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Eugene Paul Ullman, American painter, born in New York on March 27, 1877; died in Paris, France, on April 26, 1953. His father, Sigmund, was an important manufacturer of print-ing ink, the first in the United States to make colored ink for glossy paper. His firm also made a lithographer’s proof ink of unusually high quality. Sigmund Ullman was not only greatly inter-ested in chemistry as it related to the production of ink but in its artistic use. It is said that, ow-ing to the prominence of Renaissance art, he believed that Italians were especially gifted in un-derstanding color gradations and hence sought out immigrants from that country when in need of new employees. Of his four sons, one became a chemist but died in his early twenties and the other two took over the business.

    Eugene was one of the best pupils in the Columbia University Grammar School (the Normal School Training Department), winning prizes for Latin, German, and drawing.  In the latter he displayed his artistic talent.  His mother encouraged him to follow his inclination and had the painter Walter Griffin give him drawing lessons.  Nevertheless his father insisted that, like his brothers, he should attend Packard’s business school for one year and then spend another year learning the ropes in the ink factory.  After this experience he enrolled in William Merritt Chase’s school, and ultimately taught in his teacher’s New York School of Art as well as at Shinnecock.  In the 1897 photograph of Chase’s class, Ullman is shown in the center, immedi-ately behind Chase and to his left.  In the photograph of Chase’s class taken in Haarlem in 1903, Ullman, now no longer a student, stands in the back row.  By this time he had traveled to Spain to copy Velázquez’s works in the Prado, and to France as well, where he underwent the influence of the Impressionists, and especially Cézanne’s.
    It was in Haarlem that he did Chase’s portrait, later bought by the French government and now in the Museum of Franco-American Cooperation in Blérancourt.  Also owned by this mu-seum is a painting of wounded Zouaves at the American Ambulance Hospital in Neuilly, where the artist volunteered as a carpenter and handyman in World War I, as well as a painting by his son Paul, who served in the American Field Service in 1939-40 and in 1944 with the Office of Strategic Services.  At least one historian of American art considers Ullman’s to be the best por-trait of Chase—not counting the self-portraits; and the French minister responsible for its pur-chase was quoted as saying that it was as good as any comparable portraits by Whistler.
    Chase, in turn, did a portrait of Ullman and gave him one of his daughter Alice.  Both works are reproduced in Ronald Pisano’s catalogue raisonné of Chase’s œuvre.  Ullman was a rising star in the first decade of the twentieth century.  His first award was a bronze medal at the Saint Louis World’s Fair in 1904.  In 1905 he was awarded a first-class medal at the Exposition of the City of Orléans.  It was followed the next year by the Pennsylvania Academy’s annual Temple Gold Medal for his portrait of Mrs. Fisher, in the Munich style, owned by the Indianapo-lis Art Museum. His portrait of  the Arnold Bennetts at home, with the famous writer in the background playing the piano while his wife reads a book in the foreground was reproduced in the fourth volume of the novelist’s letters.  Lady at the Buffet graced the cover of The Atlantic Daily News, distributed to every transatlantic passenger.  Articles about him appeared in news-papers, in The McIntosh Monthly, and in The Craftsman, which reproduced, among other paint-ings, his portrait of Mrs. Booth Tarkington.  Her father-in-law had been a justice of the Indiana Supreme Court; so had the artist’s father-in-law.
    It was in France where he decided to settle, relying on a generous allowance from his father.  The Beaux-Arts bestowed on him an associate membership, which he resigned in 1923, perhaps in protest for the Beaux-Arts rejection of avant-garde artists.  This action seems to have alienated him from official circles and won him no allies.  Bennett mentions in his Journals the news of Eugene’s marriage to Alice Woods, daughter of Judge William Allen Woods of the Sev-enth District Court, novelist, short-story writer, and a student of Chase’s.  It was through her literary connections that he got to know the Bennetts and Margaret Cravens, who in 1911 com-missioned him to do Pound’s portrait.  He then did hers, offered as a gift.  Among the artist’s correspondence and photographs of his paintings, now in the Kellen Archives of the Parsons School of Design, is the one of Cravens’s portrait, but not that of Pound.  Indeed, when he spoke about the poet, he never mentioned that he had painted his portrait; he may well have ripped up its photograph.  His portrait of Gertrude Stein, which he gave her, has apparently disappeared.
    In a letter to Cravens, Pound compares his poetics to a remark of Ullman’s about green undertones of human flesh.  It is possible that the painter was thinking of his painting of the Japanese actress Madame Hanako (ca. 1908), now owned by the Guild Hall Museum in East Hampton, but in three pictures created about this time there are small swaths of pure green to render the flesh, as if he were undergoing the influence of the Fauves.  The one that can be most accurately dated is that of his son Paul, born in 1906, showing a boy between 6 and 8 years old.  (The portrait of Paul’s brother Allen, born in 1905, showing a child about 4 years old, is in the old style.)  The other one is of a French woman, owned by Auburn University’s J. C. Smith Art Museum.  A nude from the waist up with a turban (the model was probably an Azerbaijani refu-gee from the Russian Revolution) shows the same treatment.  There is also a still life with red apples casting green shadows on a white surface.
    Let us say that in his first style Ullman was an epigone of Chase.  Indeed, one critic calls him an understudy of his master, and it is likely that Sadakichi Hartmann mentions him in the 6th impression of his History of American Art with this in mind.  His second style would be a color-ful one including the possible Fauve influence and the Zouaves in the Blérancourt museum.  H received a silver medal at the 1915 Panama-Pacific International Exposition, but the style of the painting he exhibited has not been determined.
    The third style, dating mostly from the twenties, is characterized by broader brush strokes in pale landscapes and portraits, sometimes with subdued yellows and browns dating mostly from the twenties, after his divorce from Alice.  Several of these were exhibited in the Milch Gallery in 1924.  Girl with a Cat, now in the Heckscher Museum, was reproduced in the New York Herald and The Morning Bath, which he gave to the Brooklyn Museum, was reproduced in  The New York Times Magazine and The New York Evening Post’s art page, as well as in The Spur, where his work received an excellent review from Lula Merrick.  The greatest praise be-stowed on him in those days came from B. J. Kospoth in the Sunday June 9, 1929 Chicago Trib-une European Edition, which reproduced the Portrait of Mrs. E. P. Ullman, and Femme lisant sur une chaise longue, now in a private collection in Minneapolis.
    The fourth style began in the early thirties after his move from Nice to Marseilles, where he paints the old port, then to Lourmarin, where he does landscapes with the château and of the Vallée de la Fausse Monnaie.  He then takes his second wife, Suzanne Lioni, whom he had mar-ried in 1928, and their young son to Belgium, where he paints the ruined mediæval tower at Si-chem and the hotel where they lived.  There is more detail in the foliage, which is greener, and objects are more delineated.  It continues after his move to Paris in 1935, with summers spent in Savoy and Brittany, where the family remained for the rest of the year after Paris was evacuated.  The French newspapers reproduced a few of those paintings.  Royal Cortissoz  had very kind words for him as well in the April 11, 1943 New York Herald Tribune, which reproduced Ull-man’s view of Douarnenez at low tide, painted in 1937.
    The fifth style takes shape on his return to the United States in 1940 after the Germans took France.  After spending two years in New York City, with summer visits to his son Paul’s farm in Stonington, Connecticut, the family moved to Ridgefield.  Typical of this style, which is really a continuation of the fourth, are two large landscapes, one of a field on the farm of James Alden Weir—inherited by his daughter Dorothy and occupied by her and her husband the sculp-tor Mahonri Young; it is now a national park.  It was bought by the widow of Arthur Garfield Hays.  Three others showed the rear of his brother George’s property.  The best one shows the house, the original part of which had been an inn in Colonial times, as well as people playing croquet.  The other two were painted from the window of the studio that George had created for him by having the chauffeur’s apartment wrecked on the second floor of his garage.  One of these is a winter scene, bought by the French government, which later sold it at auction. 
    In 1944 the news of Paul’s capture and execution by the French Sûreté under German command after parachuting into France before the Normandy invasion was a severe blow to his father, for Paul, a gifted painter and etcher, was his disciple and favorite son.  He quarreled with George and, when the war ended, moved to Westport, where he had a studio built on his prop-erty.  At this point his work betrays signs of age, although the winter landscape painted through his studio window—reproduced on the cover of his last exhibit catalogue and now owned by Auburn’s J. C. Smith Museum—still displays considerable talent.  When Suzanne died in 1950 he decided to pass his last years in France despite the advice of good friends who advised him against it.  France was no longer the same land he had known in his youth.  When he died in 1953, only his youngest son and his two best friends, the sculptor Ary Bitter and the painter Louis Degallaix, attended his funeral.

Ullman was active in societies of expatriate American artists and their organization, be-coming president of two of them. In 1941, with the Canadian-American sculptor Cecil Howard, he founded the Four Arts Aid Society—of which he was elected Honorary President—to provide aid to French artists living under the German occupation and in Vichy France.

    Bennett mentions in his Journals that at one time Ullman owned a Tissot, but he must have sold it before the Depression.  Before moving back to France he owned a Molinar (from which a conservator unintentionally removed the signature during cleaning), three Chases, a small Daubigny, a very early Monet, four landscapes by Georges Michel, a small landscape with horses by John Lewis Brown, a beachscape by Guillemet, a painting of Géricault’s death mask and a small landscape by Cals, a small genre painting by Bonvin showing a boy holding a pheas-ant (which once belonged to Alexandre Dumas fils), a studio painting by Maurer when he was a student, three canvases by his friend Degallaix, and two by Chantal Quenneville.  He and Suz-anne were given watercolors by the French illustrator Dignimont.  He also had watercolors from the illustrator Charles-Auguste Edelmann, and drawings by Charles Jacques, Bonvin, Steinlen, Guy Pène Du Bois, Ary Bitter, Hermine David, and the Swiss sculptor Marguerite-Anne Blonay.  He bought several small ceramic statuettes from Ary Bitter, who gave him the original clay sculpture of Dalou’s medallion of Corneille at the Comédie Française and an original defective cast of Houdon’s Frileuse, both obtained from their founder.

Bibliography

EUGENE PAUL ULLMAN (1877-1953)

Prepared by P. L. Ullman (updated December 22, 2008)

PAINTINGS IN MUSEUMS Brooklyn Museum: After the Bath (1924). Musée National de la Coopération Franco-Américaine, Blérancourt: Portrait of Wm. Merritt Chase (1903), Wounded Zouaves in the American Ambulance Hospital (1915). Tampa Art Museum: Nude before Antique Screen (1938?); painting reproduced in the Edouard-Joseph. Indianapolis Art Museum: Portrait of Mrs. Fisher (1906) [awarded Temple Gold Medal of the Pennsylvania Academy], The Sea (1909). University of Wisconsin–Milwaukee Department of Art History Collection (formerly in the UWM Art Museum): Lady at the Buffet (1906), Portrait of Mrs. Tertia Kennerley (sister of Arnold Bennett), Portrait of Louis Degallaix, The End of the Carnival, and several other works. Guild Hall Museum, East Hampton, NY: Portrait of the Japanese Actress Hanako San (ca. 1908). The Newark Museum: Portrait of Abraham Walkowitz (1943). The Heckscher Museum: Girl With Cat and Provence Landscape. The Jule Collins Smith Museum of Art, Auburn University, Early Winter, Westport; Portrait of a French Woman.

PAINTINGS WIDELY REPRODUCED (see bibliography) The Arnold Bennetts at Home in Fontainebleau (1903), owned by PLU. Portraits of Ezra Pound and Margaret Cravens (1911), owned by H. Boone Lodge. Lady at the Buffet (1906). Portrait of Mrs. Booth Tarkington (1906), whereabouts unknown.

HONORS Bronze Medal, St. Louis Exposition, 1904. Second Prize, Worcester Art Museum, 1905. First Class Medal, Orléans (1905). Temple Gold Medal, 1906. Silver Medal, Panama Canal Exposition, San Francisco (1915). E. P. Ullman also received the honor of associate membership in the Société des Beaux-Arts, unusual for a foreigner. Nevertheless, he later resigned in protest of their policy toward the avant-garde artists of the younger generation. Who Was Who in American Art (1999) states that EPU won a medal at the St. Louis World’s Fair in 1924.

ARCHIVES Ullman’s papers, correspondence received, and sketches, as well as the exhibition catalogues, newspaper clippings pertinent to his work, and photographs of his paintings, are in the Kellen Archives of the Parsons School of Design of The New School University. His letters to Gertrude Stein are at the Beineke Library of Yale University.

BIBLIOGRAPHY Prospectus, New York School of Art, 1896-1902. Listed as instructor of the "Sunday Painting Class for Men and Women." Catalogue, Society of American Artists, 25th Annual Exhibition, at the galleries of the American Fine Arts Society, 215 W. 57th St., NYC. Exhibited Portrait of Mrs. X and A Little River. Catalogue, The Art Club of Philadelphia, 13th Annual Exhibition, 1901. Exhibited Studio and Model. New York Sun, March 7, 1901, "Art Notes." The Sun, Friday, March 8, 1901, "Paintings by Eugene Paul Ullman at Clausen's." An Indianapolis newspaper: "Present Art Exhibition Will Close Tomorrow; Works of Ullman, Barse, Pitts, and McKenzie," by W. H. Fox, director of Herron Art Institute. New York Times, March 7, 1901, "A Trio of Painters." Sadakichi Hartmann, A History of American Art, 2 vols. Boston: L. C. Page, 1901. 6th impression (1913), vol. 1, p. 230. Idem in New Rev. Ed., 1932. Catalogue, Pennsylvania Academy of Fine Arts, 71st Annual Exhibition, 1902. Exhibited: From the Alhambra, William Chase in His Studio, and In a Studio. Catalogue, National Academy of Design, 77th Annual Exhibition, 1902, held at 215 West 57th St., NYC. Exhibited A Little River. Catalogue of the Twenty-Fifth Annual Exhibition of the Society of American Artists at the Galleries of the American Fine Arts Society, 215 West 57th Street, from Saturday, March 28th to Sunday, May 3rd, 1903. Exhibited Portrait of Mrs. X and A Little River. Catalogue: Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens "Secession" 1903. Exhibited Mädchen and Stilleben. Catalogue, Art Institute of Chicago, 16th Annual Exhibition, 1903. Exhibited Woman Standing at a Glass. New York Sun, Nov. 13, 1903, "Eugene P. Ullman Wedded." Catalogue, Société Nationale des Beaux-Arts, Salon de 1904. Exhibited Portrait de William M. Chase, L'Innocent, and Une Terrasse. Catalogue, Berliner Secession, 1904. Reproduces Dame nähend (Lady Sewing). New York Herald Tribune, Paris, June 5, 1904. Official Catalogue of Exhibitors, Universal Exposition, St. Louis, U.S.A. 1904, “Dept. B, Art,” rev. ed. (St. Louis, 1904), p. 37 indicates that Eugene Paul Ulmann [sic] exhibited Zandvoort, Holland, and Before the Mirror. Mark Bennitt & Frank Parker Stockbridge, compilers, History of the Louisiana Purchase Exposition (St. Louis, 1904) lists Eugene Paul Ulmann [sic] as one of the approximately 100 winners of a bronze medal in the US art exhibit. Catalogue, Pennsylvania Academy of Fine Arts, 100th Anniversary Exhibition, 1905. Exhibited Portrait of William M. Chase and A Study of Home. The Art Bulletin, published by American Art Annual, Vol. 4, No. 14 (Jan. 28, 1905), p. 9, makes special mention of EPU's Portrait of William Merritt Chase. Catalogue, Société Nationale des Beaux-Arts, Salon de 1906. Exhibited Portrait de Madame S[igmund] U[llman] (probably stolen from the estate of Robert Ullman), Portrait de Madame R. D., and Au Buffet (now belonging to the University of Wisconsin–Milwaukee Art Museum). One of the portraits is reproduced in the catalogue. Catalogue of one of the Salons, in which EPU exhibited Figure d'une femme. The beginning pages of my copy are missing, so that I cannot tell the year. Catalogue, Worcester Art Museum, Massachusetts, Summer Exhibition, 1906. Portrait of Mrs. Ullman awarded Second Prize. Catalogue, Art Institute of Chicago, 19th Annual Exhibition, 1906. Exhibits Au Buffet and Portrait of Mrs. Roy Devereux, both of which had been shown at the 1906 Paris Salon. Catalogue, Pennsylvania Academy of Fine Arts, 101st Annual Exhibition, 1906. Exhibited Portrait of Mrs. Ullman and Portrait of Madame Fisher (awarded Temple Gold Medal). The New York Evening Post, Jan.22, 1906, "The Pennsylvania Academy." Art Bulletin, vol. V, No. 13 (Saturday, Jan. 27, 1906), reproduces Portrait of Madame Fisher and gives news of Temple Gold Medal award. Catalogue, Société des Artistes Français, Salon de 1907. Exhibited Le Modèle attardé and Divertissement d'une petite fille. Catalogue, National Academy of Design, 82nd. Annual Exhibition, 1907. Exhibited Au Buffet. Catalogue, Art Institute of Chicago, 22nd. Annual Exhibition, 1907. Exhibited Child at Play, which had been shown at the 1907 Paris Salon. Catalogue, Liverpool Corporation, Autumn exhibit of Modern Art at the Walker Gallery, 1907. Exhibited Portrait of Mrs. Booth Tarkington. Bulletin, PORZA, Exposition of 1907. Catalogue, Carnegie Institute, Pittsburgh, 11th Annual Exhibition, April–June 1907. Exhibited Portrait of Mrs. Sigmund Ullman (this portrait belonged to Mr. Robert Ullman; on his death, it was stolen from a shipment sent from his villa in Positano to his sister, Charlotte Weil, in the early 1970's). The catalogue includes the list of awards, mentioning the bronze medal at St. Louis in 1904, the Orléans Exposition medal, the second prize at the Worcester, Massachusetts, Art Museum in 1905, and the Temple Gold Medal of the Pennsylvania Academy of Fine Arts in 1906, the most distinguished award given in the US for art at that time. Catalogue, Pennsylvania Academy of Fine Arts, 102nd. Annual Exhibition, 1907. Exhibited Au Buffet and Washerwomen: Concarneau. Catalogue, Pennsylvania Academy of Fine Arts, 103d Annual Exhibition, 1908. Exhibited Child at Play (reproduced in catalogue). Catalogue, Cincinnati Museum, 15th Annual Exhibition of American Art, 1908. Exhibited six paintings: Portrait of Mrs. Eugene Paul Ullman, Au Buffet (reproduced in catalogue), Woman Sewing, Woman Before the Mirror, Washing at Concarneau, The Marne. New York Evening Globe, Jan. 8, 1908. "Art and Artists." The Evening Post, Saturday, Jan. 25, 1908. "The Pennsylvania Academy." The Philadelphia Inquirer, Jan. 26, 1908. The Philadelphia Press, Jan. 28, 1908. Philadelphia Inquirer, Tuesday Morning, Jan. 28, 1908 reproduces four portraits by EPU. Philadelphia Record,. Jan. 19, 1908. New York Evening Post, Jan. 26, 1908. The New York Globe and Commercial Advertiser, Jan. 8, 1908. The New York Tribune, Jan. 29, 1908. The Sun, Jan. 9, 1908. Jan. 17, 1908, review in a NY paper of EPU one-man show at the Fishel, Adler, and Schwartz Gallery. Philadelphia Public Ledger, Jan. 28, 1908. New York Times, Sunday, Jan. 26, 1908. The Indianapolis News, March 30, 1908, "Art Association Buys a Portrait by Ullman." Boston, Mass. Herald, Feb. 2, 1908. Philadelphia Press, Feb. 2, 1908. Indianapolis News, Saturday, Feb. 29, 1908. Indianapolis News, March 6, 1908. Indianapolis News, March 7, 1908. Pittsburgh Dispatch, April 16, 1908. New York American Art News, April 18, 1908, "The New Paris Salon." The Burr McIntosh Monthly, Vol. XV, No. 60 (March 1908), np., contains four pages on EPU, "Eugene Paul Ullman, American Painter," with reproductions of Portrait of Madame Hanako, the Japanese Actress (39 1/4" x 49 1/4", now owned by the Guild Hall Museum, East Hampton, gift of Louis Bock), Child at Play, Portait of Madame C., Au Buffet, Portrait of Mrs. Booth Tarkington, and Portrait of William M. Chase, American Painter. Indianapolis News, March 28, 1908. Indianapolis News, Dec. 19, 1908. "Eugene Paul Ullman's Pictures," by W. H. Fox. The Craftsman, Vol. 15, No. 3 (December 1908), pp. 308–15, an illustrated article on [Eugene] Paul Ullman by Katharine Elise Chapman. Reproduces Portrait of Wm. Merritt Chase, Au Buffet, and Child Playing Lady. Catalogue, Société Nationale des Beaux-Arts, Exposition au Grand Palais, 1909. Exhibited Portrait de Madame C... (in fact, Srta. Casares, reproduced in catalogue), Portrait de Madame G., and Femme nue.. Catalogue, Art Institute of Chicago, 22nd. Annual Exhibition, 1909. Exhibited Hanako San (the portrait of the Japanese actress reproduced in the Burr-McIntosh Monthly). Catalogue, Pennsylvania Academy of Fine Arts, 104th Annual Exhibition, 1909. Exhibited The Score. L'Intransigeant, April 15, 1909. Monde Artiste, April 21, 1909. Art et les Artistes, June 1909. Journal des Débats, April 15, 1909. Reproduces Portrait de Madame C. New York Times, May 9[?], 1909, reproduces a portrait by EPU. The New York World Magazine, April 18, 1909, reproduces Portrait of Señorita Cáceres, Daughter of the Venezuelan Consul in Paris. Catalogue, Art Association of Indianapolis, The John Herron Art Institute, Catalogue of Paintings and Sculptures in the Permanent Collection, 1909. Lists Portrait of Madame Fisher and The Sea. Chicago Examiner [?], July 2, 1909. Article by Lamar Middleton. Catalogue, Corporation of Liverpool, Walker Art Gallery, 14th Annual Exhibition of Modern Art, 1910. Exhibited La Femme au Boa. Catalogue, Carnegie Institute, Pittsburgh, 14th Annual Exhibition, 1910. Exhibited Woman Sewing, perhaps the same as the painting at the 1904 Berlin "Secession." Philadelphia Press, April 17, 1910. Philadelphia Public Ledger, 14 April, 1910. Catalogue, Collection of Pictures and Sculpture in the Pavilion of the United States of America at the Roman Art Exposition, 1911. Exhibited In the Garden (now owned by Mr. Thomas R. Ferrall) Catalogue, Corporation of Liverpool, Walker Art Gallery, 41st Exhibition of Modern Art, 1911. Exhibited Fin de Carnaval (now owned by the University of Wisconsin-Milwaukee). St. Louis Post-Dispatch, March 5, 1910. New York Times, March 12, 1910. New York Herald, Paris, Feb. 26, 1911, reproduces Dans le jardin. Philadelphia Record and New York World, April 1911, "Yankee's Picture Shocks Gay Paris; Ullman's Nude Had to Undergo Alterations Before it Could Be Hung in Salon." The New York World Magazine, April 23, 1911, reproduces End of the Carnival in an article by William R. Hereford. A newspaper dated April 1911. The Sun, April 16, 1911. Cleveland, Ohio, Leader, April 1911. Chicago Examiner, March 18, 1911. In the 1911 Salon, EPU exhibited a nude, The Half-Open Door (La Porte entrouverte), from which a postcard was made. Le Nu au Salon, par Georges Normandy, No. 5 (1911), p. 37: La Porte entr’ouverte. Comœdia, April 24, 1911. Aurore, April 25, 1911. Catalogue, Pennsylvania Academy of Fine Arts, 107th Annual Exhibition, 1912. Exhibited: On a Hot Day. Excelsior, April 13, 1912. Gil Blas, April 13, 1912. The Atlantic Daily News, Vol XII (used on the T.S.S. Nieuw Amsterdam, Thursday, August 15, 1912, and Wednesday, Sept. 18, 1912, inter alia), reproduces Lady at the Buffet on its cover. Journal de l'Atlantique, 3ème année, 5e jour, contains an article entitled "American Artists in Paris: Eugene Paul Ullman," by Katharine Elise Chapman, reproducing Portrait of Miss Gardiner [the future Mrs. George Ullman (Marian)] New York American, March 1913. "American Art Gathered in Paris for Panama Fair" [Panama Canal Celebration in San Francisco]. New York Herald, Paris, 1913. La Vie Heureuse, Paris, No. 1 (Jan. 15—year unknown, though it can be determined because it was two years after the wedding of Princess Clementine of Belgium and Prince Napoleon, as mentioned on the reverse side of the page). Reproduces painting of a lady placing her foot near the fireplace). Catalogue, Art Institute of Chicago, 26th Annual Exhibition, Nov.–Dec.1913. Exhibited In a Garden. Catalogue, Carnegie Insitute, Pittsburgh, 17th Annual Exhibition, 1913. Young Girl with Violin. Catalogue, Pennsylvania Academy of Fine Arts, 108th Annual Exhibition, 1913. Exhibited: Woman in Yellow and In a Garden. Relief Fund for the Families of French Soldier-Artists, American Artists' Committee of One Hundred, Co-operating with La Fraternité des Artistes, Paris. Exhibition of Paintings and Sculpture by American Artists, Galleries of M. Knoedler & Co., 556 Fifth Avenue, New York, Monday, Februrary [sic] 1 to Saturday, February 13, 1915, inclusive. Eugene P. Ullman's contribution was Fin de carnaval, which was inherited by James Ullman and now belongs to the University of Wisconsin-Milwaukee. Catalogue, Exposition de Peinture, Série A, 22 mai-3 juin 1916, chez Mm. Bernheim Jeune & Cie., Experts près la Cour d'Appel, 15, rue Richepance, Paris. Exposition de Tableaux, Sculptures ... Objets d'Art offerts par les artistes; vente au profit de l'Association "Pour le Foyer du Soldat Aveugle" du 10 mai au 1er juin 1916, Galerie Georges Bernheim, 40, rue de la Boëtie. Katharine Metcalf Roof, The Life and Art of William Merritt Chase (New York: Scribner's, 1917), pp. 196, 201, 202, 204, 206, 207, 210. The last three page references are not in the index. Who Was Who in American Art (1999) states that EPU exhibited at the Society of Independent Artists in 1917. Exhibition and Sale of Paintings, Drawings, Sculptures, Etchings, at the Penguin, 8 East 15th Street, New York. Exhibiton Saturday, October 27 to Friday, November 9th inclusive, 1917. Exhibits Georgette and Plage, Lancieux. Catalogue, Musée National du Luxembourg, Exposition d'Artistes de l'École Américaine, sous le Haut patronage de MM. Woodrow Wilson et Raymond Poincarré, Oct.-Nov. 1919. Exhibited a nude. Listed as "Ulmann," p. 39. Les Arts, No. 175 (1919), p. 6, reproduces Devant la glace. Catalogue, Société des Artistes de Neuilly-s.-Seine, Exposition de Bagatelle, 1919, au profit du "Secours Immédiat aux Soldats aveugles rentrés dans leur Foyer." Four paintings exhibited: Femme au pantin, Femme au paravent, Femme à la houpette, and Portrait. Catalogue, Indépendants, 31ème Exposition, Grand Palais, 1920. Exhibited Une Amazone. “Quinze” Peintres et Sculpteurs, Exposition du Vendredi 1er au Vendredi 15 Avril, 1921, Galerie Barbazanges. Exhibits Portrait de Jeune, Paysage à Villebranche, Gertrude Stein, Paysage à Vence, Devant le Paysage, Le Peintre. Gertrude Stein, Geography and Plays (Boston, 1922), pp. 166 and 366. Amusant, May 28, 1922, reproduces a drawing. Catalogue, Tribute to William M. Chase, exhibition held at Memorial Hall, Southampton, NY, Aug. 17–Sept. 5, 1922. Exhibits In Her Boudoir. New York Herald, Dec. 23, 1923, "Eugene P. Ullman Back." Catalogue of Paintings in the Ullman Exhibition (New York: Milch Galleries, Jan. 14-26, 1924.) New York Herald, Jan. 13, 1924, reproduces Girl with a Cat. The New York Times Magazine, Jan. 13, 1924, reproduces The Morning Bath (now owned by the Brooklyn Museum). New York Evening Post, Saturday Graphic, January 19, 1924. Reproduced on its art page The Morning Bath on exhibition at the Milch Galleries. Milch Art Gallery Notes (Spring 1924), p. 20. P. 19 reproduces The Morning Bath. The Spur, Vol. 33, No. 2 (Jan. 15, 1924), p. 28, "In the New York Art Galleries," by Lula Merrick. About half of the one-page article deals with EPU. The Morning Bath is reproduced. New York Tribune, Jan. 20, 1924 New York Herald, Jan. 20, 1924. New York World, Jan. 20, 1924. New York Herald, Jan. 23, 1924. Exchange of letters between EPU and McBride. Boston Evening Transcript, Jan. 26, 1924. Annuaire général, Société des Artistes Indépendants, June 1926, lists EPU as being a member since December 1919. Catalogue, Salon du Franc, Musée Galliera, 1926. EPU donated a painting to be auctioned off for the benefit of the French Nation in order to save the Franc. It must have been bought back by him and be the one reproduced in the Edouard-Joseph which bears the Salon du Franc sticker and was donated by me to the Tampa Museum. Catalogue, Exposition du Groupe des Peintres et Sculpteurs Américains de Paris, Galeries Durand-Ruel, 30 Oct.–15 Nov., 1926. New York Herald, Paris, Nov. 1, 1926. La Semaine à Paris, Journal illustré hebdomadaire paraissant le vendredi, du vendredi 29 Oct. au vendredi 5 Nov. 1926, No. 231, p. 67. (name given as Ulmann). Daily Mail, Nov. 6, 1926. Catalogue, Exposition du Groupe des Peintres et Sculpteurs Américains de Paris, Galeries M. Knoedler & Cie., du 2 au 15 mars 1928. New York Herald, Paris, March 3, 1928. Petit Paris, March 6, 1928. On American artists' exhibit at the Knoedler Gallery. The Paris Times Sunday Pictorial Section, 1928 or 1929. Ami du Peuple, May 16, 1929. Announces coming exposition of a group of American painters, of which EPU is president, at the Galerie Chéron. Echo de Paris, May 12, 1929. New York Herald, Paris, May 18, 1929. Chicago Tribune, May 19, 1929. Excelsior, May 20, 1929. Paris-Soir, May 22, 1929 Paris Times, May 22, 1929. Reproduces EPU's Portrait of Marcelle. Paris-Soir, May 24, 1929 Cri de Paris, May 26, 1929. Eve (Paris), May 26, 1929. Reproduces Portrait de Mme. U. Paris-Midi, May 25, 1929. Chicago Tribune, May 26, 1929. Newspaper in Des Moines, Iowa. L'Intransigeant, May 27, 1929. Comœdia, May 23, 1929. Art et les Artistes, June 1929. Europe Nouvelle, June 1, 1929. New York Herald, Paris, June 8, 1929. Chicago Tribune European Edition (Paris), Sunday June 9, 1929.: "Eugene Paul Ullman's Paintings," by B. J. Kospoth, reproduces Portrait of Mrs. E. P. Ullman, and Femme lisant sur une chaise longue, at the Galerie Chéron. Art Vivant, June 15, 1929 Art et Décoration, July 1, 1929. Reproduces a portrait exhibited at the Galerie Chéron. Arnold Bennett, The Journal of Arnold Bennett (1896-1910), 3 vols. (New York, 1932) (where EPU is confused with his brother George). Edouard-Joseph, Dictionnaire biographique des artistes contemporains (1910-1930) (Paris: Grund, 1934), vol. 3, p. 356. Excelsior, Dec. 6, 1936, reproduces a portrait in an article by Louis Vauxcelles. Beaux-Arts, Dec. 11, 1936, p. 8, reproduces Vallée de la Fausse Monnaie, exhibited at the Galerie A. Rotgé. Plus a nice write-up. Owned by Mrs. Katherine M. Turner. New York Herald Tribune, Paris, Dec. 17, 1936. James Charters and Morrill Cody, This Must Be the Place: Memoirs of Jimmie the Barman, intro. by Ernest Hemingway (New York: Lee Furman, 1937), p. 230. The anecdote about EPU's son Allen indicates where Eugene Paul and Alice Ullman lived in Paris at the time Arnold Bennett knew them. New York Herald Tribune, Paris [?], March 7, 1937, has photo of EPU, "Off for London Show." London Morning Post, March 13, 1937. On exhibition at the Léger Galleries, March 9–25, 1937. Emporium 90 (January 1, 1939): 40, G.M. LoDuca, “Esposizione, galleria Charpentier.” Beaux-Arts, May 12, 1939, p. 4. The portrait of Louis Degallaix, now owned by the University of Wisconsin–Milwaukee, is reproduced here. Dépêche d'Eure et Loir, May 14, 1939. New York Herald Tribune, Paris, May 10, 1939 Philadelphia Inquirer, October 14, 1940, ad 16, “Painter Eugene Ullman Returns with Wife, Suzanne, and son, Pierre.” [also in New York newspapers, with photo in Herald-Tribune]. Guy Pêne du Bois, Artists Say the Silliest Things (New York: Duell, Sloane and Pearce, 1940), p. 224. New York Sun, April 9, 1943. Article by Melville Upton reproduces The Mirror from the one-man show in the Passedoit Gallery (April 6-24, 1943). Art Digest 17 (April 15, 1943): 21. H. Boswell on Passedoit Gallery exhibit. Reproduces Young Woman Dressing. Art News 42 (April 15-30, 1943): 19 (short article by Royal Cortissoz on Passedoit Gallery exhibit) New York Herald Tribune, April 11, 1943 reproduces Douarnenez in an article by Royal Cortissoz. New York Times, April 11, 1943. Article by Howard Devree. New York Times, April 18, 1943, reproduces Woman Dressing. Pour la Victoire (New York), April 17, 1943. Article by Georges Philippart reproduces At the Piano. Catalogue, Ninety-Two Americans, an exhibition of the Walker Art Center, June 3 to July 1, 1943. Exhibited what is entitled as The Bridge, Marseilles [perhaps the painting of the Vieux Port] , though what is reproduced in the catalogue is the Vallée de la Fausse-Monnaie (now owned by Katherine M. Turner). One Hundred Artists and Walkowitz (catalogue), Brooklyn Museum, Feb. 9 to March 12, 1944. Catalogue, Pennsyvania Academy of Fine Arts, 140th Annual Exhibition, 1945. Exhibits Douarnenez. Painting in the United States, 1945. Department of Fine Arts, Carnegie Institute, October Eleventh through December Ninth. Pittsburgh. Plate 73 reproduces Football, Wooster School. New York Times, Feb. 11, 1945. Article by Howard Devree. New York Herald Tribune, Feb. 11, 1945. By Carlyle Burrows. New York Sun, Feb. 10, 1945, by Melville Upton. Art News 44 (February 15, 1945): 26. On Passedoit Gallery exhibition. Art Digest 19 (February 15, 1945): 21. On Passedoit Gallery exhibition. Catalogues of several exhibition one-man shows, including those at the Passedoit Gallery, NYC (Feb. 5–21, 1945) and at the American British Art Center, NYC (Nov. 11-22, 1947). Catalogue of Paul Ullman (1906–1944) and Artists He Admired: Exhibition Arranged by The American British Art Center for The Red Cross (May 6–25,. 1946). Reproduces Douarnenez New York Sun, Nov. 14, 1947 (by Helen Carlson?). New York Times, Nov. 16, 1947, section 2, p. X9. New York Herald Tribune, Nov. 16, 1947. Art Digest 22 (December 1, 1947): 21. Exhibition at the American-British Art Center. The City College, Adult Education Program, Evening Session, Fall 1947, "The Mastery of Oil Painting." The Bridgeport Sunday Post, Jan 18, 1948, a ballyhoo article. Westport, Conn. Herald, May 20, 1948. Westport, Conn. Town Crier, May 27, 1948. France-Amérique, April 3, 1949. Martha Symonds, “Ullman Says Modernism Will Live Five Years,” The Westporter Herald [Westport, CT], Thursday, April 7, 1949, 3rd section, pp. 1 & 7. Art Digest 23 (April 1, 1949): 21. Comprehensive exhibition (1905-1949) at the Lotos Club. France-Amérique, No. 154, Sunday April 24, 1949, Amédée Ozenfant, “Les Arts,” p. 4. Art News 48 (May 1949): 48. Exhibition at the Lotos Club. Reproduces portrait of Degallaix. Who's Who in American Art, 1953 and previous years. International Biography (late 40's) Catalogue, Exposition d'Art Américain Contemporain, Galerie Georges Giroux, Bruxelles, 1948, sous le Haut patronage de MM. Paul-Henri Spaak, Premier Ministre, et de LL. EE. MM. Alan Kirk, Ambassadeur des Etats-Unis à Bruxelles. Exhibited Paysage à Sichem, listed as belonging to a private collection in Brussels (possibly Georges Philippart's?). Elizabeth McCausland, A. H. Maurer (New York : W. A. Wyn, 1951), pp. 63, 110, 159-60, 192, 278. The National Cyclopædia of American Biography, Vol. 38 (New York, 1953), p. 381, s.v. Ullman, Sigmund [his father]. Donald B. Gallup, ed., The Flowers of Friendship: Letters Written to Gertrude Stein (New York: Knopf, 1953), pp. 47–48. Arthur and Barbara Gelb, O'Neill (New York: Harper and Row, 1962), p. 370 [with 1903, the year of EPU's marriage to Alice Woods, given as the year of their divorce]. Alice B. Toklas, What Is Remembered (London: Michael Joseph, 1963), pp. 70, 122, 152–53. Donald Davie, Ezra Pound: Poet as Sculptor (New York: Oxford University Press, 1964). The frontispiece is a photograph of EPU's portrait of Pound, but the artist's name is not mentioned. Stock catalogue, Schweitzer Gallery, 958 Madison Ave., NY 10021 (New York, 1965). Impressionism in America: An Exhibition Presented by the Junior League of Albuquerque in Collaboration with the University of New Mexico Art Gallery, February 9–March 14, 1968; M. H. De Young Memorial Museum, San Francisco, March 30–May 5, 1965. Pp. 56-57. Reproduces Children Wading in the Sea. Sale catalogue, Oct. 29–31, 1971, Adam A. Wechsler and Son, Washington, DC 20004. Lists Flowers in Vase by a Window. Thieme-Becker, Künstler-Lexikon, vol. 23, p. 491. Hans Vollmer, Künstler-Lexikon des Zwanzigste Jahrhunderts, Vol.4, p. 555. James Hepburn, ed., Letters of Arnold Bennett , vol. 3 (New York, 1970): x, 100–101; vol. 4 (Oxford UP, 1986): vii, xxi, xxviii, 10–11, 12, 39. The Students of William Merritt Chase. Catalogue of exhibits at the Heckscher and Parrish Art Museums (1973). P. 9. Margaret Drabble, Arnold Bennett (London: Weidenfeld and Nicholson, 1974), pp. 109, 123, 138, and 160 [where EPU is confused with his brother George]. Noel Stock, The Life of Ezra Pound (New York: Discus Books, 1974), p. 139 [the first ed. was published by Pantheon in 1970]. Advertisement by Charles B. Tyler art dealer reproduces Love Letters. American Art Review, March-April 1975. Arnold T. Schwab, A Matter of Life and Death: Vital Biographical Facts about Selected American Artists (New York: Garland, 1977). Linda Simon, The Biography of Alice B. Toklas (New York: Doubleday, 1977), p. 157 [repeats anecdote recounted in What Is Remembered]. The Brooklyn Museum: American Paintings (Brooklyn Museum, 1979), p. 115 reproduces The Morning Bath. Ronald G. Pisano, A Leading Spirit in American Art: William Merritt Chase (1849–1916) (Seattle: U of Washington, 1983) 100, 135, 195n222, 195n225. Martha Ullman West, "Lady with Poet: Margaret Cravens and Ezra Pound," Helix (Australia), nos. 13-14 (1983): 15–22. Reproduces EPU’s portrait of Pound. Jean Stern, Alson S. Clark (Los Angeles: Petersen Publishing Co., 1983) (ISBN 0-8227-8042-9 & 0-8227-8041-0), pp. 10 and 11. In the photograph of Wm. M. Chase’s class on p. 9, Ullman is in the center, immediately behind and to the left of Chase. Nancy Mowll Mathews, ed. Cassatt and Her Circle; Selected Letters (New York: Abbeville Press, 1984), p. 293. Omar Pound and A. Walton Litz, eds., Ezra Pound and Dorothy Shakespear; Their Letters: 1909–1914 (New York: New Directions, 1984), pp. 50-51. Pierre L. Ullman, "Eugene Paul Ullman and the Paris Expatriates," Papers on Language and Literature, Vol. 20, No. 1 (Winter 1984), pp. 99-118. Rpt. with corrections, in Twentieth-Century Literary Criticism: Topics Volume, vol. 98, ed. Jennifer Baise & Thomas Ligotti. Farmington Hills, MI: Gale Group, 2001. 38-47. Corrections: Maurice Druon is not related to Edmond Cross but to another painter, Henri Cros, as well as to the poet Charles Cros and the writer, doctor, and inventor Antoine Cros. The mistake was rectified in a subsequent issue of PLL. The second error was the statement that EPU is represented in the Worcester Art Museum. The information regarding Tanner was apparently also in error. The constitution, bye-laws, and membership list of the Paris Society of American Painters [which says nothing about sculptors] shows Tanner’s name in print, whereas Ullman’s and some younger painters’ names were added in longhand. What may have happened is that Tanner was not given his well-deserved honor of nomination to an international jury or hanging committee, which the young Turks later obtained for him. The fourth error was the statement that Ullman began to teach at the age of nineteen. The New York School of Art prospectus was issued for the year 1902. The date 1896 is that of its founding. As for the relation of Eugene Paul Ullman with Ezra Pound, James Wilhelm informed me that Pound refers to Ullman in Canto 80: "and the ink's heir painting highlights." See also Ezra Pound and Margaret Cravens below. UWM Report (Milwaukee, WI), Vol. 6 (Nov. 12, 1985), p. 6. Exhibition guide by Kelvyn Grant Lilley and Debra Mancoff, Life Imitates Art; The Aesthetic Movement (1860–1900) (Beloit College Museum, 1987), np. James Hepburn, ed., Letters of Arnold Bennett , vol. 4 (New York, Oxford U P, 1986), reproduces EPU's portrait of Marguerite Bennett between pp. 74 and 75. In addition, there is a letter from Bennett to his sister containing some humorous remarks about EPU's and Alice Woods's matrimonial problems. Robert Rosenblum, "Art: Tiny Paintings: Canvases Scaled for Intimate Viewing," Architectural Digest 44.11 (Nov. 1987): 222–27, reproduces on p. 225 EPU's Still Life with Books, Pots, and Gargoyle. Ezra Pound and Margaret Cravens: A Tragic Friendship, 1910–1912, ed. Omar Pound and Robert Spoo (Durham: Duke UP, 1988), reproduces EPU's portraits of Ezra Pound and Margaret Cravens on the dust jacket, as a frontispiece, and on pp. 72 & 73. The book also contains information about the artist. Humphrey Carpenter, A Serious Character: The Life of Ezra Pound (Boston: Houghton Mifflin, 1988), 155. James Wilhelm, Ezra Pound in London and Paris, 1908-1925 (University Park: Penn State U P, 1990), p. 69. Keith L. Bryant, Jr. William Merritt Chase, a Gentle Bohemian (Columbia: U of Missouri P, 1991) 174, 190, 196, 197. "Summer Exhibitions at the UWM Art Museum, 18 June-29 August 1993. . . . Victorian Pleasures, an Examination of `Taste'." Announcement of an exhibit that includes the society portrait owned by the University of Wisconsin–Milwaukee Art Museum. This painting, along with another one by EPU, had already been featured in an exhibit organized two years previously to benefit the Next Door Foundation. J. J. Wilhelm, Ezra Pound: The Tragic Years (University Park: State U of Pennsylvania P, 1994), 239. Pierre L. Ullman, “Reply to a Reply to a Reply,” Cervantes 17 (1997): 152 (makes use of an anecdote about EPU to make a point regarding Cervantes). Marie Louise Kane, A Bright Oasis: The Paintings of Richard E. Miller (New York: The Jordan-Volpe Gallery [Vance Jordan Fine Art], 1997), p. 13. Who Was Who in American Art, 1564–1975, 400 Years of Artists in America, ed. Falk, Leis, Kuchen, and Roessler (Madison, CT: Sound View P, 1999), vol. 3, p. 3364. ISBN 0-932087-55-8. Norma S. Davis, A Song of Joys: The Biography of Mahonri Mackintosh Young, Sculptor, Painter, Etcher (Provo, Utah: Brigham Young U Museum of Art, 1990) 91. ISBN 0-8425-2453-3. Keith L. Bryant, Jr. William M. Chase, A Genteel Bohemian. (Columbia: U of Missouri P, 1991): 174, 190, 196, 197. Jocelyn Guzman Moralde, Process and Repose: Paintings by Eugene Paul Ullman (1877-1953) (Cedarburg, WI: Zimmermann Printing Co., 2000). [Obtainable from Dept. of Art History, University of Wisconsin–Milwaukee, P.O. Box 413, Milwaukee, WI 53201]. Short review in Shepherd Express [Milwaukee], vol. 21, issue 6, April 6, 2000. Michael J. McCue, Paris & Tryon: George C. Aid (1872-1938) and His Artistic Circles in France and North Carolina (Columbus, NC: Condar Press, 2003), pp. 39, 47, 136. Martin Wolpert & Jeffrey Winter, Modern Figurative Paintings; The Paris Connection (Atglen, PA: Schiffer, 2004), pp. 264-65. Betsy Fahlman, Guy Pène du Bois: Painter of Modern Life (New York: James Graham & Sons, 2004), 40. The Heckscher Museum of Art Presents a Century of Collecting [2004], Gallery 4, n. 5, Woman with Cat erroneously attributed to Pierre Ullman.

WEB SITES

www.siris.si.edu (the Smithsonian Museum of American Art) www.askart.com www.artprice.com www.artnet.com www.artnet.com/madison.html www.jemack.com/viewauction.asp?a=48&min=1018&max=150 www.madisongallery.com www.ArthurHammer.com www.ArthurHammer/Ullman.html Ldjmarine@aol.com www.gratzgallery.com/Gallery www.kathleenaveryfineart.com

On the web site www.askart.com, I came across the following items, which I believe are not relevant:

1976. Michael Quirk, American Expatriate Painters of the Late Nineteenth Century.

1982. David Sellin & J.K. Ballinger. Americans in Brittany and Normandy, 1868-1910. [?]