{{Short description|American painter (1903–1997)}} {{Infobox artist | name = Grace Gemberling | image = File:Grace Gemberling.jpg | alt = Grace Gemberling | caption = Grace Gemberling | birth_name = Grace Thorp Gemberling | birth_date = {{Birth date|1903|07|31}} | birth_place = Philadelphia, Pennsylvania, US | death_date = {{Death date and age|1997|12|26|1903|07|31}} | death_place = Bala Cynwyd, Pennsylvania, US | resting_place = West Laurel Hill Cemetery, Bala Cynwyd | resting_place_coordinates = <!-- {{Coord|LAT|LON|type:landmark|display=inline,title}} --> | spouse = W. R. Morton Keast (1888–1973) | known_for = Artist, art teacher | alma_mater = Pennsylvania Academy of Fine Arts | awards = From the Pennsylvania Academy of Fine Arts: Cresson Traveling Scholarship, 1923, 1924; Lambert Purchase Prize, 1930; Mary Smith Prize for best painting by a Philadelphia woman artist, 1930; Fellowship Prize, 1931 (Gold Medal Award), 1940. From the National Association of Women Painters and Sculptors: Oliver Beck Figure Composition Prize, 1933. }}
'''Grace Thorp Gemberling''' (July 31, 1903 – December 26, 1997) was an American artist known for the broad range of her subjects in paintings having a pronounced psychological as well as aesthetic impact.<ref name="Gemberling bio Chalfont"/> One critic said they conveyed a mood that was "ethereal, bold and engaged".<ref name="Gemberling bio Chalfont"/> Another said her work showed "a disciplined hand and a romantic eye" together with "a magical color sense".<ref name="2001 Feb Morning Call"/> Known for her control of detail and successful handling of line and blocks of color,<ref name="1938 Jan Philadelphia Art News"/> she was said to paint in a modernist style that stayed clear of abstraction and was remembered by a teacher and fellow artist as "the finest woman painter in Philadelphia during the 1920s and 1930s".<ref name="Gemberling bio Chalfont"/> ==Early life and training== Gemberling grew up on a farm her family owned in Selinsgrove, Pennsylvania. She developed an interest in art while a student at Friends' Central School. With the encouragement of her parents, she enrolled in the Pennsylvania Academy of Fine Arts in 1920 and for the next three years she studied under Daniel Garber, Hugh Breckenridge,{{refn|group=note|Hugh H. Breckenridge (1870-1937) was a prominent Philadelphia painter and teacher. Educated in the Pennsylvania Academy of Fine Arts, he made portraits in the academic style, landscapes that showed a strong influence of neo-impressionism, and later works that are fully abstract.<ref name="Sullivan Goss Breckenridge"/> He began teaching at the Academy in 1894 and was appointed dean of instructors in 1934.<ref name="National Academy 2004"/> }} and Arthur Carles.<ref name="Gemberling bio Chalfont"/> Showing great promise as a student, she received the valuable Cresson Traveling Scholarship in both 1923<ref name="1923 Jun Art News"/> and 1924.<ref name="1924 May Philadelphia Inquirer"/>{{refn|group=note|The Cresson Traveling Scholarship was created in 1902 by Emlen Cresson and his wife in honor of their son, an artist who died young. Winners were chosen from among students who were 35 or younger and who had been studying at the Academy for at least 96 weeks. They were given advice on where in Europe to travel and what to see but were free to make their own itineraries.<ref name="1952 May Philadelphia Inquirer"/> In 1923 and again in 1924 Gemberling was awarded $700 for summer travel. During the first trip she and her mother visited France, England, and Italy<ref name="1923 Passport Grace"/> and in second they expanded their tour, visiting the same countries plus Spain, Czechoslovakia, Germany, and Austria.<ref name="1924 Passport Grace"/> }}
==Career==
Gemberling's career as a professional artist began after she returned from European travel in 1924 and decided not to continue attending classes at the Pennsylvania Academy of Fine Arts. When in 1926 she exhibited with the Philadelphia Water Color Club, a reviewer said her painting, "Marine" was "gorgeous",<ref name="1926 Nov Philadelphia Inquirer"/>{{refn|group=note|In 1900 a group of painters founded the Philadelphia Water Color Club to promote the medium and give publicity to watercolorists. With the cooperation and support of the Pennsylvania Academy of Fine Arts, the club held annual exhibitions of works on paper by members and other artists. As well as watercolors, the exhibitions included pastel, pencil, and charcoal works as well as illustrations and graphic arts. It used purchase funds to make annual additions to its collections. The group continues to exist, now known as the Philadelphia Water Color Society. Prominent former members include Cecilia Beaux, Andrew Wyeth, John Singer Sargent and Maxfield Parrish.<ref name="1929 Jan American Magazine of Art"/><ref name="Philadelphia Water Color Society"/>}} and later that year when she exhibited at the Plastic Club, the same reviewer praised a portrait of hers, "Anna Ruth", as "nicely spontaneous."<ref name="1926 Nov 21 Philadelphia Inquirer"/> Thereafter, her paintings appeared frequently in Philadelphia exhibitions and quite often received favorable notice.{{refn|group=note|Thus, for example, she received another favorable notice in the Plastic Club's exhibitions of 1929<ref name="1929 Jan Philadelphia Inquirer"/> and 1930,<ref name="1930 Mar Philadelphia Inquirer"/> the Women's University Club in 1938,<ref name="1938 Jan Philadelphia Inquirer"/> and exhibitions at Friends' Central in 1942<ref name="1942 May Philadelphia Inquirer"/> and 1943,<ref name="1943 Apr Philadelphia Inquirer"/> and exhibitions at the Academy in 1938<ref name="1938 Feb NYT"/> and 1943,<ref name="1943 Jan Philadelphia Inquirer"/> }} From 1930 onwards, she showed in other East Coast locations including the Corcoran Biennials of 1930<ref name="1930 Dec NYT"/> and 1935 in Washington, D.C.;<ref name="1935 Oct Rochester Democrat"/> the Salons of America<ref name="1932 Apr NYT"/>{{refn|group=note|Founded in 1922 by Hamilton Easter Field, Salons of America aimed to give artists an alternative to the Society of Independent Artists whose financial and publicity methods he found objectionable. A reporter said he aimed "to give equal opportunity to every member, whether he or she be a conservative or a post-Dadaist."<ref name="New York Times Jul 1922"/>}} and National Association of Women Painters and Sculptors exhibitions of 1932 in New York;<ref name="1932 Oct NYT"/> and exhibitions held by the North Shore Art Association of Gloucester, Massachusetts, in 1932<ref name="1932 Aug NYT"/> and 1933.<ref name="1933 Aug NYT"/>
===Artistic style=== {{quote box |title = |quote = I paint to express some personal reaction and I aim toward something deeper than the superficial. I try to appeal not only to the emotional through color, but to the intellectual through design and subject. |source = —Interview appearing in the ''Main Line Daily Times'' (Ardmore, Penn., 1933), quoted in ''Artist Profile; Grace Gemberling Keast'' (H. L. Chalfont Gallery, [ca. 2006])<ref name="Gemberling bio Chalfont"/> |align = right |width = 22em |border = 0px |bgcolor = #BCD4E6 }}
During the course of her career critics frequently noticed Gemberling's competent handling of color{{refn|group=note|In 1926 the Philadelphia critic, C.H. Bonte said Gemberling's watercolor, "Marine," was almost as gorgeous as a similar painting by Hugh Breckinridge having "masses of rich color superbly disposed on the canvas."<ref name="1926 Nov Philadelphia Inquirer"/> In 1927 a critic writing in the ''American Magazine of Art'' said she was "seen to be playing with color highly spiced."<ref name="1927 Jan American Magazine of Art"/> In 1929 Bonte called Gemberling a "colorist above all else."<ref name="1929 Jan Philadelphia Inquirer"/> In 1932 a critic saw "decided freshness" in her handling of color.<ref name="1932 Trend"/> In 1938 a critic writing in ''Philadelphia Art News'' said that Gemberling had "a little secret of her own when she prepares her colors. We don't know what it is, but we have felt its effect—the undeniable stamp of an artist's color personality ..."<ref name="1938 Jan Philadelphia Art News"/> In 2001 a critic said she showed "a magical color sense."<ref name="2001 Feb Morning Call"/> }} and her skill in design and execution.{{refn|group=note|In 1926 a critic noted the appearance of "spontaneous execution"in her work.<ref name="1926 Nov 21 Philadelphia Inquirer"/> In 1932 ''New York Times'' critic Edward Alden Jewell praised her ability to build "a design that transcends subject"<ref name="1932 Aug NYT"/> and another critic praised her "eye for dramatic activity."<ref name="1932 Trend"/> In 1938 a ''Philadelphia Inquirer'' critic, R. Edward Lewis, noted that "design rates high" in Gemberling's work.<ref name="1938 Jan Philadelphia Inquirer"/> and the same year a critic praised its "simple but fruitful wedding of line and color mass."<ref name="1938 Jan Philadelphia Art News"/> }} left|thumb|Grace Gemberling, "Professor Otakar Sevcik," about 1926, height: 13.3 inches, width: 10.625 inches. Critics singled out specific paintings for discussion. Regarding "Otakar Sevcik" C. H. Bonte of ''The Philadelphia Inquirer'' wrote: "Her so called 'sketch' of Professor Otakar Sevcik (1852-1936) is a creation of so much life, charm and dignity of coloring as to constitute a finished portrait". right|thumb|Grace Gemberling, Untitled (landscape), undated, oil on canvas, height: 28 inches, width: 35 inches In reviewing an untitled landscape Scott Chalfont wrote in an exhibition catalog: "So characteristic of Gemberling's finest talent, in this landscape she takes a scene and makes it her own. From the wispy trees, to the dark skies and vibrant houses, the contrasts create a compelling painting".<ref name="2011 Gemberling catalog"/> In 1938, a critic wrote:
<blockquote>As personal as are the creations of Grace Gemberling, there is extraordinary variety in her canvasses. The artist's delineation of well-worn houses is unique as her interpretation of them in color, and there is nothing we like more than the simple but fruitful wedding of line and color mass. Control of detail is, in this case, an additional gift. Canvases may be flooded with subsidiary graphic or pigmental themes, but there is never confusion. Grace Gemberling is one of Philadelphia's most promising painters.</blockquote> left|thumb|Grace Gemberling, "Colonial Stairway," about 1943, oil on canvas, height: 35 inches, width: 26 inches Concerning the painting "Colonial Stairway" Chalfont wrote: "One of the more realistically interpreted compositions by Gemberling, this is clearly the "Montmorenci" Stair Hall at Winterthur Museum. Wonderfully rendered, this painting invites the viewer into the opulence of the interior and demonstrates her deep appreciation for the Winterthur Museum and the impressive collection within".<ref name="2011 Gemberling catalog"/>
===Exhibitions and awards===
The exhibitions in which Gemberling participated were mostly non-commercial. The two organizations that showed her work more than any others were both ones where she had been a student: She contributed paintings, watercolors, and drawings to nearly all the annual exhibitions held by the Pennsylvania Academy of Fine Arts between 1927 and 1943{{refn|group=note|Her work was included in PAFA exhibitions in 1927,<ref name="1927 Jan American Magazine of Art"/> 1930,<ref name="1930 Jan Philadelphia Inquirer"/> 1931,<ref name="1931 American Art Annual"/> 1932,<ref name="1932 Jan NYT"/> 1934,<ref name="1934 Jan NYT"/> 1936,<ref name="1936 Jan Philadelphia Inquirer"/> 1938,<ref name="1938 Feb NYT"/> 1939,<ref name="1939 Arts Magazine"/> 1940,<ref name="1940 Jan Philadelphia Inquirer"/> and 1943.<ref name="1943 Jan Philadelphia Inquirer"/>}} and to many of the annual exhibitions held at Friends' Central School between 1934 and 1955.{{refn|group=note|She contributed paintings to exhibitions at Friends' Central in 1934,<ref name="1934 Friends Intelligencer"/> 1936,<ref name="1936 Apr Philadelphia Inquirer"/> 1941,<ref name="1941 May Philadelphia Inquirer"/> 1942,<ref name="1942 May Philadelphia Inquirer"/> 1943,<ref name="1943 May Philadelphia Inquirer"/> 1948,<ref name="1948 May Philadelphia Inquirer"/> 1949,<ref name="1949 May Philadelphia Inquirer"/> and 1955.<ref name="1955 Feb Philadelphia Inquirer"/> }} Other non-commercial organizations that showed her work on multiple occasions included the Plastic Club of Philadelphia,{{refn|group=note|Gemberling showed at the Plastic Club in 1926,<ref name="1926 Nov 21 Philadelphia Inquirer"/> 1929,<ref name="1929 Jan Philadelphia Inquirer"/> 1930,<ref name="1930 Mar Philadelphia Inquirer"/> and 1931.<ref name="1931 Oct Philadelphia Inquirer"/> }} the Corcoran Gallery of Art,{{refn|group=note| She showed in Corcoran Gallery exhibitions of modern American paintings in 1930,<ref name="1930 Dec NYT"/> 1935,<ref name="1935 Corcoran"/> and 1937.<ref name="Gemberling bio Chalfont"/> }} the North Shore Art Association,{{refn|group=note|Her paintings were included in North Shore exhibitions in 1932<ref name="1932 Aug NYT"/> and 1933.<ref name="1933 Aug NYT"/> }} and the National Association of Women Painters and Sculptors.{{refn|group=note|She appeared in group shows of this organization in 1932<ref name="1932 Oct NYT"/> and 1933.<ref name="1933 Jan NYT"/> }} Non-commercial organizations that showed her a single time included the City Art Museum of St. Louis (1930),<ref name="Gemberling bio Chalfont"/> Salons of America (New York, 1932),<ref name="1932 Apr NYT"/> Philadelphia Water Color Club (1926),<ref name="1926 Nov Philadelphia Inquirer"/> National Academy of Design (New York, 1932),<ref name="Gemberling bio Chalfont"/> Whitney Museum of American Art (New York, 1934),<ref name="1934 Oct NYT"/> Society of Independent Artists (New York, 1934),<ref name="Gemberling bio Chalfont"/> Studio House (Washington, D.C., 1936),<ref name="1936 Feb Washington Post"/>{{refn|group=note|In 1902, the American socialite and painter, Alice Pike Barney, built a townhouse in Washington, D.C., to showcase local artistic talent. When she died in 1931 her two daughters, Natalie Clifford Barney and Laura Clifford Barney, jointly inherited the building and made it available for exhibitions such as the one in which Gemberling participated. In 1999 the sisters donated Studio House to the Smithsonian Institution and in 2001 it became the Embassy of Latvia.<ref name="Studio House"/> }} Women's University Club (Philadelphia, 1938),<ref name="1938 Jan Philadelphia Inquirer"/> Federal Art Project show at the Philadelphia Museum of Art (1938),<ref name="1938 Jan 23 Philadelphia Inquirer"/> and Everyman's Gallery (Art Alliance, Philadelphia, 1953).<ref name="1953 Jun Philadelphia Inquirer"/>
Her relatively few exhibitions in private galleries included a solo exhibition at the Mellon Galleries in Philadelphia (1933),<ref name="Gemberling bio Chalfont"/> Gimbel Galleries in Philadelphia (1935)<ref name="1935 Jan Gimbel"/> and group shows at the Boyer Gallery's two locations, Philadelphia,<ref name="1936 Jun Washington Post"/> and New York (both in 1936).<ref name="1936 Dec NYT"/>{{refn|group=note|The Boyer Gallery, located at Broad Street Station, was run by a Russian-American named C. Philip Boyer, who was known for representing the influential Armenian-American painter, Arshile Gorky.<ref name="Emlen Etting AAA"/> Boyer was notorious for his poor business practices, as artists, including Gorky, complained that he would hold back their works not pay them for sales he made.<ref name="Emlen Etting AAA"/><ref name="Gorky 2005"/> Before opening the gallery that bore his name, Boyer ran the Mellon Galleries and then the Gimbel Galleries of Contemporary Art.<ref name="Emlen Etting AAA"/><ref name="1935 Jan American Magazine of Art"/> After opening the Boyer Gallery in Philadelphia be acquired the Valentine Gallery in New York and renamed it the Boyer Gallery.<ref name="Gorky 1999"/> }}
Gemberling was known for the number of important awards she had won. Most came from the Pennsylvania Academy of Fine Arts, which honored her twice with its highly valued student award, the Cresson Traveling Scholarship, in 1923 and 1924, and twice with its Fellowship Prize, given by members of the Academy to one of its own (1931, 1940). It also awarded her the Lambert Purchase Prize and the Mary Smith Prize for best painting by a Philadelphia woman artist, both in 1930, and a Gold Medal for her painting "Landscape."{{refn|group=note|The source of this information, a web page by H. L. Chalfont Galleries, does not give a date for the Gold Medal award.<ref name="Gemberling bio Chalfont"/> }} She also won the Oliver Beck Figure Composition Prize from the National Association of Women Painters and Sculptors in 1933.<ref name="Gemberling bio Chalfont"/>
==Art teacher==
During the 1930s, Gemberling gave art instruction in her studio in Bala Cynwyd, Pennsylvania.<ref name="AskArt Biography Gemberling"/> One of her students, Jane Piper, later became a well-known artist.<ref name="1931 Oct Philadelphia Inquirer"/>
==Personal life and family==
Gemberling was born in Philadelphia on July 31, 1903. Her parents were Joseph Burton Gemberling and Lulu Sarah Thorp Gemberling<ref name="1903 birth Gemberling"/>{{refn|group=note|Lulu Sarah Thorp's surname is sometimes rendered as Thorpe. An image of the signature she put on her marriage license and passport applications, though imprecise, appears to be Thorp.<ref name="1898 Marriage Gemberling"/><ref name="1923 Passport Lulu"/> }} who married December 28, 1898,<ref name="1898 Marriage Gemberling"/> and whose home was in "Ivy Cottage," Bala Cynwyd, Pennsylvania.<ref name="Gemberling bio Chalfont"/> Her father was born in Selinsgrove, Pennsylvania in 1867 and died in 1943. He was a successful construction manager for a company that built bridges.<ref name="1943 Oct NYT"/> Her mother was born in 1880.<ref name="Gemberling Family Album"/> Gemberling had an older sister named Josephine<ref name="1930 US Census Gemberling"/> who performed in concert on the violin in the years prior to her marriage in 1927 to Donald Robb Cochran.<ref name="1927 Feb Philadelphia Inquirer"/> The family spent summer vacations on the Gemberling farm in Selinsgrove.<ref name="Gemberling Family Album"/> Gemberling was educated at Friends Central School in Philadelphia before enrolling in the Pennsylvania Academy of Fine Arts.<ref name="Gemberling bio Chalfont"/>
In the late 1930s, Gemberling married a well known Philadelphia architect, W. R. Morton Keast, and remained married to him until his death. Keast had two daughters by a prior marriage.{{refn|group=note|Gemberling's step-daughters were Collette and Laurette Keast.<ref name="1940 US Census Keast"/> }} He and Gemberling had no children.<ref name="1973 May NYT"/>{{refn|group=note|Keast's first wife was Susette Schultz Keast. She was born in 1892 and died in 1932. She was a prominent Philadelphia artist, Orientalist, and member of the Philadelphia Ten group of artists. She exhibited frequently at the Plastic Club and was for some years its president.<ref name="Gratz Biography of Susette Keast"/> }} Keast was the chief designer for the architectural firm run by John T. Windrim. In the 1920s and 1930s he designed a number of major buildings in Philadelphia including the Franklin Institute, the Municipal Court Building, the Wannamaker's Men's Store (now known as One South Broad, and the Fidelity Bank Building.<ref name="Keast"/> He was born in Germantown<ref name="1917 WWI Draft Keast"/> in 1888 and died Bala Cynwyd in 1873.<ref name="1973 May NYT"/>
From the late 1940s through the 1960s, Gemberling was active in Philadelphia society. The great-granddaughter of a Revolutionary War veteran (Johann Jacob Gemberling), she joined and became leader (Regent) of the Thomas Leiper chapter of the Daughters of the American Revolution.<ref name="1959 Mar Philadelphia Inquirer"/>{{refn|group=note|See also the DAR research databases<ref name="DAR Research Databases"/> and the "Gemberlings in America" web site.<ref name="Gemberlings in America"/> }} She was also an active member of the Pennsylvania Chapter of the National Society of Daughters of Founders and Patriots of America,<ref name="1952 May 9 Philadelphia Inquirer"/> the National Society of the Colonial Dames of America,<ref name="1952 Oct Philadelphia Inquirer"/> and the Pennsylvania Society of New England Women.<ref name="1962 Nov Philadelphia Inquirer"/> Gemberling was an avid gardener and member of the Philadelphia Society of Little Gardens.<ref name="1955 Apr Philadelphia Inquirer"/>{{refn|group=note|She maintained an indoor garden in her town house on Rittenhouse Street<ref name="1955 Apr Philadelphia Inquirer"/> which she opened to visitors during local garden visiting events.<ref name="1943 May 9 Philadelphia Inquirer"/> }} She died on December 26, 1997, and was buried in the West Laurel Hill Cemetery, Bala Cynwyd.
'''Other names'''
Gemberling's full name was Grace Thorp Gemberling. Thorp was her mother's maiden name; it is sometimes given as Thorpe.<ref name="Gemberling bio Chalfont"/><ref name="1923 Passport Lulu"/> She commonly used Grace Gemberling prior to her marriage<ref name="1938 Jan 23 Philadelphia Inquirer"/> although sometimes she would use Grace T. Gemberling.<ref name="1924 May Philadelphia Inquirer"/> ''The New York Times'' usually referred to her as Grace Thorp Gemberling.<ref name="1930 Dec NYT"/>{{refn|group=note|Once or twice ''The Philadelphia Inquirer'' also used Grace Thorp Gemberling.}}<ref name="1938 Jan Philadelphia Inquirer"/> In addition to these name usages, following her marriage she was also called Grace Gemberling Keast,<ref name="Gemberling bio Chalfont"/> Grace Keast,<ref name="1940 US Census Keast"/> Grace G. Keast,<ref name="1942 Draft Keast"/> or Mrs. W. R. Morton Keast.<ref name="1953 Jun Philadelphia Inquirer"/><ref name="2001 Feb Morning Call"/><ref name="Gemberling bio Chalfont"/>
==Further reading==
* ''Grace Thorpe Gemberling Keast; Sanely Modern; a Special Exhibition of One of Philadelphia's First and Finest Women Modernist Painters'' [exhibition catalog] by Scott Chalfant (2011, H. L. Chalfont)<ref name="2011 Gemberling catalog" />
== Notes == {{reflist|group=note}}
==References== {{Reflist |colwidth=30em |refs=
<ref name="1923 Jun Art News">{{cite journal |date=1923-06-02 |title=PAFA awards |journal=Art News |jstor=25591287 }}</ref> <ref name="1927 Jan American Magazine of Art">{{cite journal |date=January 1927 |title= F. P. A. F. A. Annual Exhibition |journal=American Magazine of Art |volume=18 |issue=1 |page= 1}}</ref> <ref name="1929 Jan American Magazine of Art">{{cite journal |date=January 1929 |title=The Philadelphia Water Club and Its Twenty-Sixth Annual Exhibition|journal=American Magazine of Art |volume=20 |issue=1 |pages=22–28 |jstor=23930550 }}</ref> <ref name="1931 American Art Annual">{{cite journal |date=1931 |title= Pennsylvania Academy of Fine Arts |journal=American Art Annual |volume=28 |issue=30 |page=284 }}</ref> <ref name="1934 Friends Intelligencer">{{cite journal |date=1934 |title= Friends' Central School |journal=Friends Intelligencer |volume=91 |page=273 }}</ref> <ref name="1935 Jan American Magazine of Art">{{cite journal |date=January 1935 |title=Speaking About Art |journal=American Magazine of Art |volume=28 |issue=1 |page=60 |jstor=23937675 |author1=P. G. W }}</ref> <ref name="1935 Corcoran">{{cite journal |date=1935 |title= Friends' Central School |journal=Corcoran Annual |volume=14 |page=122 }}</ref> <ref name="1938 Jan Philadelphia Art News">{{cite journal |date=1938-01-17 |title=Art News |journal=Philadelphia Art News |volume=1 |issue=6 |publisher=Ben Wolf Publications, Inc.}}</ref> <ref name="1939 Arts Magazine">{{cite journal |date=1939 |title=Art News |journal=Arts Magazine |volume=14 |page=13 |publisher=Art Digest Inc.}}</ref> <ref name="1932 Trend">{{cite book|title=Trend: An Illustrated Bi-monthly of the Arts|url=https://books.google.com/books?id=GrYPAAAAIAAJ|year=1932|publisher=Johnson Reprint Corporation}}</ref> <ref name="1935 Jan Gimbel">{{cite book |title=Paintings, Grace Gemberling, Watercolors & Drawings, Luigi Settanni: Exhibition : January 2-22, 1935, Gimbel Galleries, Contemporary Art |url=https://books.google.com/books?id=kfouHAAACAAJ&q=gemberling+gimbel |year=1935 |publisher=Gimbel Galleries of Contemporary Art |page=1 }}</ref> <ref name="Gorky 1999">{{cite book |author=Matthew Spender|title=From a High Place: A Life of Arshile Gorky |url=https://books.google.com/books?id=O2zEWSUEZwgC&pg=PA161 |year=1999 |publisher=University of California Press |isbn=978-0-520-22548-0|page=161 }}</ref> <ref name="National Academy 2004">{{cite book |author1=David Bernard Dearinger |author2=National Academy of Design (U.S.) |title=Paintings and Sculpture in the Collection of the National Academy of Design: 1826-1925 |url=https://books.google.com/books?id=PHH45aYubp4C&pg=PA64|year=2004 |publisher=Hudson Hills |isbn=978-1-55595-029-3 |page=64–}}</ref> <ref name="Gorky 2005">{{cite book |author=Hayden Herrera |title=Arshile Gorky: His Life and Work |url=https://books.google.com/books?id=QJx87mp6fAsC&pg=PA219 |date=3 January 2005 |publisher=Macmillan|isbn=978-0-374-52972-7 |pages=219–221}}</ref> <ref name="Emlen Etting AAA">{{cite web |url=https://www.aaa.si.edu/collections/interviews/oral-history-interview-emlen-etting-12027 |title=Oral history interview with Emlen Etting, 1988 Oct. 12 | Archives of American Art |access-date=2017-06-17}}</ref> <ref name="Philadelphia Water Color Society">{{cite web |url=http://www.pwcsociety.org/history |title=Philadelphia Water Color Society - History |access-date=2017-06-18}}</ref> <ref name="Gemberling bio Chalfont">{{cite web |url=http://www.hlChalfont.com/artists/grace-gemberling-keast |title=Artist Profile |work= H L Chalfont |author=Scott Chalfont | date=September 2011 |access-date=2017-06-07}}</ref> <ref name="2011 Gemberling catalog">{{cite web |url=http://www.hlchalfant.com/sites/default/files/articles/pdf/Gemberling_Catalog_low_res.pdf |title=Grace Thorpe Gemberling Keast; Sanely Modern; a Special Exhibition of One of Philadelphia's First and Finest Women Modernist Painters |author=Scott Chalfant |date=2011 |publisher=H. L. Chalfont |access-date=2017-05-13}}</ref> <ref name="AskArt Biography Gemberling">{{cite web |url=http://www.askart.com/artist_bio/Grace_Thorpe_Gemberling/103906/Grace_Thorpe_Gemberling.aspx |title=Grace Gemberling - Artist Biography for Grace Gemberling |work= AskArt.com |access-date=2017-06-12}}</ref> <ref name="Studio House">{{cite web |url=https://siarchives.si.edu/blog/alice-pike-barney-studio-house |title=The Alice Pike Barney Studio House |author=Kira M. Sobers |date=2014-12-04 |work=The Bigger Picture (blog), Smithsonian Institution Archives |access-date=2017-06-18}}</ref> <ref name="Sullivan Goss Breckenridge">{{cite web |url=http://www.sullivangoss.com/hugh_Breckenridge/ |title=Hugh Breckenridge (1870-1937) – Neo-Impressionist |work=Sullivan Goss Gallery |author=Aubrey E. MacDonald |access-date=2017-06-19 |archive-url=https://web.archive.org/web/20180822070636/http://www.sullivangoss.com/hugh_Breckenridge/ |archive-date=2018-08-22 |url-status=dead }}</ref> <ref name="Gratz Biography of Susette Keast">{{cite web |url=http://www.gratzgallery.com/inventory/index.php?page=out&id=287 |title=Gratz Gallery - Biography of Susette Schultz Keast |access-date=2017-06-06}}</ref> <ref name="Gemberling Family Album">{{cite web |url=http://www.onentofl.com/Gemberling.html |title=Gemberling Family Album |publisher=Picsadilly, a genealogy website operated by the C. G. Brisee Library in Irwin, Iowa |access-date=2017-08-14}}</ref> <ref name="Keast">{{Philadelphia Architects and Buildings |ar=25018 |Keast, William Richard Morton (1888-1973)}}</ref> <ref name="Gemberlings in America">{{cite web |url=http://freepages.genealogy.rootsweb.ancestry.com/~ilajean/gemberling%20family%20assoc/gfa.htm |title=Gemberling's in America |access-date=2017-08-15}}</ref> <ref name="1898 Marriage Gemberling">{{cite web |url=https://familysearch.org/ark:/61903/1:1:VBYH-RX6 |title=Joseph B. Gemberling and Lulu Sarah Tharp, 1898 |work="Pennsylvania, County Marriages, 1885-1950", database with images, FamilySearch |access-date=2017-08-03}}</ref> <ref name="DAR Research Databases">{{cite web |url=http://services.dar.org/public/dar_research/search_adb/default.cfm |title=DAR Genealogical Research Databases |publisher=Daughters of the American Revolution |access-date=2017-08-15}}</ref> <ref name="1903 birth Gemberling">{{cite web |url=https://familysearch.org/ark:/61903/1:1:VBYH-RX6 |title=Grace Gemberling; 31 July 1903 |work="Pennsylvania, Philadelphia City Births, 1860-1906," database with images; citing bk 1903 p 38, Department of Records; FHL microfilm 1,289,343 |access-date=2017-06-03}}</ref> <ref name="1917 WWI Draft Keast">{{cite web |url=https://familysearch.org/ark:/61903/1:1:K6KQ-8NS |title=William Richard Morton Keast, 1917-1918 |work="United States World War I Draft Registration Cards, 1917-1918," database with images, FamilySearch; citing Philadelphia City no 17, Pennsylvania, United States, NARA microfilm publication M1509 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,907,637 |access-date=2017-06-03}}</ref> <ref name="1923 Passport Grace">{{cite web |url=https://familysearch.org/ark:/61903/1:1:QV5Y-NX2Y |title=Grace Gemberling, 1923 |work="United States Passport Applications, 1795-1925," database with images, FamilySearch; citing Passport Application, Pennsylvania, United States, source certificate #300326, Passport Applications, January 2, 1906 - March 31, 1925, 2285, NARA microfilm publications M1490 and M1372 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,065,243 |access-date=2017-06-03 }}</ref> <ref name="1923 Passport Lulu">{{cite web |url=https://familysearch.org/ark:/61903/1:1:QV5Y-NX2B |title=Lulu Thorp Gemberling, 1923 |work="United States Passport Applications, 1795-1925," database with images, FamilySearch; citing Passport Application, Pennsylvania, United States, source certificate #300327, Passport Applications, January 2, 1906 - March 31, 1925, 2285, NARA microfilm publications M1490 and M1372 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,065,243 |access-date=2017-06-03 }}</ref> <ref name="1924 Passport Grace">{{cite web |url=https://familysearch.org/ark:/61903/1:1:QVJG-2KZ5 |title=Grace Gemberling, 1924 |work="United States Passport Applications, 1795-1925," database with images, FamilySearch; citing Passport Application, Pennsylvania, United States, source certificate #409115, Passport Applications, January 2, 1906 - March 31, 1925, 2503, NARA microfilm publications M1490 and M1372 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,750,139 |access-date=2017-06-03 }}</ref> <ref name="1930 US Census Gemberling">{{cite web |url=https://familysearch.org/ark:/61903/1:1:XHZS-Z5C |title= Grace Gemberling in household of Joseph B Gemberling, Lower Merion, Montgomery, Pennsylvania, United States |work="United States Census, 1930," database with images, FamilySearch; citing enumeration district (ED) ED 76, sheet 21B, line 100, family 487, NARA microfilm publication T626 (Washington D.C.: National Archives and Records Administration, 2002), roll 2082; FHL microfilm 2,341,816 |access-date=2017-06-03 }}</ref> <ref name="1940 US Census Keast">{{cite web |url=https://familysearch.org/ark:/61903/1:1:KQWP-8LD |title=Grace Keasts in household of William Keasts, Ward 8, Philadelphia, Philadelphia City, Philadelphia, Pennsylvania, United States |work="United States Census, 1940," database with images, FamilySearch; citing enumeration district (ED) 51-159, sheet 65A, line 8, family 346, Sixteenth Census of the United States, 1940, NARA digital publication T627. Records of the Bureau of the Census, 1790 - 2007, RG 29. Washington, D.C.: National Archives and Records Administration, 2012, roll 3692 |access-date=2017-06-03 }}</ref> <ref name="1942 Draft Keast">{{cite web |url=https://familysearch.org/ark:/61903/1:1:VQFT-PCY |title= W R Morton Keast, 1942 |work="United States World War II Draft Registration Cards, 1942," database with images, FamilySearch; citing NARA microfilm publication M1936, M1937, M1939, M1951, M1962, M1964, M1986, M2090, and M2097 (Washington D.C.: National Archives and Records Administration, n.d.) |access-date=2017-06-03}}</ref> <ref name="New York Times Jul 1922">{{cite news |title=Salons of America a New Art Society |work=The New York Times |date=1922-07-03 |page=12 }}</ref> <ref name="1924 May Philadelphia Inquirer">{{cite news|title=Art Students Get Traveling Awards |newspaper=The Philadelphia Inquirer |page=12 |date=1924-05-23}}</ref> <ref name="1926 Nov Philadelphia Inquirer">{{cite news|title=Art: Several Important Exhibitions Are Now on View |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=12 |date=1926-11-07 }}</ref> <ref name="1926 Nov 21 Philadelphia Inquirer">{{cite news|title=Art: Paintings From France and From the Studios of America |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=10 |date=1926-11-21 }}</ref> <ref name="1927 Feb Philadelphia Inquirer">{{cite news|title=People You Know |newspaper=The Philadelphia Inquirer |page=6 |date=1927-02-21 }}</ref> <ref name="1929 Jan Philadelphia Inquirer">{{cite news|title=In Gallery and Studio |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO5 |date=1929-01-20 }}</ref> <ref name="1930 Jan Philadelphia Inquirer">{{cite news|title=Academy Awards |newspaper=The Philadelphia Inquirer |page=SO5 |date=1930-01-26 }}</ref> <ref name="1930 Mar Philadelphia Inquirer">{{cite news|title=In Gallery and Studio |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO5 |date=1930-03-16 }}</ref> <ref name="1930 Dec NYT">{{cite news|title=A Fine Native Showing: Big Exhibition in Washington Reveals Contemporary American Art at Its Best |author=Edward Alden Jewell |newspaper=The New York Times |page=135 |date=1930-12-07 }}</ref> <ref name="1931 Oct Philadelphia Inquirer">{{cite news|title=In Gallery and Studio |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=18 |date=1931-10-18 }}</ref> <ref name="1932 Jan NYT">{{cite news|title=Plenty to Choose From: Two of the Season's Big Group Shows, Here And in Philadelphia |author=Edward Alden Jewell |newspaper=The New York Times |page=X12 |date=1932-01-31 }}</ref> <ref name="1932 Apr NYT">{{cite news|title=Salons of America Open Spring Show Here, Marking Tenth Anniversary |author=Edward Alden Jewell |newspaper=The New York Times |page=20 |date=1932-04-27 }}</ref> <ref name="1932 Aug NYT">{{cite news|title=The Overflowing Bowl: Summer Shows in Gloucester and Rockport Present a Plethora of Charming Picture |author=Edward Alden Jewell |newspaper=The New York Times |page=XX6 |date=1932-08-21 }}</ref> <ref name="1932 Oct NYT">{{cite news|title=Photographs by Tinkham |author=T. C. L. |newspaper=The New York Times |page=23 |date=1932-10-26 }}</ref> <ref name="1933 Jan NYT">{{cite news|title=Exhibition by Women Painters and Sculptors Opens -- Museum of Modern Art Has Architectural Show |author=Edward Alden Jewell |newspaper=The New York Times |page=17 |date=1933-01-17 }}</ref> <ref name="1933 Aug NYT">{{cite news|title=Less Pseudo-Modernism at Gloucester and Rockport Than at Provincetown |author=Edward Alden Jewell |newspaper=The New York Times |page=X5 |date=1933-08-27 }}</ref> <ref name="1934 Jan NYT">{{cite news|title=Art Show to Open in Philadelphia: Annual Exhibit of Pennsylvania Academy of Fine Arts Offers 450 Canvases – Much Sculpture Listed – Artists Represented Are Jo Davidson, Burroughs, Weber and Kuniyoshi |author=Edward Alden Jewell |newspaper=The New York Times |page=11 |date=1934-01-27 }}</ref> <ref name="1934 Oct NYT">{{cite news|title=Philadelphia Art Placed on Display: Second Regional Exhibition of American Painting Opens at Whitney Museum – Local Quality Stressed – Oils, Water-Colors, Drawings and Prints Arranged in Manner to Avoid Crowding |author=Edward Alden Jewell |newspaper=The New York Times |page=19 |date=1934-10-24 }}</ref> <ref name="1935 Oct Rochester Democrat">{{cite news|title=Gallery Exhibit Offers Comprehensive View of Contemporary American Art; Cross Section of Individualities Afforded in Corcoran Biennial Collection Opening Event |author=Isabel C. Herdle | newspaper=Rochester Democrat and Chronicle |location=Rochester, New York |page=AA5 |date=1935-02-02 }}</ref> <ref name="1936 Jan Philadelphia Inquirer">{{cite news|title=Academy Annual Has a Real Problem Picture |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO12 |date=1936-01-26 }}</ref> <ref name="1936 Feb Washington Post">{{cite news|title=Bruce Work Will Be Sent To That City: Coale and Cross Also Will Be Represented in Shipment. George Biddle Shows His "Mount Airy" in Display Here |author=Alice Graeme |newspaper=The Washington Post |page=AA5 |date=1936-02-17 }}</ref> <ref name="1936 Apr Philadelphia Inquirer">{{cite news|title=Alumni Exhibitions Reveal Philadelphia Art Prestige |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO13 |date=1936-04-26 }}</ref> <ref name="1936 Jun Washington Post">{{cite news|title=Philadelphians Hold Exhibition Of Modern Art: Oils, Water Colors and Prints and Sculpture to Be Seen in Boyer Galleries |newspaper=The Washington Post |page=TM5 |date=1936-06-21 }}</ref> <ref name="1936 Dec NYT">{{cite news|title=A Group of New Shows: Paintings by Renne at Marie Harriman's – Aston Knight Again – The Boyer Gallery |newspaper=The New York Times |page=X13 |date=1936-12-06 }}</ref> <ref name="1938 Jan Philadelphia Inquirer">{{cite news|title=Ribak Stages Dual Surprise; 3 Exhibits of Oils Also Open Here; Design for Gemberling |author=R. Edward Lewis |newspaper=The Philadelphia Inquirer |page=SO7 |date=1938-01-09 }}</ref> <ref name="1938 Jan 23 Philadelphia Inquirer">{{cite news|title=Art Projects Win Honors; Phila., N.Y. Star in Shows Here |author=R. Edward Lewis |newspaper=The Philadelphia Inquirer |page=SO1 |date=1938-01-23 }}</ref> <ref name="1938 Feb NYT">{{cite news|title=Contemporary American: The Pennsylvania Academy's 133d Annual And Third Worcester Biennial Open |author=Edward Alden Jewell |newspaper=The New York Times |page=161 |date=1938-02-06 }}</ref> <ref name="1940 Jan Philadelphia Inquirer">{{cite news|title=Academy's 135th Annual Exhibition |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO16 |date=1940-01-25 }}</ref> <ref name="1941 May Philadelphia Inquirer">{{cite news|title=Friends School Buys Painting |newspaper=The Philadelphia Inquirer |page=SO12 |date=1941-05-11 }}</ref> <ref name="1942 May Philadelphia Inquirer">{{cite news|title=Annual at Friends Central Has Local Work of Charm |newspaper=The Philadelphia Inquirer |page=SO8 |date=1942-05-08 }}</ref> <ref name="1943 Jan Philadelphia Inquirer">{{cite news|title=Fine Arts Academy Annual Exhibit Is Lively Despite Tragedy of War |author= C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO7 |date=1943-01-24 }}</ref> <ref name="1943 Apr Philadelphia Inquirer">{{cite news|title=Youthful Students Enjoy Work by Local Artists; On Display at Friends Central |author= C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO7 |date=1943-04-25 }}</ref> <ref name="1943 May Philadelphia Inquirer">{{cite news|title=Pictures Purchased |newspaper=The Philadelphia Inquirer |page=SO5 |date=1943-05-30 }}</ref> <ref name="1943 May 9 Philadelphia Inquirer">{{cite news |title=Many Events Planned by Garden Clubs |newspaper=The Philadelphia Inquirer |page=8 |date=1943-05-09 }}</ref> <ref name="1943 Oct NYT">{{cite news|title=J. B. Gemberling, A Bridge Builder: Construction Manager for the American Co. 30 Years Is Dead in Philadelphia |newspaper=The New York Times |page=25 |date=1943-10-05 }}</ref> <ref name="1948 May Philadelphia Inquirer">{{cite news |title=Pictures Purchased |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO13 |date=1948-05-02 }}</ref> <ref name="1949 May Philadelphia Inquirer">{{cite news |title=Mural-Like St. Chrisopher Painting Wins Prize |author=C. H. Bonte |newspaper=The Philadelphia Inquirer |page=SO10 |date=1949-05-01 }}</ref> <ref name="1952 May Philadelphia Inquirer">{{cite news |title=Cresson Awards to Date Have Aided 830 Artists|author=Gertrude Benson |newspaper=The Philadelphia Inquirer |page=SO13 |date=1952-05-25 }}</ref> <ref name="1952 May 9 Philadelphia Inquirer">{{cite news |title=College Auxiliary Plans Campus Fete |newspaper=The Philadelphia Inquirer |page=SO12 |date=1956-09-09 }}</ref> <ref name="1952 Oct Philadelphia Inquirer">{{cite news |title=Along the Social Way |newspaper=The Philadelphia Inquirer |page=43 |date=1952-10-15 }}</ref> <ref name="1953 Jun Philadelphia Inquirer">{{cite news |title=Exhibitions of Students' Art Here Reveals Wealth of Talent |author=Gertrude Benson |newspaper=The Philadelphia Inquirer |page=SO10 |date=1953-06-07 }}</ref> <ref name="1955 Feb Philadelphia Inquirer">{{cite news |title=Pittman Honored as Artist-Teacher|author=Gertrude Benson |newspaper=The Philadelphia Inquirer |page=SO9 |date=1949-05-01 }}</ref> <ref name="1955 Apr Philadelphia Inquirer">{{cite news |title=Lively Amlumnae Day Set |author=Jane Wister |newspaper=The Philadelphia Inquirer |page=15 |date=1955-04-03}}</ref> <ref name="1959 Mar Philadelphia Inquirer">{{cite news |title=DAR Meeting |newspaper=The Philadelphia Inquirer |page=24 |date=1950-03-04 }}</ref> <ref name="1962 Nov Philadelphia Inquirer">{{cite news |title=Along the Social Way |newspaper=The Philadelphia Inquirer |page=17 |date=1962-11-05}}</ref> <ref name="1973 May NYT">{{cite news |title=W. R. Morton Keast Dies; Philadelphia Architect, 84 |newspaper=The New York Times |page=48 |date=1973-05-24 }}</ref> <ref name="2001 Feb Morning Call">{{cite news|title=Easton show pulls gems from area art collections |newspaper=The Morning Call |location=Allentown, Penna. |url=https://www.mcall.com/2001/02/11/easton-show-pulls-gems-from-area-art-collections/ |date=2001-02-11 |access-date=2017-03-17 }}</ref> }}
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{{DEFAULTSORT:Gemberling, Grace}} Category:1903 births Category:1997 deaths Category:Painters from Philadelphia Category:20th-century American painters Category:20th-century American art educators Category:American women art educators Category:20th-century American women painters Category:Daughters of the American Revolution people Category:Daughters of Founders and Patriots of America Category:Members of the National Society of the Colonial Dames of America