The Relief Society Magazine (a periodical for women published unofficially by the Church of Jesus CHrist of Latter Day Saints) in Volume 25, No. 3 (March, 1938), pages 168-170 has an article on my great-grandmother, Fred's daughter Minerva Kohlhepp Teichert. The article is entitled "One of Ours (Minerva Kohlhepp Teichert)," and judging by it, this is a recurring series. It was written by Dorothy Clapp Robinson. An interest article in its own right, I'll only focus on the details in it up to Fred's death in 1919. I prefer providing the source not in bits (as you can tell by now), so here is the section I am interested in:
"Undoubtedly her talent for drawing was inherited. Perhaps there was born with her, too, a talent for perseverance but both qualities were added upon by a rare type of directed effort. There came a time when she tasted the joy of recognition by critics and teachers but not until she had paid the price. Out of Boston came an educated talented Jew, convert to a new faith. In the West he married a girl who had been bred in that faith. Both had literary and artistic ability. Minerva, their second child, was given all that complete understanding and encouragement could give, but
there was no money for painting lessons. Isolated on a farm, miles and miles from a teacher, no money to take her where there were teachers, mere living was a struggle. One less valiant would have wept and succumbed to their lack of opportunity. Not Minerva. 'Knock and it shall be opened unto you' had literal meaning for her. She knocked and knocked until doors of opportunity began opening as doors will to those who persist.
At age thirteen, the age when most girls are just leaving the doll period, she was already making her own living and paying for painting lessons. Minerva Kohlhepp was born in Ogden but in her first months her parents moved to Idaho. There is little about dry-farming and ranching that she does not know. There is little of it she has not put on canvas. In a little shore in American Falls she first exhibited. While still a child she dressed a group of dolls in native costumes of every country. They drew a great deal of praise but seemingly took her no nearer an art teacher.
In Pocatello she worked for her board and attended high school. There she met a woman with splendid artistic ability who helped her to other contacts. A Mrs. Sparks who was going to San Francisco needed a girl for nursemaid. Minerva had been preparing herself for just such an opportunity. In San Francisco she found time for work at Mark Hopkins' Art School.
After graduating from high school she taught in rural Idaho just long enough to insure a year of study in the East. In February, 1908, she enrolled as a student in the Art Institute in Chicago--and what a student! Once there, nothing less than finishing would satisfy. She worked and schemed and borrowed money in order to stay. By July she had completed the first year's work. In 1912 she completed a three years' academic course beside studying Dramatic Art and Indian Dancing at the Chicago Conservatory of Music.
The year 1913 found her back in Idaho teaching school, paying debts, writing poetry and finding time to file and live on a homestead near American Falls. It was at this time also that her determination to be a great painter suffered a slight retard. Herman Teichert, who pursued her as persistently as she pursued art, came near winning his case. But before she had quite decided, an offer came to teach art at the University of Utah. Her ambition flared anew and she went to New York for final preparation.
All these years her reputation had been growing and hardly had she reached New York when she was offered a scholarship under Robert Henri. Henri had come back to the Art Students League for the year 1914-15. This big chance swept away all immediate thoughts of homestead, sweetheart, and teaching offer. She was the first to enroll under the master portrait painter and became not only a favorite pupil but a warm personal friend. Some think her portraits show a strong Henri influence. She received other scholarships as well, one under George Bridgeman for draftmanship.
The next three years brought Miss Kohlhepp another rare privilege. The war was on. The wealth and culture of the world settled in New York. The Art Students League, fearing complications, would accept no gifts of money, but wealthy patrons of art could and did aid the struggling pupils. This aid came in the form of tickets to things of worth. Minerva Kohlhepp being an advanced student shared generously.
Many of her evenings were spent listening to opera, studying theatrical lighting effects, enjoying Russian ballet, etc.
During this time her financial problems were still with her but with the determination so characteristic of her she found things to do about it. She had a natural bent for making the most of a dollar and a propensity for finding work along the line she liked. She sketched cadavers for doctors. She painted animals for a series of school books. One afternoon she did a portrait of Wallace Beery dressed in skins for the show Purple Knight. She received fifty dollars for that. She did much work for the movies.
Of her the great Henri said, "She is one of the coming woman artists of America."
The summer of 1917, when war clouds hung so threateningly, Miss Kohlhepp woke to the realization there were other fields of interest far from halls of learning. For the first time in her life painting took second place in her heart. She hurried home to marry her cowboy sweetheart, Herman Teichert. While he served in France she lived on his paternal homestead that in the days of stock companies had been known as Tall Tree Center. Mrs. Teichert loved this old ranch and some of her finest work was done there. She loved the Snake River "bottoms" where the ranch was located. She told of it in verse and story as well as on canvas. It is her delineation of life on the "bottoms" that makes her so essentially an Idaho artist.
There was everything in that section to stimulate the artistic urge. From Horse Island to Big Hole, from Ferry Butte to the cataracts at American Falls she gathered her studies. And such a variety! Here were tradition, scenery, and local color. Here she found marsh grass, brown-topped tules, gray-green sage, blue pools and foaming rapids, stretches of meadowland and warmscented cowpaths, giant gnarled cottonwood, tangy willows and flaming kinnikinick. Here, too, were picturesque cowboys, gaudily attired bucks, squaws in bright blankets and papooses in boards. She studied bucking broncos, dances to the Sun God and the ruins of old Fort Hall."
Items to consider/research further:
- Look into "One of Ours" to see if it was a series and what general purpose of the series was. Clearly, it is to highlight and draw positive attention to Minerva in this particular case.
- Who was Dorothy Clapp Robinson and how would she have learned about Minerva?
- Here we encounter the Jewish myth once more. I've not seen in friends own writings or those of his sisters or parents anything on Jewish ancestry. I remarked in a prior post how I wonder if this spread from a folk etymology of the term Kohlhepp and family ancestry speculations.
- Fred is noted as educated and talented. It describes Minerva's art talent as inherited. There's often a reference to Fred as being a source of her artistic talent in other sources. This article (perhaps since it is an article for women) also notes that Mary Ella was a source for her talent ("Both had literary and artistic ability").
- It gets Fred's Boston upbringing right, and his marrying Mary Ella in the west. It's interesting that it seems to suggest Fred converted to the faith first, and then married a girl bred in the faith. I'm not sure that sequence of events is quite right.
- It really stresses the Kohlhepp's family poverty. They cannot afford lessons, but they do provide encouragement. No teacher is anywhere near where they live. Quite likely true in towns like Neeley and Rockland. Poverty is driving the Kohlhepps to have their children work at young ages to pay for their living and board, to live in other homes. As a teenager, Minerva is going out to San Francisco. Perhaps for someone like Frederick who made his own journey throughout the United States as a young man, this is seen as they way of things.
- The article reports that the Kohlhepps moved quite quickly to Idaho following Minerva's birth, "in her first months." This would have put the migration to Idaho in late 1888, early 1889.
- She exhibits the first time in a little store in American Falls.
- It isn't until she makes it to Pocatello that she finds a woman (Mrs. Sparks) to further her artistic abilities.
- The other items don't tell us much about Minerva's relationship with her family, as much as her having been away. It does make one wonder how much the sisters really grew up together.
