In 1935-36 San Diego hosted the California-Pacific International Exposition, in Balboa Park. The Fine Arts Gallery was renamed the Palace of Fine Arts for the expo. A gallery was devoted to showing local artists. The chairmen of the Exposition were Julius Wangenheim - general chairman, Reginald Poland - chairman of the executive committee, Aime Titus - curator of fine arts, Louise Darby - curator of decoration and installation, and Elizabeth Sherman - curator of decorative arts and the children's room.
     A gallery was devoted to showing local artists. Donal Hord received a gold medal, Belle Baranceanu, a silver, and Esther Barney a bronze, for their contributions to the fair.
Belle Baranceanu painted two murals on the fair grounds, one in the Palace of Education and the other a true fresco on the wall, facing Gallery I of the Fine Arts Palace.

     In an article in the San Diego Sun, April 13, 1935, Ivan Messenger stated:

     "What is being done about art for the Exposition?" has been asked. And "Will the San Diego Art Guild be represented?" To each of these questions we may now offer what current pre-Exposition information is now available….
As to the second question, "Will the San Diego Art Guild be included in the Exposition show?" the answer is similar. In this case too, work is "invited" - selected from a group chosen jointly by a Guild committee and the art exhibition executive committee. The Guild is to have a room of its own - Gallery II downstairs at the right of the stairway.
Space Limited
     As there are considerably more than 200 members in the Guild, and ostensibly limited space, the selection of the local work to be shown will be in itself no simple or happy task. And if four bearded men and one masked woman (or possibly four masks and one beard) are seen going about, we must try to understand why, and not throw stones, especially large stones with rough edges.
     A committee is also at work, looking for a place to have a separate show of local art during the fair. News of any suitable and convenient room or space at low even very low, rental would be… gladly taken under advisement…."

     The Guild held a dinner in the Hotel Churchill about Exposition activities. Ernest Hulick, in charge of special days at the fair was the guest of honor. Reginald Poland and Guild chairman Sherman Trease worked with him in obtaining dates for Guild activities. Fred Heitfelt of Hollywood discussed clever ideas to be used on Art Guild Day. Sept. 6, 1935.
     The Guild artists also held art marts during the fair. 75 artists participated (the largest number of artists ever to participate at a Guild event.). The first three-day mart had record 38 sales. The July Mart got $300 in sales. The artists gave demos.
     Guild Day was a feature on the agenda for delegates to the annual convention of the Western Association of Art Museum Directors. A closing reception in the Court of Honor officially ended the Art Mart with several famous California artists all the directors and the Guild along with the Fine Arts Society. The affair was bohemian rather than formal with artists wearing smocks at their easels. Guild member, Mrs. Arthur (Hazel) Shoven was the chairman of arrangement, who designed the badges, which identified the artists. Several members of the Guild served as hosts and hostesses including Alice Klauber, Elizabeth Sherman, Louise Darby, Everett Gee Jackson, Aime Titus, (All of whom were members of the Board of Directors of the Fine Art Society at that time.) Other Guild members were Reginald Poland, Director of the Fine Arts Gallery, Maurice Braun, James Tank Porter, Anne Putnam, Katherine Morrison Kahle, and Gertrude Gilbert.

     The reception was described in an article in the San Diego Union, September 9, 1935:
     "In recognition and appreciation of the work of the artists who have participated in the art mart held this week in the Court of Honor, the women's executive committee of the Exposition has arranged a reception to take place tomorrow afternoon from 2:30 to 5:30 o'clock.
     This affair will be a Bohemian rather than a formal gathering. Gayly splashing the lawn with color, artists in smocks will be seen working at their easels.
     Featuring the presentation of artists at their work will be Donal Hord, sculptor, whose statue of an Indian woman centers the fountain n the House of Hospitality's rectangular court. Mr. Hord will show the art of sculpture.
     The badges, which the artists will wear, are replicas of the calendar stone, found in the ruins of the Mayan civilization in Mexico. Jose Arias and his strolling musicians will mingle with the guests, playing and singing throughout the afternoon…"

     Spanish Village was designed for the fair in 1935 by Richard Requa, as a replica of a small village in Spain. It was very successful featuring restaurants, curio shops and art shops. After the Exposition closed it fell into a state of disrepair. Local artists wished to use the space and all the concession shops as an art center with galleries, studios, and workshops. After much haggling with the city and with the enthusiastic support of Julius Wangenheim, Reginald Poland, and spearheaded by Guild President Sherman Trease, with Leda Klauber, and Hazel Shoven, the dream became a reality.

     An article written by Irene Clark, in the San Diego Union on October 18, 1936, described this event:

SPANISH VILLAGE INCORPORATED AS NEW ART CENTER

     "Paris may have its Latin quarter, but San Diego, growing center of those who interpret beauty, need no longer envy that congregation of congenial spirits.
     Our little city is, within three weeks, to open one of the most unique and peculiarly appropriate art centers in the world.
     During the late Exposition of glamorous memory the Spanish Village, of exquisite, authentic architecture, was simply a peculiarly lively display place for linens, art objects and a part of the fun zone.
     Now through the far-sighted policy of Julius Wangenheim, president of the Balboa Park Rehabilitation committee, to the artists of San Diego, to provide a central spot wherein our artists may be drawn together and where the world may easily find its way to watch them at work, to admire and, it is hoped, to buy. The buildings seem almost divinely designed to fulfill any art group's dream of perfection for such a purpose.
     Formation of the Spanish Village Art Center, a no-stock, non-profit corporation, was completed at an organization dinner Friday evening in Hotel San Diego…
     Mr. Trease announces plans are going rapidly forward to open the new center during National Art week, which begins Nov. 8. During that week each artist will hold open house, receiving friends in his or her studio and being seen there at work. An art auction also is planned to climax the week and a general reception, or some big social function, will be given in the headquarters of the league, formally known as the Granada café.

Applications Received

     The plan now outlined for use of the village calls for using each of the rooms as studios for artists of many sorts, painters, craftsmen, sculptors, etc., either alone or shared by several. Many applications already have been received…
     Contemporary Artists of San Diego, which includes a number of the city's leading painters, has spoken for one of the rooms as an exhibition place where they will establish a sales mart and Los Surenos Art Center also will take a room."
     Sherman Trease, landscape painter and pioneer photographer was the first President of the new non-profit organization, the Spanish Village Art Center, Inc. Guild members made up the officers, executive committee and the bulk of the Board of Directors. They included Sherman Trease, President, Henry A. Long Vice-president and Auditor, Mina Schultz Pulsifer, Secretary, Leda Klauber, Treasurer, Alfred R. Mitchell, James Tank Porter, Esther Stevens Barney, Martha Forward, John L. Stoner, Eric Bergloff, Elizabeth Sherman, Otto H. Schneider, Hazel Shoven, and Everett Gee Jackson.
     The purpose was to encourage and promote the work of local artists. It also had a very liberal policy as both members and non-members were encouraged to exhibit their works. Several other Guild artists including sculptors: Anna Coleman Ladd, Katherine June Stafford, Isabelle Schultz Churchman, and Donal Hord; painters: Charles Fries, A. D. Blotti, Peggy Hager, Melisse Jewell, miniaturist: Martha M. Jones, and handmade frames: Dan Dickey, were among those who moved into studios in the Village. Membership in the Art Center swelled to 250 by 1939.
     Controversy flared after San Diego artists felt snubbed by 1937 9th California South show in which only 16 San Diego artists were represented out of 112 canvases. The Headline in the June 25, 1937 San Diego Sun read:

"S.D. Bohemia Seethes As 'Snubbed' Artists Plan Own Exhibition"

     A Salon de Refuses was created in Spanish Village. President Sherman Trease declared, "The committee was prejudiced. The whole display is unbalanced. It's too modernistic." Director Reginald Poland answered, "The selections were eminently fair. This is 1937. Good art should be years ahead of the public."
     The "Exhibition of the Rejected" drew capacity crowds and further fueled a controversy regarding local versus out-of-town artists.

     Spanish Village Art Center and San Diego Art Guild held a three-day Art Fiesta on September 3-6, 1937. They held demonstrations, exhibits, and a pageant depicting some of the world's greatest painters including the locally produced play "Goyescapade" about Goya. The fiesta also had Puppetry, strolling musicians, several singers' performances, Spanish dancers, and a queen and lady-in-waiting chosen by popular vote.
     J. Milford Ellison, president of the Guild wrote on Sept. 15, 1937.
     "Greetings and congratulations to all of you on the success of the recent Art Fiesta, which was held recently with the Spanish Village Art Center. It was a grand success and a feather in the caps of all San Diego Artists. Some 5000 people visited the Spanish Village during the four days. Let's keep up the old spirit by attending all of the various social and instructional functions of the Art Guilds during the coming winter season."

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