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Lniversiw of Te(As at El Paso Institute of Oral History LNIVERSIW OF TE(AS AT EL PASO INSTITUTEOF ORALHISTORY INTERVIEI/EE: Tom Lea INTERVIEbIER: Adair Margo PROJECT: DATEOF INTERVIEId: l"Iav. 1993, Julv. 1994 Unrestricted TER}4SOF USE: B00 TAPENO: 800 TRA}.ISCRIPT NO: TRANECRIBER: Kevin Rowan BI OGRAPHICALS'/NOPSIS CIF INTERVIEI,.JEE: Artist-author; native E1 Pasoan; born July 11, 1907; father Tom Lea, Sr. was mayor of El- Paso, 1915-1917; attended Lamar School and graduated from El Paso High School in 1924; attended Chicago Art Institute where he studied and worked under John Norton; muralist and illustrator; war correspondent for Life magazine during World War II; author of The Brave Bu1ls (1949), The ffin=E'erful Country (1952), The Ki-ng Ranch (tgS@ (1960), Knight in the Sun (196I), The Hand of Cantu (1964), and A Picture Gallery (1968) ; studio painter, 1970s-1990s. SIS,II,IARYOF INTERVIEWI Interview covers his life and his literary and artistic careers in detail. Topics include: El Paso history, particularly time of Mexican Revolution when his father, Tom Lea, Sr. was mayor of E1 Paso, I9L5-I9I7; his formative years in El Pasol discussion of major influences on his art; his years in Chi-cago at Chicago Art Institute as student and employee of John Norton, 1924- 1933; mural competitions sponsored by WPA during the Depression; experiences as a l^7ar correspondent, I94L-L945, for Life magazi,ne; description of research, writing, and illustrating his books, L949-L968; reflections on his work as a studio painter , L960-L994. A complete outline of interview accompanies tran- script. Pages Length o{ Interview: 15 Hours Length o{ TranscriPt "4$3 Outline of Tom Lea fnterview Tape 1 Side A Transcript pages 1--L6 Farnily background, parentsr courtship, Tomrs birth on July 11, L9O7, his boyhood, remembrances of his father as mayor of El paso 1915-1917, early memories of Mexican revolution. Side B Transcript pages 1,6-34 Activities at the YMCA and visits to El Paso Public Library as a chi1d, trips to Arizona and santa Fe as teenager, Fremont Erlis, Er Paso High School 1920-24, art club ca1led the Chacmool Society, infruences of Gertrude Evans and Maud sulrivan, how he came Lo attend Chicago Art Institute. Tape 2 Side A Transcript pages 34-48 Childhood accounts, stories of the Mexican revolution, in particular his Dadrs involvement with Victoriano Huerta, Felipe Angeles, Pancho Villa. Mentions A.B. FaIl and Luis Terrazas. Side B Transcript pages 48-67 Discusses farnily members, his cousin Homer Lea, who was General Sun Yat-sents rnilitary advisor and his uncle Calvin Lea; experJ-ences at Chicago Art Institute, influence of John Norton and other instructors, L924-L933. Tape 3 Side A Transcript pages 67-83 Mural projects in Chicago, Nancy Taylor, marriage to her in i,927, their move to Santa F€, her illness and death in 1936, menti_ons beginning of work with J. Frank Dobie and Carl Hertzog. Side B Transcript pages 83-98 Friends in Chicago, in particular BlLI and Josephine Meade, more murals in Chicago, first trip to Europe (l-930) with Nancy: paris, Florence I Arezzo, Orvieto, Rome, and Capri, his first face-to-face encounters with the art of Delacroix and Piero deIla Francesca and their impact on Lears workl comments on art of Michelangelo. Tape 4 Side A Transcript pages 98-11-4 Europe trip continues: capri and purchase of gun souvenir for Dad, John Nortonrs death, move to Santa Fe with Nancy in 1933, the heartbreak of her illness and death in L936, his reestablishing hinself in E1 Paso. Side B Transcript pages 114-130 First studio in EI Paso, w.P.A. mural conpetitions: The Nesters in Washington, D.c., and Pass of the North for Federal Courtnouse in EI Paso, courtship of sarah Dighton, their marriage in 1939 and honeymoon, civit war murar for post office in pleasant Hi1I, Mo., sunrmer L939 in Monticello, Illinois, establishing home with Sarah in EI Paso, trip with J. Frank Dobie to research The Longhorns. Tape 5 Side A Transcript pages l-30-144 World War II: war correspondent for Life magazine, first assj-gnment with North Atlantic fleet, first voyage to Argentia, pearl Hirbor, assignrnent to Hornet in Pacific, assignment to North Africa, anecdotes about Major Gen. c.R. snith, experiences in Marrakech, Algiers, Tunis, portraits of Barndt Bulchen and Jimmy Doolitt1e. Side B Transcript pages 1-44-LSB worrd war rr: Abadan, Karachi and over the Hump, assignment in china, rneetings with Gen. Joseph stirwerl and rheodore H. white, drawings for A Grizzly from the coral sea, portraits of Generalissimo and Mme. Chiang Kai-shek, Chinese Minister of Finance H.H. Kung, and t{aj. Gen. craire chennaurt, pacific assignment, on board James OrHara, drawings for peleliu Landing. Tape 6 Side A Transcript pages L58-172 Peleliu paintings, portraits of friends: Dr.Robert Homan and Carl Hertzog, Homanrs scrapbooks on Lea; death of father Tom Lea, sr. in L945, return from world war rr; second portrait of sarah, interest in bull fighting, visit with Ray 8e11, Jt. on ranch in Mexico, comments about the matador Manolete, the development of his character Luis Bello for The Brave Bulls. rt* Transcript pages" L72-L87 Observations of war correspondents i-ncluding Edward Steichen, studies of beef cattle, more on Ray Bellrs ranch, meeting Manolete, the Manolete portrait, Life magazine work on fighting bulls and beef cattle, leaves the staff of Life in 1946. Tape 7 Side A Transcript pages L87-2O4 The Brave Bu1ls: research for book, filrn industry buys rights to book, Lears screenplay rejected, the filming process, filrn editor Bob Parrish, movie premiere L951, The wonderfur country: work on film with actor Robert Mitchurn. Side B Transcript pages 2O4-2i.9 The wonderful country: writing the book, basis for characters, film version, discusses the painting rrEverybodyts Gone to the weddingrrf comments on other artist/writers Frederic Remington and Andrew Wyeth; The King Ranch: inquiry from Klebergs, inclusion of Carl Hertzog in project, Bruce cheeseman, trip to ranch for research. Tape 8 Side A Transcript pages 220-234 The King Ranch: roles of Holland McCombs and Francis Fugate in development of book, anecdotes about CarI Hertzog, comments on life at the King ranch and the Kleberg farnily, completion of book after five years, Saddle Blanket and Ranch editions of book; The primal Yoke: inspired by a trip to wyoming with shirley and charres Leaverr, reviews of the book; The Hands of cantu: study of horses. Side B Transcript pages 234-252 The Hands of Cantu: trip to Malta to research horses, assistance of A1 Flening, publication by Little, Brown, and Co., illustrations and design; comments on art work for his first 3 books, discussion of portraits and choosing subjects, origins of A Picture Gallery and In the Crucible of the Sun: research, Klebergsr involvement i-n project, death of Bob Kleberg in t974, Lea paintings and illustrations at the ranchhouse. Tape 9 Side A Transcript pages 253-269 El Paso Public Library built in 1-950s, furniture design and Lears mural in Southwest Room, comments about Rex Smith, friendship with Carl Hertzog, additional projects with Hertzog and with J. Frank Dobie. Side B Transcript pages 269-285 Carl Hertzog: his genius, talent for design and his personality; Leavells as friends, trips with Leavells, friendship with John Conno1ly, Texas Academy. Tape 1-0 Side A Transcript pages 285-297 Recalls good friends Holland McCombs, who influenced Klebergs to commission Lea to write history of King Ranch, Rex Smith, and Fergus Meade, the theme of mentor in his books, discusses his portraits of: Fergus Meade, Rex Smith, Tom Lea, Sr., Dick K1eberg, G.W. (8i11) Burroughs, AI Fleming, Claire Chennault, Generalissirno and Madame Chiang Kai-Shek. Side B Transcript pages 297-3L3 Discusses his portraits of: EIIex Stevens, brothers Dick and Joe Lea, Frank FarreII, Manolete, Urbici Soler, and matador. Tape 11 Side A (partially blank) Transcript pages 3L4-3L9 Continues discussion of portraits, anecdote about decllning request to do an official presidential portrait of LBJ and Peter Hurd eventually getting the commission. Side B Transcript pages 320-333 Discusses how his work is J-ntegrated in his life, research for Hands of cantu, infruence of John constable on his art, how his writing is self-taught, A Picture Gal1ery, relationship to editors, his unwritten novel on the Mexican Revolution, the recurring theme in his paintings of a lone horseman Tape l-2 Side A Transcript pages 333-353 Discusses sirnilarities in writing and painting, comrnents on Frederic Remington and Charlie Russell, the A11-Texas Exhibition in l-945, talks about his paintings rrThe Shining Plainrr and rrUnto the Hillstt, commissions for paintings from friends, reveals his feelings about oi1 and watercolor, talks about his paintings of f11inois. Side B Transcript pages 353-372 Musings about the lives of artists, the trouble with Hollywood, the trouble with having too rnuch money, and the adventure of living; his philosophy of life, discusses one of his favorite books Arabia Deserta, the story of a man on a quest. Tape l-3 Side A Transcript pages 372-386 Reviews and expands recollections of early EI Paso, childhood experiences, games and activities 191-0-L925. Side B Transcript pages 386-399 Early El Paso and childhood experiences continue. Tape 1-4 Side A Transcript pages 399-402 Discusses class of L924 at El Paso High School, experience as editor of yearbook The Spur, and work on College of Mines yearbook. Side B Blank Tape l_5 Side A Transcript pages 403-424 Recollects early years spent in Santa Fel friendship with Dr. and Mrs. Harry P. Mera, Dick Kaune, Fremont Erris, and Fergus and Josephine Meades; ernplolrment at Laboratory of Anthropology in Santa Fe as staff artist; WPA paintings executed and left at liew Mexico rrl,os Fine Arts Museum, including Musicosrr; illustrating ?he "Rain Birdr" A Study in PuebTo Design; describes origins of 'Lonely Towlrr; designing rnurars for san Antonio and washington D.c.
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