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Your search for " People's University (University City, Mo.) " returned 32 records . Click the thumbnail for the full record.
	This drawing of the Art Academy Building for the People's University was used in several Lewis publications. The artist, Henry E. Steinbruegge, was a Lewis Publishing Company employee. The building was designed by St. Louis architects Eames and Young who had just designed the pylons for the Lion Gates. Lewis' intent was to have all the school and public buildings decorated with work done by the honor students, and the top of the Art Academy, as indicated in this drawing, was to have included full sized sculptures. Only three designs were ever selected, and none were completed.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. By October 22, 1909 when this photograph was taken the balustrade is in place around the top of the building and the exterior is virtually complete. The sign for John J. Dunnavant & Co., contractors for the project, is on the building on the lower left. They were sharing space with the sales office for University Heights Realty and Development Co., another of Edward Gardner Lewis' ventures.
	A special ceremony for pouring concrete for the Art Academy Building, the first building for the People's University and the American Woman's League, was held on April 12, 1909. Mabel Lewis is in the center, throwing the first shovel of concrete. Edward Gardner Lewis is standing on the far left. This photograph appeared in "The Woman's National Daily" on April 17, 1909. The Woman's Magazine Building and Press Annex are on the right. The Woman's National Daily Building is behind the group, on the left.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. This photograph was taken looking northwest on November 10, 1909. The exterior of the building is complete, but windows have not been installed, and construction materials still surround the building.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. This photograph was taken looking north on November 10, 1909. The exterior of the building is complete, but windows have not been installed, and work does not appear to have started on the interior of the building.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. This photograph was taken looking northeast in mid November of 1909. The exterior of the building is complete, and windows have been installed. A substantial amount of construction material still surrounds the building.
	Construction began on the Art Academy Building in April 1909. The building was designed by St. Louis architects Eames and Young for the People's University of the American Woman's League. In this photograph, probably taken in May of 1909, interior brick walls are being constructed as the exterior stone walls are being built. The Woman's Magazine Building and Press Annex are visible in the distance.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. In this photograph taken on August 26, 1909, looking northeast, exterior walls in the north wing are complete through the second floor. Some of the decorative moldings on the front of the building are already being installed. Some of the buildings of Delmar Garden Amusement Park are just visible in the distance on the right.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. In this photograph taken on August 31, 1909, looking southwest, the second floor exterior walls of both the north and south wings are complete. Decorative terra cotta moldings have been installed on some of the windows in the south wing. The tracks of the Creve Coeur Streetcar appear in the foreground. The top of the Woman's Magazine Building and the east end of the Woman's National Daily Building appear in the distance.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken on September 1, 1909, construction of second story exterior walls is almost complete except for the west end of the south wing. Terra cotta moldings have been installed around many of the windows.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking southeast on November 24, 1909, the construction tower is still in place on the north wing, and workers are installing the side skylight in the south wing. Construction materials still surround the building.
	This portrait of the men associated with Art Academy of the People's University was taken in early 1910. Taxile Doat (seated) renowned ceramic artist from Sevres, France, was head of the ceramics division. Samuel Robineau (left), husband of Adelaide Alsop Robineau, was assistant editor of "Palette and Bench" and a ceramics instructor at the school. Edward Gardner Lewis (center) was founder and president of the American Woman's League and founder of the People's University. He was responsible for bringing together the incredibly talented staff for the Art Academy. George Julian Zolnay (right) was director of the Art Academy and head of the sculpture division. He had recently completed the lion sculptures of University City's Lion Gates.
	On April 4, 1910, the first kiln of high fire porcelains was fired at the Art Academy of the People's University. All the pieces on the tables came from that first kiln. The plate in the center was created by Taxile Doat to commemorate this event. The artists who gathered for a photograph include (left to right) Frederick H. Rhead, Samuel Robineau, Edward Gardner Lewis, Adelaide Alsop Robineau, Mabel Gertrude Lewis, Eugene Labarriere, George Julian Zolnay, Emile Diffloth and Taxile Doat. This photograph appeared in "The Woman's National Daily" on April 9, 1910.
	The Ladies Guild of St. Louis Chapel (Episcopal Church) in University City, all of whom were members of the University City Chapter of the American Woman's League, held a musicale at the Art Academy on April 7, 1910. Mabel Lewis was president of the Chapter. This photograph appeared in "The Woman's National Daily" on April 11, 1910.
	In 1910 Edward Gardner Lewis persuaded John Vanderpoel to come to St. Louis to head up the drawing and painting division of the People's University Art Academy. In this photograph, John Vanderpoel (in the dark coat) is standing in the center. Mabel Lewis is the model. Students are not identified, but they are probably honor students. This photograph appeared in "The Siege of University City," by Sidney Morse, published in 1912.
	Kathryn Cherry's china painting courses were some of the most popular ones offered at the Art Academy of the People's University. In this photograph, students are working on a variety of project from design on paper to painting on china. Mrs. Cherry is standing on the left.
	Edward Gardner Lewis convinced Adelaide Alsop Robineau, one of the most talented ceramic artists in America, to come to University City where she could teach and also experiment with new clays and glaze techniques. In this photograph, Mrs. Robineau is working on her famed scarab vase. In 1911 it was part of the collection sent to Turin, Italy to represent University City pottery. The collection was awarded the grand prize. Lewis reported that if a single piece could have won a prize, the scarab vase would have taken top honors.
	Frederick Hurton Rhead was one of the talented ceramic artists Edward Gardner Lewis hired to teach at the Art Academy of the People's University. He wrote the correspondence course materials for teaching studio pottery for the school. In this photograph he is in his studio in the Art Academy. A series of tiles and pottery examples, which may be student work, are on the table. His wife, Agnes Rhead, was also an instructor.
	World renowned ceramic artist Taxile Doat had been associated with the Sevres Manufactory in France for many years when Edward Gardner Lewis convinced him to come to University City. In this photograph, Doat is in his studio at the Art Academy. Several pieces of his work are on the table in front of him as well as on the table against the wall. One of his popular designs was the gourd vase.
	In 1912 when the People's University was closing, the Art Academy became more focused on the production of commercial ware and items that could be mass produced for sale. In this photograph Edward Gardner Lewis (standing left), founder of the Art Academy appears with associates (left to right, back) Frank Furman, an unidentified woman and an unidentified man. In front (left to right) are Mabel, his wife and an artist in her own right, and unidentified woman and Claudia Hazen White, Secretary of the Interior for the American Woman's Republic. The items on display are all made from molds and are awaiting decoration or glazing.
	Construction began on the Art Academy Building in April 1909. The building was designed by St. Louis architects Eames and Young for the People's University of the American Woman's League. In this photograph, probably taken in May of 1909, construction material surround the walls just being erected. The Woman's Magazine Building and Press Annex are visible in the distance.
	The Art Academy Building was designed by St. Louis architects Eames and Young for the People's University of the American Woman's League. In this photograph, looking northeast, exterior walls are complete on the first floor and work is in process on the second floor. John J. Dunnavant & Co. were the general contractors for the project. Some of the buildings at Delmar Garden Amusement Park are visible on the right in the distance.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking west on September 1, 1909, second story exterior walls have been completed. Terra cotta moldings have been installed around the windows in the south wing, but the back wing would remain plainer with little ornamentation. The Creve Coeur Streetcar tracks are visible in the foreground.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph looking north on September 4, 1909, the second floor exterior walls of the south wing are complete, and concrete is being poured for the floor of the third story.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking northeast on September 4, 1909 the decorative railing has been installed around the west balcony, and much of the terra cotta molding has been placed on the front of the building. Concrete is being poured for the floor of the third story of the south wing. The sign for John J. Dunnavant & Co., contractors for the project, can be seen on the small building in the foreground.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking northeast on September 20, 1909 the exterior walls of both wings are complete and most of the decorative terra cotta molding is in place. The sign for John J. Dunnavant & Co., contractors for the project, is on the building on the lower left. They were sharing space with the sales office for University Heights Realty and Development Co., another of Edward Gardner Lewis' ventures.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking northeast on September 23, 1909 the exterior of the building is almost complete and the roof is being put on.
	The Art Academy Building was designed in the Classical Revival style by St. Louis architects Eames and Young for the People's University of the American Woman's League. At this stage in construction photographs were taken almost weekly to document the progress of the building. In this photograph taken looking southwest on November 24, 1909, the construction tower is still in place on the north wing, and skylight on the south wing is covered with a tarpaulin. Construction materials still surround the building.
	When Edward Gardner Lewis convinced Taxile Doat to come from France to University City to head up the ceramics division of the People's University's Art Academy, he also convinced Doat to sell his personal ceramics collection to the school to be put on display and to serve as inspiration to the students. In this photograph, the collection which had been shipped from France has just arrived in University City on January 12, 1910, a very rainy day. The horse drawn van is on Oberlin Avenue next to the Art Academy, and workers are preparing to unload the collection. Doat is standing behind the van, just to the left of the planks that have been laid over the curb.
	George Julian Zolnay had just completed the lions for Edward Gardner Lewis' Lion Gates when he became director of the People's University's Art Academy and head of the sculpture division. In this photograph, he is in the studio with several of the sculpture honor students. Christian Kiehl is on the left at the high bench. Caroline Risque is on the left working on a piece of sculpture on a stool. Zolnay is seated at the desk just right of center. Nancy Coonsman is kneeling on the far right. The large pieces of sculpture in the room are Zolnay's work.
	This unidentified young worker is mixing clay and he is obviously enjoying what he is doing. Instructors and artists at the Art Academy of the People's University experimented with many types of clay from around the country in an effort to prove that American clays were equal or superior to European clays.
	This photograph appeared in "The Woman's National Daily" on December 15, 1910, with another of Edward Gardner Lewis' promotion ideas called the League's Christmas Tree. Vases, statues and other items produced by the artists and honor students, and even Lewis himself, were valued as "units," wrapped and marked. Each "unit" was equal to $10 in subscriptions submitted to the American Woman's League. Items on the table include many of George Julian Zolnay's sculpture reproductions, and some of honor student Caroline Risque's sculptures of children.

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