The Meem Library’s Edouard Manet Portrait of Charles Baudelaire

Portrait of Charles Baudelaire, Full Face, after a photograph by Nadar, 1868. Edouard Manet

Between two study carrels situated along the north wall of the Meem Library, easily missed from the main atrium but visible to anyone with a keen eye browsing our French Literature shelves, hangs a small etching of Charles Baudelaire by his close friend Edouard Manet, whose signature is visible in the lower right of the plate. (The inscriptions of both artist and printer also appear in the lower margin.)

A gift to the Meem Library in 1994 in honor of Santa Fe Tutor Katharine (Mulford) Boaz, who passed away this last November at the age of sixty-nine, this 3 11/16″ x 3 3/16″ plate imprint on thin handmade paper had its origins in a portrait etching of Baudelaire executed by Manet in 1865. This fourth and final state, completed in 1868, was one of two portraits of Baudelaire by Manet that appeared in Charles Asselineau’s 1869 biography Charles Baudelaire, sa vie et son oeuvre, published two years after Baudelaire’s death.

That Baudelaire’s Les Fleurs du Mal (a senior language reading in Santa Fe) has left a deep mark on a significant number of our students and alumni, is borne out by a catalog search of our Archives, which shows no fewer than forty-nine senior essays written on that work since 1973, averaging to nearly one a year.

Perhaps even less well-known than the existence of the Library’s Baudelaire etching is that, for a period, Manet himself once held a place in our curriculum–this in the form of his painting Olympia, first exhibited in the Paris Salon of 1865, the very same year in which Manet rendered the first version of the image that would become our own Baudelaire portrait. While Music, as one part of the Quadrivium, has always been an integral part of our Program, the College has at various times in its history discussed and even explored on a trial basis the addition of a visual arts element. Making space for yet more works within our Program’s already full list and schedule has traditionally proven challenging, since adding one reading or class almost invariably requires cutting or removing another. And so the Visual Arts Tutorial that seniors on the Santa Fe campus once took during the spring semester, and in which Manet’s Olympia once featured, is no longer.

Still, these traces of our College’s and campus’s past live on in our Library’s Archives, which retains copies of the original Visual Arts Tutorial manuals, as well as the boxes of slides and carousels once used to project these art images onto our classroom walls for discussion.

The Meem Library’s Painting of Felice Swados (Part 2)

Artist Margaret Lefranc and Santa Fe campus President Emeritus John Agresto

It was during the 1993 retrospective of Margaret Lefranc’s work in the campus’s Peterson Art Gallery, held when the artist was eighty-six years of age, that a fortuitous encounter occurred that led to the gift of this painting to the Meem Library. In 1994 Ms. Lefranc provided the Library with the following account of this incident, along with the story of the painting itself.

In November 1993 Dr. John Agresto, [President] of St. John’s College in Santa Fe, came to the opening of my exhibition “A Lifetime of Imaging” at that institution. Of the 65 paintings shown, there was one in particular to which he was drawn. It is the portrait of a young woman seated at a typewriter which is on an old-fashioned small table. She is outdoors in the middle of an apple orchard situated in the Catskill Mountains.

He inquired as to the identity of the person depicted in the painting. Who was she and what was she writing? I explained that she was a friend and that she was spending time with me at my summer home. She was writing her first novel. Her name was Felice Swados, and she later married the historian Richard Hofstadter.

“How interesting! Hofstadter’s son, Danny, has just been to see me. I have always been a fan of his father, Richard…. So this is Danny’s mother and Richard Hofstadter’s wife. What a coincidence.” Dr. Agresto then expressed a desire to acquire the painting.

When the connection became clear, I later made arrangements for the gift of this painting to St. John’s library.

In 1932 I met Felice Swados at a summer camp for girls. I was head Arts and Crafts counselor and she was hired as my assistant. She was a precocious sixteen year-old, looking and acting beyond her age. She had a wonderful sense of fun. Pretty soon the seven year difference in age vanished and we became lifelong friends.

In 1916 Felice Swados was born in Buffalo, New York. She was the daughter of a physician who ministered mostly to the poor and a mother who was a gifted artist. A brother was added to the family. Harvey Swados became a noted novelist. He died young. Felice graduated from Smith College with a degree in sociology. During her undergraduate years, she worked in a women’s reform school. It was there she garnered the material for her novel House of Fury which she wrote while vacationing with me at my Catskill farmhouse.

She became the first woman editor at Time magazine and was probably their youngest editor. She wrote the medical and later also the science columns.

My family’s summer home in the Catskills had become run down from fourteen years of abandonment and subsequent misuse by vagrants. Once I acquired the quitclaim deed for the price of back taxes, the Hunter, NY property became my project. The house’s eight bedrooms were soon occupied by my friends who had serious work to do and needed a haven for thinking and producing. In lieu of rent we all chipped in with shared repair work to the house and some chores with me as coordinator and supervisor. Time wasters were asked to leave. As a consequence, manuscripts, paintings, and other projects were born and completed. Fun and many lively political discussions took place at our nightly cooperative meals. Later Jim Fadiman would call me the Ur hippie. However, we all grew to be solid citizens.

Felice and Richard Hofstadter were important components of this mix spending every weekend at the farm. It was there they decided to get married. Nothing would do but that I go with them on their honeymoon, a motor trip through the South to examine the health problems of sharecroppers’ and miners’ children. Felice did the research for lead articles in Time magazine; Richard came along as husband, driver, and critic; I was artist chronicler and arbiter of arguments about social welfare and the government’s role in our private lives.

In the relaxed moments, they were a happy and compatible couple. Richard received his law degree. Felice continued her work at Time. But suddenly she developed an unusual physical condition. When the temperature dropped below 55 degrees, her circulation would decrease to the point where she could barely function.

Richard decided to give up law and focus on his great passion, American History. He returned to Columbia University for his graduate degrees, ending up teaching there for the rest of his life. Felice would laughingly say, “Dick is very lazy, but he is thorough when he decides to work. He will write only half a dozen history books, but they will become classics.” Hers was a prophecy which was fulfilled perfectly.

Felice gave birth to a son Danny, named after my brother. Shortly after his birth, she was discovered to have liver cancer. In 1945 she died, to the despair of her father, the physician who could not save his own daughter. She was 29 years of age.

Among the Meem Library’s Special Collection holdings is a first edition copy of House of Fury, the 1941 novel upon which Felice Swados was working in this painting, inscribed by the author to Margaret Lefranc, whose personal copy this was.

The Library’s circulating collection also includes a number of works authored by her husband, the renowned historian Richard Hofstadter. Among these is his Anti-Intellectualism in American Life, a work that won the Pulitzer Prize in Non-Fiction in 1964, the very same year in which the Santa Fe campus of St. John’s College was founded.

The Meem Library’s Painting of Felice Swados (Part 1)

Portrait of Felice Swados, 1940. Oil on canvas by Margaret Lefranc

All those who are familiar with the Meem Library likely recognize the above painting, which has hung above the Library’s west staircase landing since 1994. But the story behind this painting’s artist, its subject, and its arrival and placement in the Library is less known. That story begins with an exhibition that took place in the Santa Fe campus’s Peterson Art Gallery in November of 1993, chronicled in an article by Mary Jo Moore that appeared in The St. John’s Reporter in December of that same year:

A retrospective of sixty representative oil paintings, etchings, monotypes and drawings by New Mexico artist Margaret Lefranc opened November 7 at the St. John’s College Gallery. The show centered around key periods of a 70-year career which has included exposure to German Expressionism in Berlin, cubism, surrealism and abstractionism in Paris, and which culminated in a return to the United States and a definition of her own style. Born in New York, Margaret knew she would be an artist at age 5. She attended the Art Student’s League in New York at age 12. In her adolescent years she lived in Berlin, and later in Paris with her family. She was offered a scholarship to Bryn Mawr and had the choice of going there or to Europe with her parents. Since she wanted to be an artist anyway, she decided to join her parents in Paris.

Her first major piece, a charcoal drawing done at the age of fourteen in Berlin, was included in the show, as were a number of large oils done at ages 16 and 17. In a recent interview at her studio, Margaret pointed to a large oil: “This is the last self- portrait I did of myself. I wanted to show what happens when you get old, and it’s not exactly what you’d call pleasant. It’s a document,” she said of her painting.

The particular flavor of her experience is evident in the following statement about her career. “I have lived a long time and in many places. Between the ages of barely 14 to almost 17, I resided in Berlin. There I saw the works of Marc, Kollwitz, Lehmbruck, Heckel, the Bruecke, Klee, Kandinsky to name a few. The great old masters in museums I adored, but it was the modernists who stimulated me profoundly.

“From 17 to 25 years of age, I lived in Paris observing the growth of art away from naturalism and impressionism. Every conceivable experimentation in the creative arts was taking place, from cubism, expressionism, surrealism to abstraction, and then some. I studied with the brilliantly gifted Russian refugees from Bolshevism, and, of course, with the original yet supremely logical French, in particular, Andre L’Hote. So much went on with studying, arguing, and drinking of cafe au lait in bistros! But I lived for the excitement of drawing and painting, as all of us artists did.

“Then the ominous shadow of Nazism forced me to leave the successful beginning of my career as an artist in Paris. I returned to the country of my birth. On her return to the United States from Paris in 1932 she opened the Guild Art Gallery to give young American artists an opportunity to exhibit their works. She occupied a space at 57th Street right off of Fifth Avenue, opposite of Betty Parsons, which whom she later became friends. Mrs. Rockefeller owned the building and accepted paintings when there was no money for rent. “The gallery was a successful experience,” she said. “I got to be quite expert at arranging shows, and was very much liked by the press. Arshille Gorky had his first one-man show in New York, at my gallery. We sold one of his drawings to the collector Kathryn S. Dreier. She was quite a lady and she paid me $75 for that drawing of which I got $25 and Gorky got $50.”

“I closed the gallery down, and in 1939 I went to see the country of my birth. I got into a dilapidated old car and I traveled throughout the whole of the United States-going from New York down South, down into the Keys, into Louisiana and Texas; and from Texas I went to New Mexico. The scope of my reaction to the enormously vibrant land commanded me to use all of my knowledge at hand. I let emotion flow through pen and brush without the sieve of intellectual analysis and considered self-criticism.

“When I got to Santa Fe, I knew instantly that I was going to live here. I knew it. I felt comfortable. I finally said to myself that I would move here as soon as I had $1000 dollars of my own money, and that’s precisely what I did,” Margaret said.

Margaret moved to New Mexico in 1945 with a friend who got a Rockefeller grant to work in San Ildefonso Pueblo near Santa Fe. That was the late author Alice Marriott. “Alice said to me, why don’t we team up and you do the illustrations for my book?'” Her drawings were featured in five books by Alice Marriott, two of which won the Library of Congress’s One Hundred Best Books of the Year award. Throughout her life she has supported herself as a portrait artist, as a textile designer and as an illustrator. “I didn’t get much money for the illustration, but I sold my sketches,” she said. “I had three exhibitions at the Fine Arts Museum [in Santa Fe] which then had an open door policy. “I taught a lot.”

(Continued in Part 2….)

Meem Library 2021 Update

Ten months ago, after the final class on the eve of spring break, as the world and our College hurtled rapidly towards the unknown, the Meem Library closed its doors to all visitors.

In the days that followed our campus emptied and our community scattered. Students hunkered down at home or off-campus here in northern New Mexico. College staff moved their offices to their own homes, from which most of them still work. And faculty prepared for a strange new world, a world in which, for the first time in the history of this College, our conversations about books would not be taking place in the physical company of others around a single wooden table.

In the ten months since we moved our conversations online, as we have all continued to weather this storm in our respective corners and in our own particular ways, our campus has been quiet, quieter even than (this being a College made up of readers) it ordinarily is. Quiet, but not desolate. A small group of international students have remained here throughout. The buildings and grounds crews have been steadily active, tending our landscaping and upgrading our campus facilities. The Mailroom has been open, keeping books flowing steadily in and out of campus. The IT crew has been working marathon hours, looking after our now full-throttle network systems.

Still, in comparison to ordinary times, it has been quiet. With the campus closed to the public since March, and with so few people physically present on the grounds, the animals and birds that inhabit Monte Sol and Arroyo Chamisa have been more frequent guests. Deer drink from the Fish Pond and browse the shrubbery. Rabbits nibble the grass. Flickers come to roost each evening beneath the Library eaves. While the world of people has been in steady crisis, our wild neighbors here continue to go about their ordinary lives.

We know all this because during these ten months, even as the Library’s doors have remained closed to public entry, the Library staff have been here nearly throughout. The work of our College rests upon a foundation made of books, and the work of maintaining that foundation has continued here unabated. And so, as we enter this fresh new year, a year we all hope moves us closer to what we now fondly remember as simple normality, we thought we would share some of the projects in which we have been engaged these last ten months behind those closed doors.

A Deluge of Returned Books

Our first order of business after the campus closure in March was the check-in and re-shelving of the more than two thousand books returned to the library in the frenzied days of packing before the campus emptied. Ordinarily, this mass call-in occurs at the end of each semester, and ordinarily we have the benefit of our stalwart student assistants to help. This time, with only a skeleton crew left, and with the interruption of a statewide stay-at-home order to boot, processing and re-shelving this sudden and unexpected deluge took nearly a month.

Our Move to Online Book Fulfillment and Expanded Digital Resources

With our community suddenly scattered and our College rapidly pivoting to online classes came the immediate and pressing need to devise online book ordering and fulfillment protocols, which we instituted immediately and continue to this day. This new system entailed the conversion of one of our two 24-hour study rooms (Room 101, which has both an indoor and an outdoor entrance) to a contactless book pickup point for Tutors and for our remaining campus residents, and the conversion of library office space into a packaging room for order fulfillment and shipping. In addition, we reconfigured and augmented our online Digital Resources (Digital Loeb Library, JSTOR, Mango Languages, Naxos Spoken Word Library, Oxford English Dictionary, etc.) to ensure they would remain accessible for all students and faculty wherever their current location in the world.

Replacing and Increasing Class Copies of Seminar Texts

One of the primary missions of our collection is to maintain a wide variety of quality translations and editions of Program texts. Over the last ten months we have inventoried this core collection, replaced hundreds of damaged and worn volumes, and increased the number of class copies to a baseline of twenty-five for all undergraduate seminar readings.

Weeding the Collection

Every few years it is our practice to go subject-by-subject, shelf-by-shelf, and book-by-book through our circulating collection (some 65,000 volumes) replacing damaged copies, withdrawing obsolete editions, moving rarer and more fragile books into our special collections to protect them from further damage, and so on. This slow process has been underway for several months, and is now near completion.

Processing Large Book Donations

Over the last several years, the Library has been the beneficiary of a record number of high-quality book donations from alumni, tutors, and friends and neighbors of the College. A number of these individual donations have numbered in the thousands of volumes, and together they have totaled more than 15,000 volumes. Each donation is methodically unpacked, counted, sorted, and checked against our collection development goals and our catalog, upon which a determination is made for each individual book whether to catalog it or re-box it for the next Library Book Sale. Of these more than 15,000 donated volumes, approximately one third have either been added to the collection in the last eighteen months, or are now somewhere in the cataloging process. These include substantial additions to the collection in the areas of philosophy, religion, 20th century literature, French literature, women authors, art and architecture, film history, music history, African American literature and history, history of science, natural history, and the literature and history of New Mexico and the Southwest, among others.

Additional Shelving in the Math and Science Stacks and in Room 202-203

In order to accommodate increased class copies of Program texts, new acquisitions, and two significant science book donations from the personal collections of Tutors Howard Fisher and Linda Wiener, as well as two significant outside donations of titles related to the work of James Joyce, the Library has added fifty-seven feet of additional second floor shelving.  

Southwest Collection

To facilitate a greater awareness of the uniquely tricultural history and legacy of the Southwest region within which our Santa Fe campus is located, we have configured a designated Southwest collection, which gathers in one location within the library all works in our collection falling under the headings of Southwestern literature, history, art, and natural history. For new students looking to orient themselves to the rich history and diverse cultural and outdoor opportunities our singular Southwest region offers, and for any campus community member moved to delve more deeply into this Southwestern place we all for a time can call “home,” the consolidation of these regionally focused works into one shelving area now makes browsing and discovery much easier.         


Work in the Archives includes the ongoing digitization of hundreds of hours of reel-to-reel and cassette recordings of Friday night lectures and the continuing digitization of archival photographs from the first five decades of the Santa Fe campus, all of which will be made available for public access through the Library’s online Digital Archives once these projects have been completed.

Book Sale

The circumstances of these last ten months have sadly prevented us from holding our traditional campus Library Book Sale for the College community. This sale will assuredly still happen at such time as the campus community can assemble in full once again. In the meantime, sale books continue to accrue from the many generous donations we have mentioned above. When our community can finally reconvene and our Book Sale finally go forward, know that the quantity and quality of these sale titles (now filling two library storerooms and numbering in the thousands) will have made it well worth the wait.   

Renovations and Upgrades

Finally, in preparation for the time (whenever that time finally comes) when we can all safely reconvene and reopen, we have been engaged in ongoing Library HVAC and facility modifications. While the indoor areas of the library continue to remain closed pending staff vaccinations and changes in the State of New Mexico and campus Covid dashboard statuses (both still at the highest level of Red), we are currently in the process of reconfiguring the library’s south and west porch spaces as WiFi-accessible and roofed outdoor study spaces, in anticipation of the warmer spring days soon to come. We expect to add additional seating and table space to these outdoor porch areas and to open them for those students currently here on campus sometime in the weeks ahead.  

The Dedication and Opening of Meem Library

The newly-completed Meem Library (1990)

On November 10, 1990, more than 350 Santa Feans joined the College community in a public dedication ceremony for the newly-completed library. In his opening address, campus President John Agresto succinctly captured the importance of this long-anticipated day: “Now, with the addition of a central library to our campus, we have a fitting and appropriate place to house the books that are the heart of the St. John’s educational mission.”

Among the speakers that day were Werner Gundersheimer, director of the Folger Shakespeare Library; Jerome LaPides, Chairman of the Board Library Construction Committee; Thomas C. Phelps, Assistant Director for Library Programs at the National Endowment for the Humanities; Student Polity President Maura Donnelly (SF’91); Vice President for Advancement Jeffrey Morgan; architect Lorn Tryk; contractor Stan Davis; and library consultant Lisa Carey. Grateful acknowledgment was made to the many individuals whose efforts had finally brought this vision into being, including tutor and chair of the Campus Planning Committee Steve Van Luchene, Acting Librarian Tracey Kimball, and campus Treasurer Bryan Valentine, who “monitored the project with scrupulous care and good humor throughout its planning, development, and construction phases.” Other individuals receiving special mention were Katherine Galvin and Florence Goutlesque; Edward Hoessler of Stan Davis & Associates, Contractor; and Board members Owen Lopez, Mara Robinson, and John Wirth.

And in poignant addition to all of these others was one particularly special guest of honor: Nancy Meem Wirth, the daughter of Faith and John Meem. Nearly thirty years had passed since the first fateful encounter between Richard Weigle and the Meems at their home in Santa Fe in late January of 1961. Now, at long last, the final essential piece of the original campus vision had fallen into place. On that brisk November day the newest building on campus was dedicated, gratefully and fittingly, the Faith and John Meem Library. Nancy Wirth cut the entrance ribbon, the doors were opened, and—in a space that very soon would come to be known for its welcoming silence—the celebration began.

Meem Library dedication on November 10, 1990
Werner Gundersheimer, the Director of the Folger Shakespeare Library, delivering the keynote address
Lisa Carey, library consultant and SFGI86
Builder Stan Davis
Nancy Meem Wirth, daughter of Faith and John Meem
Nancy Meem Wirth cutting the ribbon
Meem Library opening reception
Library beam artist Father Ricardo Russo (right) mingling at the reception