief is that “personal details can only enhance the enjoyment of an artwork.”

“Basket of Yellows,” 2002, by Donald S. Vogel

Whenever she acquires a new artwork, Garland makes a practice of contacting the artist if possible, or their remaining family. She explained that to learn more about the artist’s life, she will ask the spouse or children about their experience of living with an artist. She recalled a visit with the daughter of Texas artist Everett Spruce, who shared an intimate memory of her father’s habits in the studio. She said that he would always paint with classical music playing. “When he was working in the studio with the door closed and the music playing, the children knew that they were not to disturb him under any circumstance.” To Garland, these kinds of stories about the artist as a spouse or parent make the painting more personal and valuable.

It was during a visit to Paris with her husband Mat, that Garland said she first got the idea to visit artists in their homes. She recalled visiting Sacre-Coeur and purchasing a painting from one of the artists there. The artist offered to pack up the piece for shipment, and so they followed him to his apartment. She found it fascinating to see where he worked and lived, and now advises any collector to make a home visit if ever possible.

“Waterlilies, Giverny,” c. 1987, by Claude Cambour

Another painting acquired in France, “Waterlilies, Giverny,” involves a personal interaction with the artist Claude Cambour. Garland and her husband encountered the artist while exploring Giverny, the gardens made immortalized by Cambour’s favorite painter Monet. Cambour started giving workshops in Giverny in 1985, and at the time of this encounter was preparing for an exhibition of his paintings in California. Needing American dollars to take with him to California, the Garlands worked out a cash deal for the painting. It hung over their fireplace for many years. To Garland, this kind of participation in an artist’s career enhances her enjoyment of the artwork.

Decisions of a Collector

The Garlands’ entry into art collecting started out of necessity, as she described their home with “a large wall that needed a large painting to fill it.”  She explained that there really is no guiding theme to the collection, simply artworks that she and her husband liked.

“Blaine’s Fallen Bloom,” 1997, by Bob Stuth-Wade

The decision to purchase an artwork is fairly simple, by Garland’s metric. She has found that like herself, many collectors’ deciding factor in acquiring an artwork is purely that they like it and can afford it. Once the purchase has been made, she advises, “forget what you paid and just enjoy the artwork.” She explained that while an investment in the stock market could leave you with nothing, a piece of art that you love will always provide enjoyment. “There will be a market if the time comes to sell the piece,” she remarked, “and FAE is way to make that possible.”

Garland gave her thoughts on the scarcity of Early Texas Art in the current art market, noting that most of it is currently in the hands of collectors. The decision to part with some pieces is a bittersweet one, but she looks forward to the next chapter of these artworks’ stories in the homes of other collectors at heart. Garland hopes that her story will inspire new collectors to continue in this shared love of art.

Dorothy and Mat Garland have been collecting art seriously and have been a fixture in the Dallas art community for over 25 years. Dorothy says that in general their taste is eclectic, but they focused primarily on Early Texas Art. Although Mat is no longer with us, Dorothy, even while living in a retirement home, still adds a work to their collection now and then.


See all available works from the Dorothy & Mat Garland Collection.

To see all available FAE Collector Blog Posts, jump to the Collector Blog Table of Contents.

To see all available FAE Design Blog Posts,  jump to the Design Blog Table of Contents.

Sign up with FAE to receive our newsletter, and never miss a new blog post or update! 

Browse fine artworks available to purchase on FAE.  Follow us on FacebookInstagram, or Twitter to stay updated about FAE and new blog posts.

For comments about this blog or suggestions for a future post, contact Kevin at [email protected].