Five Best Museums to Experience Minerva Teichert's Art
Minerva Teichert, a pioneering artist of the American West, left an indelible mark on the art world with her captivating depictions of Western landscapes, biblical narratives, and scenes from Mormon history. Her bold use of color, dynamic compositions, and distinctive style have earned her a revered place in the annals of American art. For art enthusiasts eager to immerse themselves in Teichert's masterpieces, several museums across the United States offer unparalleled opportunities to experience her work firsthand. Let's embark on a journey to discover the best museums to see Minerva Teichert's art.
1. Brigham Young University Museum of Art (Provo, Utah):
As the largest repository of Minerva Teichert's artwork, the Brigham Young University Museum of Art boasts an extensive collection of her paintings, murals, and drawings. Visitors can marvel at Teichert's vivid portrayals of Book of Mormon stories, Western landscapes, and religious themes, providing insight into her unique artistic vision and cultural heritage.
2. Springville Museum of Art (Springville, Utah):
Located in Teichert's hometown of Springville, Utah, the Springville Museum of Art features a significant collection of her artwork, including paintings inspired by Mormon pioneer history, Western life, and biblical narratives. The museum's comprehensive display offers visitors a comprehensive overview of Teichert's diverse oeuvre and artistic evolution.
3. National Cowboy & Western Heritage Museum (Oklahoma City, Oklahoma):
The National Cowboy & Western Heritage Museum houses a notable selection of Minerva Teichert's Western-themed paintings, showcasing her talent for capturing the spirit of the American frontier. Visitors can admire Teichert's dynamic compositions, vibrant colors, and evocative portrayals of cowboy culture, ranch life, and Western landscapes.
4. Church History Museum (Salt Lake City, Utah):
Situated near Temple Square in Salt Lake City, the Church History Museum features several of Minerva Teichert's iconic murals depicting scenes from Mormon history, including the pioneer trek westward and key events from the Book of Mormon. Teichert's murals offer a visually compelling narrative of the Church's heritage and legacy.
5. Utah State University Merrill-Cazier Library (Logan, Utah):
The Utah State University Merrill-Cazier Library houses a notable collection of Minerva Teichert's artwork, including paintings, sketches, and illustrations. Visitors can explore Teichert's dynamic brushwork, expressive style, and thematic diversity, gaining a deeper appreciation for her contributions to American art.
Minerva Teichert's art continues to captivate audiences with its vibrant colors, evocative imagery, and rich storytelling. Through her paintings, murals, and illustrations, Teichert immortalized the landscapes, legends, and lore of the American West, leaving a lasting legacy that resonates with viewers of all backgrounds. For art enthusiasts eager to experience the beauty and depth of Teichert's work, the aforementioned museums offer unparalleled opportunities to immerse themselves in her masterpieces, gaining insight into her artistic vision, cultural heritage, and enduring influence on American art and culture.
General Conference Then & Now
The very first “General Conference” which was then only called Conference was convened by Prophet Joseph Smith on June 9, 1830. The group in attendance was around 30 members. Fast forward to today, and the Conference Center adjacent to Temple Square in Salt Lake City, Utah, USA, accommodates a staggering 21,000 members. The reverberations of the conference's messages extend far beyond this gathering, as they are translated into 93 different languages and transmitted to millions and millions worldwide via radio, television, satellite, and, Internet connections.
In tracing the evolution of general conference from its inception in 1830 to the present day, we witness a remarkable transformation. From humble beginnings, such as the outdoor bowery where members gathered in 1848, to the grandeur of the Conference Center, these photographs capture the enduring spirit and growth of this sacred tradition.
Starting in 1840, Church General Conferences became biannual events. These conferences remained unstopped even through all the numerous migrations of the Latter-day Saints. In 1848, early pioneers in the new Salt Lake Valley convened their inaugural general conference in what was known as an open-air bowery, like the one depicted on the right of the above photo. Basically it was an outdoor open area covered by tree limbs and leaves. The tree branches could be dipped in or sprinkled with water and any breeze in their shade would provided some cooling effect. Following this, the Saints erected an adobe tabernacle (seen on the left of the above photo) as their gathering space utilizing it until the construction of the Full Tabernacle was finalized in 1867. This photo is rare and offers a glimpse of the Saint’s early life on Temple Square.
The General Conference of The Church of Jesus Christ of Latter-day Saints has a rich history dating back to the early days of the Church. Here's an overview of its evolution and significance:
1. Origins
The first recorded general conference of the Church took place on June 9, 1830, shortly after the Church was officially organized by Joseph Smith in Fayette, New York. Initially, conferences were held irregularly and in various locations as the Church was still in its formative years.
2. Establishment of Semiannual Conferences
In 1832, the Church began holding conferences more regularly, with the first semiannual general conference convened in September of that year. This pattern of holding semiannual conferences—typically in April and October—has continued to the present day.
3. Growth and Expansion
As the Church grew and expanded, so did the general conferences. They became important gatherings for Church leaders and members to receive guidance, instruction, and inspiration from Church leaders, including the President of the Church and members of the Quorum of the Twelve Apostles.
4. Physical Locations
In the early days, general conferences were held in various locations, including churches, tabernacles, and even outdoors. In 1867, the iconic Salt Lake Tabernacle was completed, providing a permanent and central location for general conferences in Salt Lake City, Utah.
5. Broadcast and Technology
With advancements in technology, general conferences began to be broadcast via radio in the early 20th century, allowing members outside of Utah to participate remotely. Over time, broadcasts expanded to include television, satellite, and internet streaming, making the conferences accessible to millions of members worldwide.
6. Conference Structure
General conferences typically consist of several sessions held over the course of two days, with talks and addresses delivered by Church leaders. These sessions include messages of spiritual guidance, doctrinal instruction, and announcements regarding Church organization and policy.
7. Global Reach
Today, general conferences of The Church of Jesus Christ of Latter-day Saints are truly global events, with members from around the world participating remotely in their native languages. The proceedings are translated into numerous languages, allowing members to receive counsel and inspiration in their own tongues.
8. Continuing Tradition
The tradition of holding semiannual general conferences continues to be a cornerstone of the Church's governance and spiritual life. These conferences provide an opportunity for Church leaders to address the worldwide membership, reinforce core doctrines and principles, and strengthen the bonds of unity and faith among members.
Overall, the history of the general conference reflects the growth, vitality, and enduring spiritual heritage of The Church of Jesus Christ of Latter-day Saints. It remains a cherished tradition that unites members worldwide in worship, learning, and fellowship.
Brigham Young’s Christmas Donut Recipe
This original recipe for buttermilk donuts was contributed by Sister Naomie Young Schettler, a granddaughter of Brigham Young. It was first made by Emily Partridge Young, Sister Schettler’s grandmother. A favorite with President Young, the donuts became so popular that they eventually were sold at the Zion’s Cooperative Mercantile Institution department store in Salt Lake City.
5 1/2 cups all-purpose flour
2 teaspoons baking soda
1 teaspoon salt
1 1/2 teaspoons ground nutmeg
2 cups buttermilk
2 large eggs, beaten
1 1/4 cups granulated sugar
6 tablespoons butter, melted
Oil, for frying
Granulated or powdered sugar, optional
Ground cinnamon, optional
Combine ingredients, kneading in enough flour to make a soft dough, not too sticky. Roll out and cut into doughnuts. Fry in deep, hot oil.
The History of the Nauvoo Temple Star Windows
THE BEAUTIFUL CHRISTIAN HISTORY OF THE INVERTED STAR
The beautiful inverted stained glass star windows adorning the Nauvoo Temple possess a rich historical significance dating back to the early Christian era. These Nauvoo Temple star windows, known as the "Morning Star" from Revelation 22:16, symbolize Jesus Christ. Intriguingly, when we track the orbit of the Morning Star, which looks like a star in the later morning sunrise, but is actually the planet Venus, it forms a perfect mathematical inverted five-point star.
This inverted star, etched in stone during Old Testament times, still endures on surviving structures and within numerous museums around the world. In 312 A.D., it was merged with the cross and featured on doors, windows, banners, and even battle armor, serving as a symbol of goodness and protection against evil. Early Christians revered the inverted star as an emblem of Christ, and many ancient cathedrals and churches in Europe were embellished with these inverted stained glass stars. Early Christian records tell us that it symbolized the five wounds Jesus Christ endured during the crucifixion.
Renowned shrines such as the Notre Dame Amiens Cathedral in France (constructed in 1230 A.D.) and the Marketirche church in Germany (erected in 1350 A.D.), as well as the Catholic Collégiale Notre-Dame de Vitry-le-François, a 17th-century structure that survived World War II, still to this day display massive stained glass inverted star windows.
Across centuries, this symbol has graced countless edifices, windows, and banners. It embellished many early American structures and churches and could be spotted on barns, residences, and gates of early colonial families. The inverted star featured on various iterations of the United States Flag until 1876, with the most famous being the one that fluttered above Fort McHenry in 1814, inspiring the verses of the Star-Spangled Banner. In 1862, the U.S. Congress mandated the Philadelphia Mint to craft the National Medal of Honor, the highest military accolade. Its design prominently includes the inverted five-point star, still in use today across all branches of the military. The inverted star enjoys wide usage in various forms, from sheriff's badges to the emblem of the Republican Party featuring an elephant.
In contrast to the grand, intricate stained glass inverted stars found in famous cathedrals, the early Nauvoo Latter-day Saints had only limited resources to create a modest three-colored inverted star stained glass window. They opted for red, white, and blue. Despite its simplicity, this design was met with mockery in a nearby newspaper, labeled as a "pitiful attempt." Nevertheless, the humble inverted stars on the Nauvoo Temple brought joy to those who beheld them each evening when they were backlit.
Upon the reconstruction and dedication of the Nauvoo Temple in 2002, President Gordon B. Hinckley made the decision to reinstate the three-color stained glass windows. Once more, the beautiful Morning Star windows illuminate the night, evoking the memory of the sacrifices made by the early pioneers who held a deep love for the Lord.
Friends: Edgar Payne & Minerva Teichert
Minerva Teichert had many friends and even mentors along the way. As if she were destined to become an artist, her earliest influences would become somne of the most renowned artist in American history. Edward Hopper, Robert Henri and even Edgar Payne, whoes painting now sell for tens of millions were Minerva’s earliest friends. Here is a look at some of Edgar Payne’s works that seems to show a mild influence in Minerva Teichert’s style and work.
Pioneer Water Scene by Minerva Teichert
A painting by Minerva Teichert showing Latter-day Saint pioneers at a watering stop.
Minerva Teichert Quotes
Here are some quotes by Minerva Teichert and others regarding the history of the Church of Jesus Christ of Latter-day Saints
Minerva Teichert Legacy of Art & Inspiration Strong as Ever
Minerva Teichert was indeed a celebrated artist, and her impact on the art world and the Latter-day Saint community remains significant even five decades after her death. Her unique style and subject matter made her artwork highly recognizable and sought after. Here's some additional information about her and her enduring legacy:
Early Life and Career: Minerva Kohlhepp Teichert was born on August 28, 1888, in North Ogden, Utah. She displayed artistic talent from a young age and pursued her passion for art despite facing societal challenges. She studied at the Chicago Art Institute and later at the Art Students League in New York City. Her early work primarily focused on Western and cowboy themes.
Latter-day Saint Themes: Teichert's strong faith in The Church of Jesus Christ of Latter-day Saints, commonly referred to as the LDS Church influenced much of her artwork. She created numerous paintings depicting scenes from the Book of Mormon, the Bible, and other religious narratives. Minerva Teichert LDS art and paintings often emphasized faith, courage, and the human spirit.
Public and Private Collections: Teichert's artwork can be found in both public and private collections. Many of her paintings adorn the walls of LDS temples and chapels, contributing to the spiritual ambiance of these sacred spaces. Her works are also housed in various museums, including the Springville Museum of Art in Utah.
Magazines and Lesson Manuals: Teichert's artwork has been featured on the covers of LDS Church magazines, lesson manuals, and other publications. Her illustrations have helped convey important religious teachings and stories to a broad audience.
Recognition: Over the years, Minerva Teichert received numerous accolades and awards for her contributions to art and her dedication to her faith. Her artistic talent and commitment to her beliefs continue to inspire many within and outside the LDS community.
Enduring Legacy: Minerva Teichert's legacy endures through her art, which continues to be celebrated and admired by people from all walks of life. Her ability to capture the essence of faith and spirituality in her work has left a lasting impact on the religious and artistic communities.
In summary, Minerva Teichert's artwork remains as recognizable and influential as ever, thanks to her distinctive style and her dedication to portraying Latter-day Saint themes. Her paintings continue to inspire and resonate with audiences, and her legacy as a renowned artist and devout Latter-day Saint lives on.
More about Minerva Teichert
Minerva Teichert, born on August 28, 1888, and passing away on May 3, 1976, was a distinguished American painter of the 20th century, renowned for her artistic representations of Western and Mormon art themes. Teichert’s notable body of work includes an impressive collection of murals that vividly portray scenes from the Book of Mormon. Teichert's artistic journey was enriched by her education at both the Art Institute of Chicago and the Art Students League of New York. Furthermore, she was a devoted member of the Church of Jesus Christ of Latter-day Saints commonly referred to as LDS Church.
Among Minerva Teichert’s most recognized religious-themed creations are LDS art masterpieces such as "Christ in a Red Robe," "Queen Esther," and "Rescue of the Lost Lamb." Notably, Teichert contributed a total of 42 murals inspired by Book of Mormon art narratives, and these captivating artworks now find their home at Brigham Young University's - BYU Museum of Art.
An exceptional milestone in her career was her distinction as the first woman ever invited to paint a mural for an LDS Church temple. Through her artistry, Minerva Teichert left an enduring mark on American art, particularly through her captivating portrayal of Western and religious subjects.
Teichert's early life and family history add depth to her remarkable journey. She was the second child among ten born to Frederick John Kohlhepp, a railroad worker and rancher, and Mary Ella Hickman, a suffragette and pamphleteer. Growing up on a ranch in Idaho, Minerva's upbringing was infused with the essence of sketching horses and the ranch life from a tender age. Her artistic talent was nurtured by her mother, who gifted her first set of watercolors when she was just four years old. Teichert’s childhood was filled with creativity, as she acted out plays and assisted her father on the farm. Minerva had a deep love for horseback riding, exploration, and sketching scenes from the natural world, passions that both her parents supported wholeheartedly.
The name "Minerva" had historical significance, as it was derived from her maternal grandmother, Minerva Wade Hickman, who was one of the wives of the renowned frontier lawman and express rider, "Wild Bill" Hickman. Minerva was also a descendant of Colonial Governor Thomas Roberts of New Hampshire.
Minerva's mother was an educated woman who attended the Sacred Heart Academy in Ogden, Utah, where she received instruction in language, arts, and music. She came from a rich lineage comprising English, Scottish, Irish, Welsh, French, Belgian, Spanish, and German ancestry. On the other hand, Minerva's father had originally come from a prosperous German-immigrant Jewish family in Boston, Massachusetts. He ventured westward as a young man in 1878, where his experiences included bison hunting and work on various ranches, including those near Buffalo, Wyoming, and the Powder River area. His journey eventually led him to Utah, and he embraced the LDS Church in 1886. Frederick and Mary married in 1887 and later settled in Pocatello, Idaho. Due to Frederick's eye injury sustained while working in the railroad yards, the family frequently relocated to various rural communities, where they opened and ran small shops. The lack of formal schools in these areas meant that Minerva and her siblings were frequently homeschooled, leaving Minerva without a formal primary education.
Minerva embarked on a new phase of her life at the age of 14 when she left Idaho to work as a nursemaid in San Francisco. During her time in San Francisco, she encountered an art museum for the first time and also enrolled in classes at the Mark Hopkins Art School. After returning home and graduating from Pocatello High School, Minerva taught in Idaho, saving her earnings to pursue further education and artistic aspirations.
Minerva's artistic education included studying at the Art Institute of Chicago under John Vanderpoel. During her time in Chicago, she earned the nickname "Miss Idaho." She completed her courses in 1912 and returned to Indian Warm Springs, Idaho, to continue her artistic journey. During this period, she was courted by two young men and met her future husband, Herman Teichert. However, Minerva chose to prioritize her artistic pursuits over marriage at that time. She later studied at the Art Students League of New York in 1914, where she learned from notable instructors such as Robert Henri, George Bridgman, and Dimitri Romanoffski. Henri, in particular, recognized her exceptional talent, providing her with a scholarship and ranking her among his top three students. To support her studies, Minerva sketched cadavers for medical schools, illustrated children's books, and performed rope tricks and Indian dances. Her distinctive headband, a signature of her style throughout her life, may have originated from these performances. Although Minerva received a scholarship to study in London, she chose to return home and eventually married Herman.
In 1917, she returned to Idaho and married Herman Adolph Teichert on September 15 of that year. Following their marriage, Herman left to serve in World War I, and the couple eventually had five children. Minerva spent most of her life on a ranch in Cokeville, Wyoming, where she painted subjects she knew and loved best: scenes from Western Americana and religious artwork reflecting her deeply held convictions. In the early years of her marriage, she sketched on whatever materials were available, including scraps of wood and paper, due to limited funds for art supplies.
Minerva Teichert's was dedicated to her craft throughout her life. Teichert painted in her living room and, when working on murals, would fold her canvas and use binoculars to view her work from different perspectives. When asked about her persistence in painting despite artistic isolation and a lack of dedicated studio space, she simply replied, "I must paint." Minerva was a strong and independent woman who advocated for women's rights and held outspoken political conservative views. She generously shared her talents by giving art lessons in her home. In addition to her art career, she raised five children and managed her homestead and ranch.
In 1947, Minerva Teichert achieved a significant milestone when she won first prize in the LDS Art Contest held by her Church called the Centennial Art Contest and became the first woman to paint a mural for an LDS Temple, which was the Manti Temple. In the mid-1940s, having achieved success with mural painting, she embarked on a series of murals inspired by stories from the Book of Mormon. Originally considering theatrical productions based on Book of Mormon themes, she ultimately chose to create paintings. To bring her vision to life, Teichert utilized live models, costumes based on sketches she had made while traveling in Mexico, and painted backdrops. Her inspiration drew from scholarly writings, including the works of LDS author Hugh Nibley. In total, she created over forty Book of Mormon art murals. In the mid-1950s, she converted these murals into slides for presentations, although her desire to publish them in book form remained unfulfilled during her lifetime.
Minerva Teichert's art frequently featured women and Western themes, exemplified by works like "The Madonna of 1847," which depicts a Mormon pioneer mother and child in a covered wagon, crossing the plains in their journey to settle in Utah. Although she created over 400 murals during her career, she is particularly renowned for her set of 42 murals depicting scenes from the Book of Mormon, as well as her murals within the Manti Utah Temple. She also contributed murals to the LDS Church's tabernacle in Montpelier, Idaho, although they were temporarily removed during renovations to accommodate a heating system. These murals were later returned to their rightful place in the tabernacle.
Minerva Teichert's distinctive artistic style included the use of patterns in clothing, the strategic use of the color red for contrast, and often leaving the edges of her works unfinished or sketched. Many Minerva Teichert paintings drew inspiration from the colors of the desert and featured distant mountains. Despite submitting numerous pieces of artwork to the LDS Church during her lifetime, many were initially rejected. She also gave several paintings to Brigham Young University - BYU to cover tuition expenses for her family members. Her works are prominently displayed throughout the BYU campus, including the Joseph Smith Building, the Wilkinson Student Center, and the BYU Museum of Art. The "Pageants in Paint" exhibition, one of her most famous, has been showcased in the BYU Museum of Art. Additionally, several of her works are displayed on the campus of Brigham Young University–Idaho. Her Book of Mormon art murals are a valuable part of the collection at the BYU Museum of Art.
Minerva Teichert's deep faith in the LDS Church had a profound impact on the subjects of her LDS art. She was the first woman sent on an art mission by the church, initially to Chicago and later to New York City, before attending the Art Students League. She served in various church callings, including as Primary president and on the Stake Sunday School Board, as well as working in the Young Women organization.
Her husband, Herman, was not a member of the LDS Church when they were married, but supported her church involvement and donated tithing. He later converted to the faith in 1933, and the couple was sealed in the Logan Utah Temple the following year. Minerva and Herman had five children.
Minerva Teichert continued to paint well into her seventies. However, a hip fracture resulting from a fall in 1970 forced her to stop painting. She entered a nursing home in 1973 and passed away in Provo, Utah, on May 3, 1976. She was laid to rest in the cemetery in Cokeville, Wyoming.
Throughout her extensive career, Minerva Teichert is believed to have created thousands of paintings. Several of her works are held in various museums, including the Utah Museum of Fine Arts in Salt Lake City, The Church of Jesus Christ of Latter-day Saints History Museum, Brigham Young University Museum of Art, The Springville Art Museum in Springville, Utah, which owns two of her works, and the Brigham City Museum, which houses her painting "Pioneers: Water Scene." Her art was featured in the semi-permanent exhibition "Becoming America" at BYU's Museum of Art from 2019 to 2022.
One of the most poignant moments in Minerva Teichert’s artistic legacy was the recovery of her painting "Restoration of the Melchizedek Priesthood" from the ruins of the Provo Tabernacle, which was destroyed by fire in 2010. The painting, self-insured by the church and valued at $1.5 million, was almost completely destroyed in the fire but was identified and recovered. This event led to a comprehensive effort to catalog and preserve original artworks in the church's buildings throughout the United States and Canada.
In summary, Minerva Teichert's life was a remarkable journey marked by her unwavering dedication to art, faith, and family. Her legacy as a pioneering woman artist, devoted church member, and prolific muralist endures through her captivating and deeply meaningful paintings, which continue to inspire and resonate with audiences today.
Antiques Roadshow - Minerva Teichert Art
Antiques Roadshow came to Bismarck, North Dakota in 2015 and discovered a privately owned oil painting by Minerva Teichert. The family who owns the piece introduced it as a possible painting of a family member “I'm almost positive it's a painting of my brother-in-law, who was a sheep rancher in Wyoming. It was painted in 1959, and he died in 1964 - so it's been in the family since the time it was painted.”
It’s very rare to see Minerva Teichert paintings come for auction and so this was a great way to see her work showcased. The appraiser, Gene Shapiro explained that another piece of Minerva Teichert art recently came up for auction. The auction house estimated that the piece would only bring between $800 and $1,200: Shapiro explained “I can tell you that one Teichert work at auction, which was a similar subject, sold for $10,000 on an estimate of $800 to $1,200. So basically, that shows you that the interest was really significant, much more than the estimate.”
Click the Image above to watch the episode of Antiques Roadshow featuring Minerva Teichert art.
Shapiro went on to explain: “It has Minerva Teichert’s typical palette, which is a kind of a subdued, but very light colors. She's one of those artists who are very famous, but they don't have that many works appear at auction, so to put a fair market value on it is a little harder. I would estimate this work at auction with a very conservative estimate of $10,000 to $15,000 - but I think that's conservative because with enough interest, which I'm sure there would be, given the fact that she's such an important Mormon artist, I think it could do a lot better. It could even go up to $20,000 or $30,000.”
Restoring History - Minerva Teichert Painting Gets a Lift
When the condition of the art owned by Cashe county was assessed, art appraiser Allen Dodworth was not very pleased. Very good works of art were deteriorating or worse. He wrote a memo to the Cashe County School, District superintendent - referencing a two-inch tear me candid words in a Minerva Teichert painting that he valued at $300,000.
“To allow it to remain suggests indifference to the painting, much the same as allowing graffiti to remain on a public wall invites more disrespect,”
Superintendent Steve Norton is aware of both the tear and the admonishment.
Untitled Minerva Teichert painting c1935. This art hangs at the Historic Logan Courthouse. Cash County owns 73 works of art by various artists. The entire collection has an estimated value of $1.1 million.
In June, the school board members were presented with an introduction to the entire artwork collection, providing them with insights into its contents and specific requirements. While a portion of the artwork is on loan, the majority is skillfully displayed in frames throughout the district office. However, there remains a batch of paintings stored within a basement closet at the district office, a situation that would concern art enthusiasts like Dodworth.
Dodworth noted that the space "beneath the stairs" is unsuitable for safeguarding delicate and valuable items, stressing that the stored artwork's condition will continue to deteriorate. He recommended a solution such as storing the pieces on vertical shelves at the very least, or, even more ideally, putting them on public display as an exhibition.
During the late 1970s, Brenda Anthony, the former President of the PTA Council, was approached by Nancy Calderwood and Madia Ashment, both mothers of school children. They raised concerns about the mistreatment of valuable artworks in school lunchrooms.
Upon receiving these concerns, Anthony took the initiative to discuss the matter with then-Superintendent Clark Puffer, who empathized with the situation. Subsequently, the school board made the decision to relocate the art pieces from the schools to the district office.
Given that a significant portion of the artwork holds historical significance, particularly regarding early Utah history and the Mormon pioneers, Anthony mentioned that The Church of Jesus Christ of Latter-day Saints reached out to the school district. In this interaction, the church indicated its interest in specific paintings and negotiated their acquisition and compensation terms with the district. As a result, certain pieces were sold, and the funds obtained were allocated to the restoration and framing of other artworks.
Minerva Teichert Art Galery
Minerva Teichert Art and Vision
During the early 1900s, the Art Institute of Chicago and the Art Students League of New York were venues where Minerva Teichert, an artist affiliated with the Latter-day Saints, pursued her studies. This period saw the rise of mural paintings and theatrical pageants as vibrant components of American popular culture. Drawn to these engaging art forms, a young Minerva harnessed their dramatic essence to narrate tales of her religious lineage and the American frontier.
Despite growing up in the rural landscapes of Cokeville, Wyoming, Minerva Teichert’s life was notably influenced by drama, theater, and cinema. This fondness for artistic expressions persisted even as she ventured beyond her hometown. During her time in Chicago, her academic pursuits extended beyond visual arts to encompass drama and dance. Upon her arrival in New York, she supplemented her studies by showcasing rope tricks and performing Native American dances to cover her tuition.
The concept of utilizing expansive murals within public structures to convey knowledge intrigued Minerva. These murals possessed the potential to convey their messages to large audiences even from a distance. While in New York, the prominent American realist painter Robert Henri encouraged Minerva to encapsulate the "great Mormon story" within her works. Driven by this aspiration, she produced numerous theatrical portrayals featuring Mormon pioneers, the American West, and scenes from the Book of Mormon.
A collection of forty-seven expansive narrative murals created by Minerva Teichert is currently exhibited at the Brigham Young University Museum of Art - Minerva Teichert art gallery.
All 42 of Minerva Teichert’s Book of Mormon Paintings
Minerva Teichert stood as one of the select Western women in the early 20th century who underwent formal artistic training at the Art Institute of Chicago and the Art Students League in New York City. During her time in the bustling streets of New York, her mentor & instructor, the American artist Robert Henri, urged her to paint the "Mormon story." Fearlessly, she embraced this charge, embarking on the ambitious endeavor of illustrating numerous scenes from Mormon history while shouldering the responsibility of visually capturing the essence of the Book of Mormon.
Within the walls of the BYU Museum of Art, the complete ensemble of 42 murals from Teichert's Book of Mormon series, alongside a handful of other paintings delving into Book of Mormon themes, is own display. In the span from 1949 to 1951, she committed herself wholeheartedly to this undertaking, labeling it as the "most profound joy and simultaneously the most formidable challenge I ever intend to undertake." Minerva Teichert's murals unfurl a gripping overview of the Book of Mormon's narrative. She manages to encapsulate the human facets and the emotional depth of tales featuring revered scriptural figures such as Nephi, Sariah, Alma, and Captain Moroni. Through her visual renditions, we are afforded the privilege of beholding the Book of Mormon from an entirely renewed perspective.
Minerva Teichert Legacy
Minerva Teichert's life narrative weaves together elements of a pioneer mother, the leadership of a Relief Society president, the sharpshooting prowess of Annie Oakley, the insights of a theologian, the depth of a historian, the critique of a social commentator, the activism of a civic advocate, the thirst for knowledge of a student, and the empowerment of true equality. Consequently, it's no challenge to comprehend why she has risen to almost iconic status as a figure, a woman, and an exemplar among the early Mormon pioneers of Wyoming.
The artistic legacy of Minerva Teichert over the past century has increasingly become familiar to her Latter-day Saint audience through Church literature, showcases at the Museum of Church History and Art, exhibitions at the BYU Museum of Art, cinematic presentations, and a series of published volumes.
Marian Wardle, the curator of a BYU exhibition (as well as Teichert's granddaughter), presented a conceptual framework during a 2007–2008 exhibit, enhancing our capacity to perceive and interpret Minerva Teichert's artwork. This framework, akin to her art, blends formal aesthetics with didactic communication.
Each of these elements is meticulously elucidated through visual depictions and explanatory text. The Minerva Teichert exhibition facilitated the comprehension of the philosophical and aesthetic interplay between a Teichert mural and, for instance, the Hill Cumorah Pageant. Her murals effectively crystallize moments of pageantry. The connection is truly intriguing.
Minerva Teichert murals find their home on walls, generally substantial ones. In reality, they are intended to merge seamlessly with the wall itself. Artists engineer this effect through two primary means: first, the murals often possess a shallow depth of field, akin to a procession on a stage or a precisely posed group; second, they frequently sidestep traditional frames, becoming an integral part of the wall. This is why Teichert frequently employs painted borders rather than conventional frames.
Typically, murals are expansive in scale, often designed for grand public spaces. However, Teichert employs mural techniques even in smaller paintings that wouldn't traditionally qualify as murals. So, what compelled her to cultivate this affinity for murals? As an observer of Teichert's oeuvre for more than three decades, I believe the answer lies in her fervor to convey and captivate. She used to remark, "When the story is narrated, the image is complete." Another phrase she favored was, "I paint so that those in haste can decipher." She ardently desired her art to promptly and unequivocally connect with the public. Even her visually striking painted borders assumed an interpretative and elucidative role. For instance, in one mural, she portrays Native American women preserving food, while the border depicts squirrels stockpiling nuts for the winter.
Why does Minerva Teichert art retain its relevance today? One of history's functions is to provide a vantage point on our own era. Presently, there exist compelling contemporary currents advocating for art to be private, cryptic rather than lucid, melancholic instead of celebratory. The broader public is often not viewed as a legitimate audience. Should artists opt to engage publicly, they are encouraged to function as societal critics rather than champions of established values and heritage. These paths are often portrayed as conduits to attain the status of "serious art." Teichert's art presents us with an alternative perspective on artistry. She also demonstrates that clarity, jubilation, and at times outright didacticism need not compromise the essence and importance of artistic quality.
How Minerva Teichert Learned to Paint
Minerva Teichert got her first paints, water colors, when she was just four years old. Of all her education in art, Minerva Teichert is perhaps most benefited by these two gentlemen. The both considered her to be the top artist in their classes and both encouraged her to “paint the Mormon story.”
EDWARD HOPPER
Edward Hopper, born 1882 stood as an American realist painter and printmaker of great distinction. His works now hang in the most prestigious museums around the world. Though his fame primarily rests upon his oil paintings, his mastery extended equally to watercolors and the art of printmaking, particularly in etching.
Hopper taught Minerva Teichert to infuse everyday subjects with subdued yet theatricality rich layers of poetic significance that beckoned forth narrative interpretations. Hopper’s own portrayal of America bore the hallmark of "absolute truth," earning him widespread acclaim. Notably, his partnership with fellow artist Josephine Nivison, whom he married, proved to be a catalyst in his artistic journey. Josephine not only served as a life model but also became an integral creative collaborator, leaving an indelible mark on his body of work.
Within the art instruction Minerva Teichert received Edward Hopper shines as a luminary figure. His impact on young Minerva resonates powerfully across both her artistic approach and the tapestry of old Mormon culture.
ROBERT HENRI
Robert Henri 1865 – 1929 emerged as a prominent American painter and art educator. During his youthful years, he underwent studies in Paris, an experience that deeply aligned him with the Impressionist movement. Fueled by this connection, he resolved to lead a more pronounced rebellion against the traditional academic art prevailing in America, symbolized by the conservative National Academy of Design.
Minerva Teichert attended his instruction and could be considered a devoted follower. Henri paved the way for the Ashcan Art School of American realism. This artistic movement fearlessly portrayed urban existence in an unapologetically raw and gritty manner. Minerva Teichert was exposed to a tremendous wealth of knowledge and experience by painting under Henri. Acknowledgment of Henri's artistic prowess was manifested when the Arts Council of New York designated him as one of the foremost three living American artists.
Minerva Teichert as an art student working under Robert Henri
Minerva Teichert Art - The First Vision
Minerva Teichert paintings cover various scenes of Latter-day Saint history. Paintings of Book of Mormon art are not only from the book itself, but also from stories leading up to its publication. In this piece of Minerva Teichert art, Jospeh Smith is seen in a heavenly vision known by many as the First Vision; being visited by both God the Father & Jesus Christ - Minerva Teichert Art Gallery
The First Vision by Minerva Teichert (1937) Oil on canvas, 102”x78” Brigham Young University Museum of Art
Minerva Teichert Art “Fall Roundup”
Many Minerva Teichert paintings depict common Western tasks like this one titled: Fall Roundup. This enchanting rhythm of the changing seasons for cowboys and pioneers alike is captured in symbolic colors and movement. Minerva was hired by a family from Texas to create several pieces of art. “Minerva Teichert art seemed to always carry a significant moral to the story; symbolism with meaning” said Michael Kimball, art curator and director for the Houston Southwest Art Gallery in Houston, Texas “The cattle herd seems unending, as if reminding the viewer that life’s tasks are never truly finished, but rather managed in their season.” - Minerva Teichert Art Gallery Fall Roundup, 1956, oil on canvas, 49 x 57 inches is held by the Brigham Young University Museum of Art
Minerva Teichert art titled Fall Roundup - Minerva Teichert Art Gallery
Minerva Teichert Paintings from around the Southwest
Minerva Teichert painted many works of art for many types of situations. From hotel lobby murals to Latter-day Saint Temple walls, she was sought after for her beautiful art. We want to feature some of the lesser known Minerva Teichert paintings.
Minerva Teichert Art Gallery - Hereford Roundup (1956) oil on canvas
Minerva Teichert & The Manti Temple Murals
She was given one year to complete the murals . . . she was done in 27 days.
In April 1947, a small grandmother with white hair settled into a motel in Manti, Utah. Despite being fifty-nine years old, Minerva Teichert possessed the energy to rival any of the many farmers in Sanpete County; she could likely outwork many of them. After all, she was the wife of a rancher and dedicated countless hours to tending to the garden, flocks, dairy, and her family's needs. However, for the next month, Minerva Teichert’s focus would shift entirely to a task that even she found daunting—creating expansive murals for the world room of the Manti Temple. Guided by prayer and aided by only one assistant, she adorned four walls, each towering far above her, with scenes that were not only uniquely conceived but also deeply spiritual in their essence. She was given one year to complete the task . . . she was done in 27 days.
Murals of the Manti Temple - Story of Minerva Teichert and the Manti Temple.
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The Manti Temple stands as perhaps the most impeccably conserved illustration of Utah pioneer architecture. Since its dedication in 1888, the same year Minerva Teichert was born, it has stood situated in the rustic expanse of Sanpete Valley. The Manti Temple has endured nearly 140 years with very minimal intervention from contemporary renovations.
Enclosed below is the fundamental layout of the temple, as detailed in Thomas Carter's work titled "Building Zion." This layout faithfully reflects the Manti Temple's original construction. The arrangement remains largely unaltered, with the exception that the designation "Unknown Use" on the second floor is now recognized as sealing rooms (and presumably was originally intended as such), while the passageway on the main floor has been repurposed into locker rooms. Minerva Teichert art of the murals is on the second floor in the World Room.
Considering her deep commitment to both Temple worship and matters of spirituality, it’s no surprise that Minerva Teichert perceived the creation of a mural for a Latter-day Saint temple as both an artistic and religious pinnacle. While she experienced disappointment for not being chosen to paint a mural for the forthcoming Swiss or Los Angeles Temples, opportunities arose when the Church made the decision to revitalize sections of the Manti Temple.
The plaster walls within the garden and world rooms of the Manti Temple had deteriorated to such an extent that the commendable endeavors to preserve those original murals by Danquart Weggeland and C. C. A. Christensen proved unsuccessful. Consequently, the rooms underwent a process of re-plastering, with top-tier sail canvas being affixed to the walls. The refurbishment of the world room was finalized in August 1946. Notably, Robert L. Shepherd of Salt Lake City had completed the garden room murals the year prior, but the walls of the world room still remained unadorned. Feeling the urgency, Minerva started right away. She was given a year to complete the murals, but completed them in 27 days.
Removal of Minerva Teichert’s Murals
In March of 2021, the First Presidency announced extensive renovations planned for the Manti Temple. One significant change involved discontinuing the practice of live endowment sessions. This decision was motivated by the intention to enhance the accessibility of temple sessions by offering them in various languages and at different times throughout the day. Initially, live endowment sessions were only available in English at both the Manti & Salt Lake temples.
To facilitate these modifications, the temple interiors were set to undergo a reconfiguration. This transformation entailed the removal of historical artworks within the temples, including the historic murals painted Minerva Teichert. Several plans were presented on how this could be done. Shortly after the initial announcement, the church released an updated statement concerning the Manti Temple's renovation. The updated statement indicated a commitment to collaborating with art preservation experts to determine the most suitable approach for removing and preserving the Teichert murals, which are affixed to plaster as canvas artworks. The goal was to ensure these murals could be preserved for public viewing.
On May 1, Russell M. Nelson declared a reconsideration of the plans. While the decision to transition to film-based endowment sessions still stood, it was clarified that diligent efforts would be made to safeguard the temple's interior, including its valuable artistic pieces.
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History of Minerva Teichert Painting titled Christ in a Red Robe
Minerva Teichert's painting titled Christ in a Red Robe is a significant work of art that showcases the artist's deep religious conviction and remarkable talent. Created in 1939, this painting stands as a testament to Teichert's unique approach to religious themes and her ability to capture profound emotions through her brushstrokes.
The Christ in a Red Robe painting portrays a vivid and evocative image of Jesus Christ wearing a red robe, a departure from the traditional depiction of a white robe often associated with religious art. The red robe, as Teichert once explained, symbolizes sacrifice, passion, and the profound love Christ had for humanity. Minerva Teichert painted many scenes with Jesus Christ; from the Bible stories and from the Book of Mormon art commission she received from the Church of Jesus Christ of Latter-day Saints.
Minerva Teichert, a prominent Latter-day Saint artist, frequently drew inspiration from her faith and the stories of the life if Christ. "Christ in a Red Robe" is a powerful representation of her spiritual connection with the Savior and her desire to communicate His message through her art.
Throughout history, religious art has played a significant role in inspiring devotion and contemplation among viewers. Teichert's painting, with its striking portrayal of Christ, seeks to invoke a sense of reverence and empathy in those who encounter it.
Over the years, Christ in a Red Robe has garnered attention and admiration from both art enthusiasts and members of the Latter-day Saint community. The painting has been displayed in various exhibitions and has become an iconic representation of Teichert's artistic legacy and the enduring influence of religious art.
As a testament to her impact, Minerva Teichert art continues to be celebrated and preserved in museums, galleries, and private collections worldwide. Christ in a Red Robe remains a captivating and emotionally charged portrayal of Jesus Christ, reminding viewers of the timeless message of love, compassion, and sacrifice at the heart of Christian teachings.
Minerva Teichert paintings often draw from the words of the Old Testament prophet Isaiah, who foretold that Christ's return to Earth would be marked by Him wearing red, representing His selfless sacrifice for humanity (refer to Isaiah 63:1–3). This prophecy materializes as Christ descends in a theatrical manner, draped in scarlet attire, as individuals kneel in reverence at His feet. Those who embody righteousness eagerly extend towards the Savior, while those lacking virtue recoil, as scattered coins on the ground allude to their materialistic concerns. With open palms, Christ warmly invites all, urging them to approach Him and partake in His act of redemption. In 1945, Teichert corresponded with her daughter regarding her depiction of Christ adorned in crimson robes, expressing, "I find great satisfaction in this life-size painting of Christ. It precisely aligns with my aspirations."
Fire Damages Painting - Conservation Efforts
Teichert's portrayal of Christ draped in a red robe adorned the Denver First Ward meetinghouse. Unfortunately, in 1964, the edifice fell victim to arson, placing the painting in grave jeopardy. Beyond being marred by grime and soot, the artwork succumbed to the scorching flames, resulting in blisters forming across its surface. These blisters ruptured, leading to sections of paint detaching, notably on the right portion of the Savior's robe.
In 1978, experts from BYU undertook the task of cleansing the artwork, mending the areas where blisters had formed, and skillfully replenishing the lost sections of paint. Fast-forward to 2020, the curatorial team made a noteworthy observation – concealed beneath the gilded frame of the painting lay evidence of an original painted frame. Teichert herself conceived her artworks as murals intended for direct wall attachment, rendering frames unnecessary. At some juncture, it seems that an individual had encased the painted frame around a stretcher bar.
Mobile Art Conservation Services undertook the restoration of the painted frame, involving the affixing of the canvas onto a fresh lining, rectification of tack holes, and meticulous inpainting to mend the sections of loss. This meticulous process ensures that observers, who have become accustomed to viewing the painting devoid of its original painted frame, can now relish it in alignment with Teichert's original intent.
Detail of Christ in a Red Robe mid-conservation after the tacked holes were filled in.
Damaged by fire and soot this is the bottom-left corner of Christ in a Red Robe the painted frame covered and then wrapped around the stretcher bar.
Minerva Teichert painting of Christ in a Red Robe
Minerva Teichert painting of Christ in a Red Robe
Minerva Teichert painting of Christ in a Red Robe
Conserving Minerva Teichert Art
This video shows some of the efforts and the significance of preserving the art of Minerva Teichert, a renowned Latter-day Saint artist. Minerva Teichert was known for her remarkable paintings, often inspired by religious and historical themes. To safeguard and maintain her valuable artwork, dedicated conservation efforts have been undertaken by institutions and art enthusiasts alike.
With Teichert’s artistic contributions deeply rooted in the history and culture of her community, preserving Minerva Teichert art goes beyond mere aesthetics. Her paintings serve as a window into the past, depicting scenes from the Bible, the Book of Mormon, pioneer life, and the American West. As a result, conserving her works is crucial for preserving the historical and cultural heritage they represent.
Conservation efforts encompass a range of activities, including restoration, protection from environmental factors, and responsible exhibition practices. Specialized experts and institutions work tirelessly to ensure that the colors, textures, and integrity of her paintings are carefully preserved for future generations to appreciate.
The significance of conserving Minerva Teichert's art extends beyond the art world. It also holds great importance for the Latter-day Saints community, as her artwork has become intertwined with their religious and cultural identity. By safeguarding her art, they preserve a vital part of their artistic and spiritual legacy.
In conclusion, conserving Minerva Teichert's art is a labor of love and dedication to preserving the history, culture, and artistic brilliance of an exceptional painter. When we safeguarding Teichert’s art, we honor her artistic legacy and ensure that future generations can continue to marvel at the profound stories her paintings still tell.
Minerva Teichert paintings are being conserved all over the west. Special thank you to: www.fineartconservationlab.com