Nora Houston (pronounced "HOW-ston"), who was born Eleanora Clare Houston, was a prominent artist, suffragist, and social activist.
Nora's family was well-connected in Richmond society; her maternal uncle was James Dooley, founder of Richmond's Maymont Estate. Growing up on Franklin Street in Richmond, Nora's next door neighbor was Lilly Logan, a prominent artist. At the age of 10, Nora began studying at Lilly's studio. Another young girl, Adele Clark, also enrolled there. Nora and Adele quickly became lifelong partners. In their teenage years, both joined the recently formed Richmond Art Club. There, they were taught by illustrator William Sheppard and sculptor Edward Valentine.
After studying in New York City and abroad, Nora returned to Richmond to stay in late 1909. She and Adele began teaching at the Art Club of Richmond, and Nora became the director of the Club in 1910. Among their students were Theresa Pollack, whose influence in the Richmond art world remains to this day; and Edmund Archer, who would go on to be the Curator of the Whitney Museum in New York City. During this time, Nora developed an interest in depicting life in the segregated Jackson Ward section of Richmond.
Nora was a delegate to the Equal Suffrage League of Virginia's first convention in November of 1911, and later served as recording secretary for the League. She traveled throughout Virginia speaking on behalf of women's suffrage. She and Adele also used their artistic skills in designing banners and leaflets for the League. After the Virginia legislature did not act, the League changed focus and began concentrating its efforts on the passage of a federal constitutional amendment. The amendment became law in August 1920. Nora and Adele quickly mobilized women to register to vote in the 1920 elections.
Unlike many of their contemporaries, Nora and Adele sought out women of color to register. They canvassed Jackson Ward and personally assisted hundreds of black women with the registration process. They also invited leaders of the black community to their studio for get-out-the-vote strategy sessions. Their relationship with that community led to Nora's appointment as chair of the Richmond Commission on Interracial Cooperation. Under her leadership in the 1920s, the Commission worked on improving housing and creating libraries and schools. It issued documents condemning the Klan, lynching and sexual exploitation of black women.
As part of the Depression-era "New Deal," the Virginia Federal Art Project hired struggling artists to paint murals for government buildings. In 1937 Adele was hired as its Director, and Nora was hired as an artist and a supervisor. During this period, Nora exhibited her work throughout Virginia, and in Chicago, San Francisco, Washington, D.C., and New York City.
Nora died from a sudden and unknown illness. Her funeral was held at St. Peter's Catholic Church in Richmond, and she was buried near her parents in her great-grandfather Henry Gibson's plot. Her grave was finally marked, through the efforts of the Nora Houston Foundation, on 18 August 2020 -- the 100th anniversary of passage of the 19th Amendment.
The Virginia Museum of Fine Arts and the Virginia Historical Society own several of Nora's works. The bulk of her work, however, was left in the custody of Adele Clark. Adele gave the paintings to her parish, St. Paul's Catholic Church in Richmond, in 1972. Adele passed away in 1983 at the age of 100. The Church transferred ownership of the paintings to The Nora Houston Foundation, Inc. in 2015. The Foundation is in the process of conserving and restoring the paintings.
(Biographical material courtesy of the Nora Houston Foundation, Inc.)
Nora's family was well-connected in Richmond society; her maternal uncle was James Dooley, founder of Richmond's Maymont Estate. Growing up on Franklin Street in Richmond, Nora's next door neighbor was Lilly Logan, a prominent artist. At the age of 10, Nora began studying at Lilly's studio. Another young girl, Adele Clark, also enrolled there. Nora and Adele quickly became lifelong partners. In their teenage years, both joined the recently formed Richmond Art Club. There, they were taught by illustrator William Sheppard and sculptor Edward Valentine.
After studying in New York City and abroad, Nora returned to Richmond to stay in late 1909. She and Adele began teaching at the Art Club of Richmond, and Nora became the director of the Club in 1910. Among their students were Theresa Pollack, whose influence in the Richmond art world remains to this day; and Edmund Archer, who would go on to be the Curator of the Whitney Museum in New York City. During this time, Nora developed an interest in depicting life in the segregated Jackson Ward section of Richmond.
Nora was a delegate to the Equal Suffrage League of Virginia's first convention in November of 1911, and later served as recording secretary for the League. She traveled throughout Virginia speaking on behalf of women's suffrage. She and Adele also used their artistic skills in designing banners and leaflets for the League. After the Virginia legislature did not act, the League changed focus and began concentrating its efforts on the passage of a federal constitutional amendment. The amendment became law in August 1920. Nora and Adele quickly mobilized women to register to vote in the 1920 elections.
Unlike many of their contemporaries, Nora and Adele sought out women of color to register. They canvassed Jackson Ward and personally assisted hundreds of black women with the registration process. They also invited leaders of the black community to their studio for get-out-the-vote strategy sessions. Their relationship with that community led to Nora's appointment as chair of the Richmond Commission on Interracial Cooperation. Under her leadership in the 1920s, the Commission worked on improving housing and creating libraries and schools. It issued documents condemning the Klan, lynching and sexual exploitation of black women.
As part of the Depression-era "New Deal," the Virginia Federal Art Project hired struggling artists to paint murals for government buildings. In 1937 Adele was hired as its Director, and Nora was hired as an artist and a supervisor. During this period, Nora exhibited her work throughout Virginia, and in Chicago, San Francisco, Washington, D.C., and New York City.
Nora died from a sudden and unknown illness. Her funeral was held at St. Peter's Catholic Church in Richmond, and she was buried near her parents in her great-grandfather Henry Gibson's plot. Her grave was finally marked, through the efforts of the Nora Houston Foundation, on 18 August 2020 -- the 100th anniversary of passage of the 19th Amendment.
The Virginia Museum of Fine Arts and the Virginia Historical Society own several of Nora's works. The bulk of her work, however, was left in the custody of Adele Clark. Adele gave the paintings to her parish, St. Paul's Catholic Church in Richmond, in 1972. Adele passed away in 1983 at the age of 100. The Church transferred ownership of the paintings to The Nora Houston Foundation, Inc. in 2015. The Foundation is in the process of conserving and restoring the paintings.
(Biographical material courtesy of the Nora Houston Foundation, Inc.)
Nora Houston (pronounced "HOW-ston"), who was born Eleanora Clare Houston, was a prominent artist, suffragist, and social activist.
Nora's family was well-connected in Richmond society; her maternal uncle was James Dooley, founder of Richmond's Maymont Estate. Growing up on Franklin Street in Richmond, Nora's next door neighbor was Lilly Logan, a prominent artist. At the age of 10, Nora began studying at Lilly's studio. Another young girl, Adele Clark, also enrolled there. Nora and Adele quickly became lifelong partners. In their teenage years, both joined the recently formed Richmond Art Club. There, they were taught by illustrator William Sheppard and sculptor Edward Valentine.
After studying in New York City and abroad, Nora returned to Richmond to stay in late 1909. She and Adele began teaching at the Art Club of Richmond, and Nora became the director of the Club in 1910. Among their students were Theresa Pollack, whose influence in the Richmond art world remains to this day; and Edmund Archer, who would go on to be the Curator of the Whitney Museum in New York City. During this time, Nora developed an interest in depicting life in the segregated Jackson Ward section of Richmond.
Nora was a delegate to the Equal Suffrage League of Virginia's first convention in November of 1911, and later served as recording secretary for the League. She traveled throughout Virginia speaking on behalf of women's suffrage. She and Adele also used their artistic skills in designing banners and leaflets for the League. After the Virginia legislature did not act, the League changed focus and began concentrating its efforts on the passage of a federal constitutional amendment. The amendment became law in August 1920. Nora and Adele quickly mobilized women to register to vote in the 1920 elections.
Unlike many of their contemporaries, Nora and Adele sought out women of color to register. They canvassed Jackson Ward and personally assisted hundreds of black women with the registration process. They also invited leaders of the black community to their studio for get-out-the-vote strategy sessions. Their relationship with that community led to Nora's appointment as chair of the Richmond Commission on Interracial Cooperation. Under her leadership in the 1920s, the Commission worked on improving housing and creating libraries and schools. It issued documents condemning the Klan, lynching and sexual exploitation of black women.
As part of the Depression-era "New Deal," the Virginia Federal Art Project hired struggling artists to paint murals for government buildings. In 1937 Adele was hired as its Director, and Nora was hired as an artist and a supervisor. During this period, Nora exhibited her work throughout Virginia, and in Chicago, San Francisco, Washington, D.C., and New York City.
Nora died from a sudden and unknown illness. Her funeral was held at St. Peter's Catholic Church in Richmond, and she was buried near her parents in her great-grandfather Henry Gibson's plot. Her grave was finally marked, through the efforts of the Nora Houston Foundation, on 18 August 2020 -- the 100th anniversary of passage of the 19th Amendment.
The Virginia Museum of Fine Arts and the Virginia Historical Society own several of Nora's works. The bulk of her work, however, was left in the custody of Adele Clark. Adele gave the paintings to her parish, St. Paul's Catholic Church in Richmond, in 1972. Adele passed away in 1983 at the age of 100. The Church transferred ownership of the paintings to The Nora Houston Foundation, Inc. in 2015. The Foundation is in the process of conserving and restoring the paintings.
(Biographical material courtesy of the Nora Houston Foundation, Inc.)
Nora's family was well-connected in Richmond society; her maternal uncle was James Dooley, founder of Richmond's Maymont Estate. Growing up on Franklin Street in Richmond, Nora's next door neighbor was Lilly Logan, a prominent artist. At the age of 10, Nora began studying at Lilly's studio. Another young girl, Adele Clark, also enrolled there. Nora and Adele quickly became lifelong partners. In their teenage years, both joined the recently formed Richmond Art Club. There, they were taught by illustrator William Sheppard and sculptor Edward Valentine.
After studying in New York City and abroad, Nora returned to Richmond to stay in late 1909. She and Adele began teaching at the Art Club of Richmond, and Nora became the director of the Club in 1910. Among their students were Theresa Pollack, whose influence in the Richmond art world remains to this day; and Edmund Archer, who would go on to be the Curator of the Whitney Museum in New York City. During this time, Nora developed an interest in depicting life in the segregated Jackson Ward section of Richmond.
Nora was a delegate to the Equal Suffrage League of Virginia's first convention in November of 1911, and later served as recording secretary for the League. She traveled throughout Virginia speaking on behalf of women's suffrage. She and Adele also used their artistic skills in designing banners and leaflets for the League. After the Virginia legislature did not act, the League changed focus and began concentrating its efforts on the passage of a federal constitutional amendment. The amendment became law in August 1920. Nora and Adele quickly mobilized women to register to vote in the 1920 elections.
Unlike many of their contemporaries, Nora and Adele sought out women of color to register. They canvassed Jackson Ward and personally assisted hundreds of black women with the registration process. They also invited leaders of the black community to their studio for get-out-the-vote strategy sessions. Their relationship with that community led to Nora's appointment as chair of the Richmond Commission on Interracial Cooperation. Under her leadership in the 1920s, the Commission worked on improving housing and creating libraries and schools. It issued documents condemning the Klan, lynching and sexual exploitation of black women.
As part of the Depression-era "New Deal," the Virginia Federal Art Project hired struggling artists to paint murals for government buildings. In 1937 Adele was hired as its Director, and Nora was hired as an artist and a supervisor. During this period, Nora exhibited her work throughout Virginia, and in Chicago, San Francisco, Washington, D.C., and New York City.
Nora died from a sudden and unknown illness. Her funeral was held at St. Peter's Catholic Church in Richmond, and she was buried near her parents in her great-grandfather Henry Gibson's plot. Her grave was finally marked, through the efforts of the Nora Houston Foundation, on 18 August 2020 -- the 100th anniversary of passage of the 19th Amendment.
The Virginia Museum of Fine Arts and the Virginia Historical Society own several of Nora's works. The bulk of her work, however, was left in the custody of Adele Clark. Adele gave the paintings to her parish, St. Paul's Catholic Church in Richmond, in 1972. Adele passed away in 1983 at the age of 100. The Church transferred ownership of the paintings to The Nora Houston Foundation, Inc. in 2015. The Foundation is in the process of conserving and restoring the paintings.
(Biographical material courtesy of the Nora Houston Foundation, Inc.)
