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Jack and Shanaz Langson Institute and Museum of California Art Announces Summer 2025 Exhibition

JACK AND SHANAZ LANGSON INSTITUTE AND MUSEUM OF CALIFORNIA ART ANNOUNCES SUMMER EXHIBITION

California Kinship: Painting Home Life in the Golden State Before 1940

On view June 7 – August 30, 2025

Irvine, CA…Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) today announced its summer exhibition, California Kinship: Painting Home Life in the Golden State Before 1940, on view June 7 through August 30, 2025. Featuring over 30 paintings and nearly a dozen works on paper, the presentation illuminates how the notion of kinship in the early 20th century—a notably progressive period in the state’s history—expanded beyond familial ties to include pets, plants, neighbors, immigrants, and broader social networks.

Drawn from Langson IMCA’s collection and loans from private collections, intimate portraits, domestic scenes, and imagery of everyday life reveal how artists responded to changing notions of domesticity and the effects of suburbanization, women’s suffrage in California, and rapid population growth in the Golden State. Langson IMCA Assistant Curator Michaëla Mohrmann, Ph.D., organized the exhibition in four sections, inviting viewers to examine the closest levels of intimacy to more expansive relationships.

“California Kinship is our Museum’s first exhibition focusing on portraiture and scenes of everyday life. These works capture the Progressive Era’s rapidly changing gender roles, access to home ownership, and notions of community belonging—topics that continue to be highly pertinent to present-day Californians,” said Mohrmann.

“Intimate Interiors” focuses on portraits of individuals in their homes and how artists created a sense of closeness with their subjects. The artists in this section, many of whom had trained in Paris, drew inspiration from emerging movements like Fauvism and Symbolism as well as French Impressionism. Portraying subjects indoors amid their personal belongings allowed them to render aspects of the sitter’s identity and psychological inner life.

Alson Skinner Clark’s Our Dining Room (1939) depicts a private space in the artist’s home, providing insights into his life. In his last decade of life, while preparing his retrospective at the Los Angeles Museum of History, Science, and Art (now the Los Angeles County Museum of Art), Clark created this painting as a nostalgic meditation on his artistic trajectory through allusions to his teachers, William Merritt Chase and James McNeill Whistler.

At the beginning of the 20th century, American art academies upheld the tradition of the nude as the pinnacle of artistic training. Artists represented in the “The Painter-Model Partnership” section were expected to render the human form through direct observation of live nude models. These idealized representations of the body also serve as the artists’ commentaries on evolving artistic conventions.

“Caring for Others” features portraits and images of pets representing how care and connection are expressed across social classes, cultures, and relationships within and beyond the human family. Paintings of individual sitters reveal their roles within a family while group portraits provide insights into family dynamics and values.

In Navajo (1930), Elsie Palmer Payne focuses on the care Navajo women routinely provided their children. While daily maternal responsibilities, such as hair braiding and cooking were widely minimized as “women’s work,” Payne elevates these activities through her attentive portrayal of kinkeeping and would eventually replicate such scenes on a larger scale.

The last section, “The Architecture of the Home,” explores how suburban architecture and gardens nurtured a sense of privacy and peace conducive to bonding with others and communing with nature. California’s growing suburban middle class rejected modern architecture and built cottages and bungalows inspired by the Arts and Crafts movement. Plein-air artists represented in the exhibition were inspired by these residential settings as well as their lush gardens, which extended domestic space as depicted by Arthur F. Mathews in Ladies in the Garden (1923).

Such suburban dwellings contrasted dramatically with the cramped housing of immigrant neighborhoods in cities. Of Czech origin, Emil J. Kosa, Jr. was drawn to these tight-knit neighborhoods where other notions of privacy and belonging developed.

Public programs will be announced on Langson IMCA’s website at imca.uci.edu.

 

About UC Irvine Jack and Shanaz Langson Institute and Museum of California Art

UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) is home to two foundational gifts of California Art from The Irvine Museum and Gerald E. Buck estate. In addition, the permanent collection of more than 4,700 works from the late 19th century and early 20th century through present day continues to grow, augmented by acquisitions and gifts. The university is planning to construct a permanent museum and research institute to serve as a global magnet for the presentation and study of California Art within its social, historical, environmental, and cultural frameworks. Langson IMCA is currently located in an interim museum space at 18881 Von Karman Avenue, Suite 100, in Irvine, CA. The Museum is open to all Tuesday through Saturday 10 am to 4 pm. Admission and parking up to two hours are free. For more information, visit imca.uci.edu. Follow us on Instagram @langsonimca.

About the University of California, Irvine

Founded in 1965, UC Irvine is a member of the prestigious Association of American Universities and is ranked among the nation’s top 10 public universities by U.S. News & World Report. The campus has produced five Nobel laureates and is known for its academic achievement, premier research, innovation, and anteater mascot. Led by Chancellor Howard Gillman, UC Irvine has more than 36,000 students and offers 224 degree programs. It’s located in one of the world’s safest and most economically vibrant communities and is Orange County’s second-largest employer, contributing $7 billion annually to the local economy and $8 billion statewide. For more on UC Irvine, visit www.uci.edu.

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Media Contacts

For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; info@bow-bridge.com.

Image captions

Edouard Vysekal, The Sisters, 1922, Oil on canvas, 36 1/8 × 34 1/8 in., UC Irvine Jack and Shanaz Langson Institute and Museum of California Art. Gift of The Irvine Museum

Alson Skinner Clark, Our Dining Room, 1939, Oil on board, 22 × 18 1/2 in., UC Irvine Jack and Shanaz Langson Institute and Museum of California Art. Gift of The Irvine Museum

Elsie Palmer Payne, Navajo Camp, 1930, Gouache on paper, 21 1/8 × 25 1/8 in. The Buck Collection at UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, © DCM Trust

William Lees Judson, My Rose Garden, after 1893, Oil on canvas, 18 × 15 in. The Buck Collection at UC Irvine Jack and Shanaz Langson Institute and Museum of California Art

UC Irvine Jack and Shanaz Langson Institute and Museum of California Art Announces Spring 2025 Exhibition

UC Irvine Jack and Shanaz Langson Institute and Museum of California Art Announces Spring 2025 Exhibition

Common Ground: Early 20th-Century Artist Communities in Southern California

On view February 8𑁒May 17, 2025

William Alexander Griffith, In Laguna Canyon, circa 1928, Oil on canvas, 30 x 40 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.
William Alexander Griffith, In Laguna Canyon, circa 1928, Oil on canvas, 30 x 40 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.

Irvine, CA…UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) announced its new exhibition Common Ground: Early 20th-Century Artist Communities in Southern California. Common Ground examines artistic communities in Laguna Beach, La Jolla, and Los Angeles in the early 20th century and their influence on California plein air painting. On view February 8 through May 17, 2025, the presentation of 36 paintings, works on paper, porcelain, and bronze pieces is organized by graduate students from UC Irvine’s Visual Studies Ph.D. program: Ileana De Giuseppe, Zachary Korol Gold, and Dada Wang.

Artists formed clubs and associations ranging from highly selective to open membership to cultivate friendships, enable artistic exchange, and show their work to the public. Key figures from each of these communities are represented alongside their stories. For example, George Gardner Symons and William Wendt traveled together and painted in each other’s company whereas Frank Cuprien and Maurice Braun transformed their homes into galleries and gathering places for fellow artists.

Co-curators De Guiseppe, Gold, and Wang said, “Together, these artists promoted a mythical image of California as an untamed frontier that belies both the active social networks they created and the emerging suburbanization they helped foster in these places.”

Laguna Beach

In 1918, a group of artists, including Frank Cuprien, Anna Althea Hills, and Edgar and Elsie Palmer Payne, established the Laguna Beach Art Association (LBAA) to foster artistic and intellectual exchange. These artists often depicted the idyllic local landscapes in their works, enhancing the area’s reputation as an artistic haven and tourist destination. By capturing the rocky coastline and the area’s rolling hills, respectively, William Lees Judson’s The Wendts at Laguna Beach (between 1912-1928) and William Alexander Griffith’s In Laguna Canyon (c.1928) evoke remoteness in dramatic natural settings.

Unlike some other groups, LBAA supported women artists and heightened their reputations by exhibiting their work. They also welcomed members of other artistic communities in Southern California, including the California Art Club and Women Painters of the West. Over decades, LBAA accrued a sizable permanent collection and began operating as the Laguna Art Museum in 1972.

 

La Jolla

Alfred Richard Mitchell, La Jolla Shores, circa 1936, Oil on canvas, 40 x 50 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.
Alfred Richard Mitchell, La Jolla Shores, circa 1936, Oil on canvas, 40 x 50 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.

British newspaper magnate Ellen Browning Scripps moved to San Diego in 1896 and built a home in La Jolla. A patron of the arts,

Scripps agreed to fund the La Jolla Art Association in 1918. Proposed by Eleanor Parkes, who became the organization’s president, its founding members included Maurice Braun, Charles Fries, and Alfred Mitchell, among others. Progressive in nature and led by women, the association’s first exhibition was hosted by the Woman’s Club in La Jolla in 1919.

In 1929, Alfred Mitchell, his mentor Braun, and fellow artist Fries co-founded the Associated Artists of San Diego. Later renamed the Contemporary Artists of San Diego, this group represented the thriving professional art community that had emerged in the region. Mitchell’s La Jolla Shores provides a panoramic view of the beachfront community in 1936.

 

Los Angeles

Founded in 1906, the Painters’ Club of Los Angeles was a short-lived artist association that was invitation-only membership and limited to men, thereby excluding notable Los Angeles artists such as Marion Kavanaugh Wachtel and Julia Bracken Wendt.

Benjamin Brown, Autumn Glory, circa 1920, Oil on canvas, 28 x 36 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.
Benjamin Brown, Autumn Glory, circa 1920, Oil on canvas, 28 x 36 in. UC Irvine Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum.

Committed to depicting the California landscape, the group was championed by Antony Anderson, a founding member of the club and the first art critic for the Los Angeles Times. The club disbanded in 1909 despite its growth and well-attended exhibition program. Accounts attribute the club’s demise to disgruntled members irked when their works were not selected for the club’s second and final juried exhibition.

Jack Wilkinson Smith helped found the California Art Club and established the Biltmore Salon, a local gallery dedicated to promoting Southern California artists. Benjamin Brown’s Autumn Glory (c.1920) and William Wendt’s The Lake(1940) portray pristine landscapes that were still relatively accessible to Los Angeles.

Public programs will be announced at imca.uci.edu in early 2025.

 

 

About UC Irvine Jack and Shanaz Langson Institute and Museum of California Art

UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) is home to two foundational gifts of California Art from The Irvine Museum and Gerald E. Buck estate. In addition, the permanent collection of more than 4,700 works from the late 19th century and early 20th century through present day continues to grow, augmented by acquisitions and gifts. The university is planning to construct a permanent museum and research institute to serve as a global magnet for the presentation and study of California Art within its social, historical, environmental, and cultural frameworks. Langson IMCA is currently located in an interim museum space at 18881 Von Karman Avenue, Suite 100, in Irvine, CA. It is open to all Tuesday through Saturday 10 am to 4 pm. Admission and parking up to two hours are free. For more information, visit imca.uci.edu. Follow us on Instagram @langsonimca.

About the University of California, Irvine

Founded in 1965, UC Irvine is a member of the prestigious Association of American Universities and is ranked among the nation’s top 10 public universities by U.S. News & World Report. The campus has produced five Nobel laureates and is known for its academic achievement, premier research, innovation, and anteater mascot. Led by Chancellor Howard Gillman, UC Irvine has more than 36,000 students and offers 224 degree programs. It’s located in one of the world’s safest and most economically vibrant communities and is Orange County’s second-largest employer, contributing $7 billion annually to the local economy and $8 billion statewide. For more on UC Irvine, visit www.uci.edu.

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Media Contacts

For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; info@bow-bridge.com.

 UC Irvine Jack and Shanaz Langson Institute and Museum of California Art Announces Appointment of Alaina Claire Feldman as Inaugural Chief Curator

October 16, 2024

 UC Irvine Jack and Shanaz Langson Institute and Museum of California Art Announces Appointment of Alaina Claire Feldman as Inaugural Chief Curator

Irvine, CA… UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) today announced the appointment of Alaina Claire Feldman as inaugural chief curator, effective January 6, 2025. She will support the curatorial vision of Langson IMCA and the design and development of its exhibition and collection strategies.

Alaina Claire Feldman, Inaugural Chief CuratorWorking closely with faculty, staff, students, UC Irvine leadership, and the broader community, Feldman will collaboratively advance Langson IMCA’s commitment to interdisciplinary research, scholarship, presentation, preservation, and education.

She joins Langson IMCA at a time when UC Irvine aims to position arts at the center of its educational mission as a leading public university known for its rigor in research and innovation.

Feldman currently serves as director and curator of the Mishkin Gallery at Baruch College, The City University of New York (CUNY), a public university. Previously she was director of exhibitions at Independent Curators International (ICI), New York. In addition to organizing more than 20 exhibitions, she has edited numerous publications and participated in panels and committees internationally.

During her tenure, Feldman heightened Mishkin Gallery’s profile by touring presentations of its

collection while building partnerships with art and academic institutions across New York and in Zurich, São Paulo, Porto, San Juan, and Tbilisi. In addition to participating in related campus initiatives, Feldman is an adjunct professor in Baruch College’s Fine and Performing Arts department and CUNY’s Macaulay Honors College. She will serve as a guest curator for an inaugural exhibition when the new Taichung Art Museum opens in Taiwan next winter.

“Langson IMCA’s superpower is harnessing the research and innovation of the 15 schools on UC Irvine’s campus,” said Richard Aste, Ph.D., interim museum director of Langson IMCA. “Alaina’s proven record of successful academic engagement across one of our country’s leading urban universities will help us take our superpower to the next level.”

Feldman said, “I am excited to join the very talented staff at Langson IMCA and to collaborate with the brilliant faculty and students at UC Irvine. Langson IMCA is the perfect place to activate interdisciplinary work by bringing together artists, scholars, and the greater community. I plan to continue the campus’ rich legacy of fostering experimental artist-driven programs as a catalyst for new inquiry and creativity.”

Feldman earned an M.A. from the Graduate Center at CUNY and B.A. from the Pratt Institute, New York.

About UC Irvine Jack and Shanaz Langson Institute and Museum of California Art

UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) is home to two foundational gifts of California Art from The Irvine Museum and Gerald E. Buck estate. In addition, the permanent collection of more than 4,700 works from the late 19th century and early 20th century through present day continues to grow, augmented by acquisitions and gifts. The university is planning to construct a permanent museum and research institute to serve as a global magnet for the presentation and study of California Art within its social, historical, environmental, and cultural frameworks. Langson IMCA is currently located in an interim museum space at 18881 Von Karman Avenue, Suite 100, in Irvine, CA. It is open to all Tuesday through Saturday 10 am to 4 pm. Admission and parking are free. For more information, visit imca.uci.edu. Follow us on Instagram @langsonimca.

About the University of California, Irvine

Founded in 1965, UC Irvine is the youngest member of the prestigious Association of American Universities. The campus has produced three Nobel laureates and is known for its academic achievement, premier research, innovation, and anteater mascot. Led by Chancellor Howard Gillman, UC Irvine has more than 33,000 students and offers 222 degree programs. It is located in one of the world’s safest and most economically vibrant communities and is Orange County’s second-largest employer, contributing $5 billion annually to the local economy. For more on UC Irvine, visit www.uci.edu.

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Media Contacts

For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; info@bow-bridge.com.

Photo: Isabel Asha Penzlien

Langson IMCA Announces New Fall Exhibition ‘End of the Range: Charlotte Skinner in the Eastern Sierra’

October 11, 2024

Langson IMCA  Announces New Fall Exhibition
End of the Range: Charlotte Skinner in the Eastern Sierra

On View October 5, 2024 – January 18, 2025

Irvine, CA… UC Irvine Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) today announced its fall exhibition, End of the Range: Charlotte Skinner in the Eastern Sierra, featuring 31 paintings along with drawings, photographs, and ephemera spanning Charlotte Skinner’s lifelong career as an artist and educator. The presentation also includes 24 additional works by artists in Skinner’s circle and 13 related paintings drawn from Langson IMCA’s collection.

Charlotte Butler Skinner, Rocks, date unknown, Oil on board, 13 x 15 in. Collection of the Nevada Museum of Art, bequest of John A. White, Jr., in memory of Charlotte Skinner's grandson, James Skinner.

On view October 5, 2024 – January 18, 2025, End of the Range is organized by the Nevada Museum of Art, where it was on view October 14, 2023 – May 5, 2024. The exhibition is generously supported by John A. White, Jr., in memory of Charlotte Skinner’s grandson, James Skinner.

Exhibition curator Kolin L. Perry said, “Charlotte Skinner was a remarkable individual, and it has been a privilege to shed light on her creative practice and share her artistry with a broad audience. The Nevada Museum of Art and I are honored to partner with Langson IMCA to present this exhibition in Southern California.”

Charlotte Butler Skinner (1879𑁒1963) defined herself as a painter of the remote Sierra Nevada and desert country of Owens Valley, CA. Lone Pine Peak, Mount Whitney, the Alabama Hills, and other landmarks of that distinctive landscape were the central focus of her body of work. She also immersed herself in printmaking and teaching art classes to local children. Even after Skinner left the family homestead and relocated to Eugene, OR, and later to Morro Bay, CA, she continued to render these scenes for the rest of her life.

Growing up in the Bay Area, Skinner studied painting at the California School of Fine Arts and Mark Hopkins Institute of Art (now known as the San Francisco Art Institute) under Robert Aiken, Arthur Frank Matthews (a founding member of the American Arts and Crafts Movement), and Gottardo Piazzoni. As she became involved in the San Francisco art community, she met fellow student artist and mining engineer, William Lyle Skinner. The couple married in 1905 and moved to Lone Pine, where they resided for almost 30 years.
Skinner’s first painting—an untitled oil on canvas of Owens Lake near the couple’s home—was completed the following year, in 1906. The work already contains several signature elements that characterize her vast oeuvre: a vibrant and varied palette emphasizing greens, blues, and earth tones, and attention to the striking rugged contour of the Eastern Sierra.

Skinner’s artist-friends who visited her in Lone Pine sought new subject matter, inspiration outside of the bustle of San Francisco, and the like-minded creative company of their host and her companions. Guests included many prominent artists and photographers such as Maynard Dixon, Dorothea Lange, Sonya Noskowiak, Roi Partridge, Ralph Stackpole, and William Wendt.

Charlotte Butler Skinner, Rampant Owen’s River, 1938, Oil on canvas, 26 x 30 in. Collection of the Nevada Museum of Art, bequest of John A. White, Jr., in memory of Charlotte Skinner's grandson, James Skinner.

Focusing on dynamic scenes near her homestead, Skinner’s paintings feature statuesque mountain silhouettes, colorful cottonwood groves in irrigated valleys, and forested landscapes of Owens River and Lake. When these resources were diverted to provide water to Los Angeles, drastically altering the landscape and impacting the environment and economy of the region, William Skinner ran for public office to oppose the practice. Ultimately, these efforts failed, and the artist and her husband relocated to Eugene, OR, in 1933.

Members of the extended Skinner family remained in Lone Pine on their 10-acre homestead. They owned and operated the Santa Rosa, Cerro Gordo, and Christmas Gift mines, which produced lead, silver, and zinc. When Skinner and her husband returned to visit, she captured mining scenes in watercolor en plein air, revealing a robust industry that brought many families like the Skinners to the American West.

During this period, Skinner’s colorful, expressive style diverged from the Tonalist painters who guided her early training, including her mentors Piazzoni and Mathews. Her explorations using a more representational approach were informed by contemporaries including Dixon and Wendt, whose richly hued canvases depict similar scenes of California and the region.

Once resettled on the central California Pacific coast in 1935, Skinner again became a part of the art scene, which included some of her longtime acquaintances, such as painters Aaron Kilpatrick, Cadwallader Washburn, and Wendt. She played an active role in the seaside community, organizing and judging local art exhibitions. She regularly opened her home for guests to view her fine art and collection of Native American baskets. This exhibition also features two Panamint Shoshone baskets from her collection.

Langson IMCA interim museum director Richard Aste said, “We are delighted to provide a homecoming for the art of Charlotte Skinner, who lived and worked in Owens Valley for three decades. Featuring Skinner’s depictions of the valley’s deserts and mountains in Irvine will help us tell a more expansive and truthful story of California Impressionism—through the eyes of a gifted woman not currently represented in the museum’s collection.”

Throughout her long life, Skinner continued to paint and exhibit across the West Coast, including the Stanford Art Gallery (1930), the Portland Art Museum (1933), and the M.H. de Young Memorial Museum (1956). Skinner also exhibited at the Nevada Art Gallery (now the Nevada Museum of Art) in 1952 alongside Dixon and Wendt.

A 57-page booklet is available in conjunction with the exhibition and contains a feature essay by exhibition curator, Kolin L. Perry. The booklet is available for purchase at the Nevada Museum of Art shop.

About Nevada Museum of Art
The Nevada Museum of Art is the only art museum in Nevada accredited by the American Alliance of Museums (AAM). A private, nonprofit organization founded in 1931, the statewide institution is supported by its membership as well as sponsorships, gifts and grants. Through its permanent collections, original exhibitions and programming, and E.L. Cord Museum School, the Nevada Museum of Art provides meaningful opportunities for people to engage with a range of art and education experiences. The Museum’s Center for Art + Environment is an internationally-recognized research center dedicated to supporting the practice, study, and awareness of creative interactions between people and their environments. The Center houses unique archive materials from more than 1,000 artists working on all seven continents, including Cape Farewell, Michael Heizer, Walter de Maria, Lita Albuquerque, Burning Man, the Center for Land Use Interpretation, Great Basin Native Artists Archive, Ugo Rondinone’s Seven Magic Mountains, and Trevor Paglen’s Orbital Reflector. Learn more at nevadaart.org.

About UCI Jack and Shanaz Langson Institute and Museum of California Art
UCI Jack and Shanaz Langson Institute and Museum of California Art (Langson IMCA) is home to two foundational gifts of California Art from The Irvine Museum and Gerald E. Buck estate. In addition, the permanent collection of more than 4,700 works from the late 19th century and early 20th century through present day continues to grow, augmented by acquisitions and gifts. The university is planning to construct a permanent museum and research institute to serve as a global magnet for the presentation and study of California Art within its social, historical, environmental, and cultural frameworks. Langson IMCA is currently located in an interim museum space at 18881 Von Karman Avenue, Suite 100, in Irvine, CA. It is open to all Tuesday through Saturday 10 am to 4 pm. Admission and parking are free. For more information, visit imca.uci.edu. Follow us on Instagram @langsonimca.

About the University of California, Irvine
Founded in 1965, UCI is the youngest member of the prestigious Association of American Universities. The campus has produced three Nobel laureates and is known for its academic achievement, premier research, innovation, and anteater mascot. Led by Chancellor Howard Gillman, UCI has more than 36,000 students and offers 222 degree programs. It is located in one of the world’s safest and most economically vibrant communities and is Orange County’s second-largest employer, contributing $5 billion annually to the local economy. For more on UCI, visit www.uci.edu.

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Media Contacts

For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; info@bow-bridge.com.

Image Captions

1.     Charlotte Butler Skinner, Rocks, date unknown, Oil on board, 13 x 15 in. Collection of the Nevada Museum of Art, bequest of John A. White, Jr., in memory of Charlotte Skinner's grandson, James Skinner.

2.     Charlotte Butler Skinner, Rampant Owen’s River, 1938, Oil on canvas, 26 x 30 in. Collection of the Nevada Museum of Art, bequest of John A. White, Jr., in memory of Charlotte Skinner's grandson, James Skinner.

3.     Charlotte Butler Skinner, Silence (Lone Pine Sierra), 1938, Oil on canvas, 36 x 40 in. Collection of the Nevada Museum of Art, bequest of John A. White, Jr., in memory of Charlotte Skinner's grandson, James Skinner.