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Drueding, Stewart, and Sugarman. “Crafting Beauty 6 Architectural Artists Whose Visionary Work Endures Today” In Preservation Magazine, Summer 2023. 28-35. “Crafting Beauty 6 Architectural Artists Whose Visionary Work Endures Today.”

Skolnik, Kathleen Murphy. “The Next Chapter For An Art Deco Icon.” In Chicago Art Deco Society Magazine, Summer, 2022. 24-28. “The Next Chapter For An Art Deco Icon”

Michelle Young. “Inside the Dazzling “Red Room” at One Wall Street.” June 14, 2022. Untapped New York.

Deann Gayman. “Capitol artwork featured on license plate has NU connection.” 2022. Nebraska Today, University of Nebraska.

Dr. Eva Miller. “From Mesopotamia to the Nebraska State Capitol: Assyrian Revival and New American Meanings.” 2020. Sculpture Journal 29 (1): 65–93.

Mahood, Alyse. “Exploring Deco in Hildreth Meière’s Manhattan.” In Art Deco New York Journal, Winter, 2020. 28-29. “Exploring Deco in Hildreth Meière’s Manhattan.”

Ward, Logan. “In the Vault: Seven Places that Showcase Spectacular Guastavino Tile Vaulting.” In Preservation Magazine (National Trust for Historic Preservation), Summer, 2020 47-50. “In the Vault: Seven Places that Showcase Spectacular Guastavino Tile Vaulting.”

Folk, Tom. “The Ceramic Murals of Gregory and Meière for Washington, DC.’s Municipal Center.” In Journal of the American Art Pottery Association, Fall, 2020. 10-16. “The Ceramic Murals of Gregory and Meière for Washington, DC.’s Municipal Center.”

Skolnik, Kathleen Murphy. “Art Deco: Era “Shero” and Her Chicago Connections.” In Impact Illinois (ASID Illinois Chapter Magazine), Spring, 2020. 20-21. “Art Deco: Era “Shero” and Her Chicago Connections.”

Kenney, Nancy. “A Wall Street lobby restored to its former glory.” In The Art Newspaper. July 19, 2019. “A Wall Street lobby restored to its former glory.”

Brawer, Catherine Coleman. “Hildreth Meière’s Gift to Our Lady.” In Cathedra Magazine. Volume 5, Issue 1 (Fall 2018). 15‑16. “Hildreth Meière’s Gift to Our Lady.”

Gardner, James. “In Praise of Ornament.” In The Magazine Antiques. Nov/Dec 2014. 134-139. “In Praise of Ornament”

Grow, Robin. “The Art Deco Murals of Hildreth Meière.” In Spirit of Progress: Journal of the Art Deco and Modernism Society [Australia] 15: 2 (Autumn, 2014). 15. “The Art Deco Murals of Hildreth Meiere”

Benjamin Waldman. “The Art Deco Murals of Hildreth Meière in NYC's Radio City, One Wall Street, St. Bartholemew.” June 26, 2014. Untapped New York.

Brawer, Catherine Coleman. "A Labor for Hercules." In Chicago Art Deco Society Magazine. Spring, 2013. 14-15. “A Labor for Hercules”

Brawer, Catherine Coleman. “Walls Speak: The Narrative Art of Hildreth Meière.” In Walls Speak: The Narrative Art of Hildreth Meière. St. Bonaventure, New York: St. Bonaventure University, 2010. 10-11. “Walls Speak: The Narrative Art of Hildreth Meière”

Kendall, Jane. “Behind These Walls: The Enduring Art and Legacy of Hildreth Meière” In Stamford Magazine, Jan/Feb 2010. 66-74. “Behind These Walls: The Enduring Art and Legacy of Hildreth Meière”

Skolnik, Kathleen Murphy. “Hildreth Meière: Designing for Chicago.” In Chicago Art Deco Society Magazine, Summer, 2009. 21-27 “Hildreth Meière: Designing for Chicago”

“Discovering the Art of Hildreth Meière (1892-1961).” In Esprit de Coeur. Winter 2009-10. 8-9. “Discovering the Art of Hildreth Meière”

Zimmer, Lori. “Art Hiding in New York”. New York: Running Press, 2020. 214-215

Sarett, Carla. “The Hidden Female Face of New York.” In The Inclusive Vision: Essays in Honor of Larry Gross, edited by Paul Messaris and David W. Park. New York: Peter Lang, 2018. 223‑234

Anthony W. Robins. “New York Art Deco: A Guide to Gotham’s Jazz Age Architecture.” Albany, New York: State University of New York Press, 2017. 18, 44, 116, 164, 246

Scelfo, Julie. “The Women Who Made New York”. Berkeley, CA: Seal Press, 2016. 173‑174

Brawer, Catherine Coleman. “A Gift for Our Lady.” In St. Patrick's Cathedral: The Legacy of America’s Parish Church, edited by Kate Monaghan. Strasbourg, France: Éditions du Signe, 2015. 65‑68.

Brawer and Kathleen Murphy Skolnik. “The Art Deco Murals of Hildreth Meière”. New York: Andrea Monfried Editions, 2014.

Ochsendorf, John. “Guastavino Vaulting: The Art of Structural Tile”. New York: Princeton Architectural Press, 2014. 170-79.

Brawer. “Hildreth Meière Decorates the Great Hall.” In Convergence: The Art Collection of the National Academy of Sciences, edited by J.D. Talasek and Alana Quinn. Washington, DC, 2012. 24-28.

Holliday, Kathryn. “Ralph Walker: Architect of the Century”. New York: Rizzoli, 2012. 86-91.

Brawer. “Walls Speak: The Narrative Art of Hildreth Meière”. St. Bonaventure, New York: St. Bonaventure University, 2010.

Richards, Becca Earley. “Holy Light: The Iconography and History of the Stained Glass of St. Bartholomew’s Church in New York City”. Self-published, 2007.

Woodside, Joan and Betsy Gabb. “The Decorative Art of Hildreth Meière.” In A Harmony of the Arts: The Nebraska State Capitol, ed. Frederick C. Luebke. Lincoln, Nebraska: University of Nebraska Press, 1990. 66-80.

McGee, Celia. “If These Walls Could Speak, They’d Say Her Name.” In New York Times, May 1, 2014. “If These Walls Could Speak, They'd Say Her Name”

Ilnytzky, Ula. “New book highlights work of a muralist.” Associated Press. April 3, 2014. “New book highlights works of a muralist”

Kahn, Eve M. “Two-Ton Hercules Mosaic, Rock Steady in Newark.” In New York Times, October 4, 2012. “Two-Ton Hercules Mosaic, Rock Steady in Newark”

Maloney, Jennifer. “Recalling Art Deco Stylist Who Defined City.” In Wall Street Journal, January 30, 2012. “Recalling Art Deco Stylist Who Defined City”

Shoudy, T.D. “The Art Behind the Altar.” In Montclair Times Community, January 26, 2012. “The Art Behind the Altar”

Jenkins, Mark. “A classical touch on Art Deco Walls.” In Washington Post, March 18, 2011. “A classical touch on Art Deco walls”

Kahn, Eve M. “Encore for a Muralist.” In New York Times, March 18, 2011. “Encore for a Muralist”

Herrera, Camilla A. “Icon of Her Time.” In Advocate/Greenwich Time, December 30, 2007. “Icon of Her Time”

Meiere, Hildreth. “Blessed Are They.” New York Times, August 4, 1940.

---------. “Working for a World’s Fair.” In Journal of the Associated Alumnae of the Sacred Heart, 4,1939-40. 35-41.

---------. “Murals Large and Small.” In Women’s City Club Magazine [San Francisco, Calif.], 13: 8 (September 1939). 11,30.

---------. "The Question of Decoration." In Architectural Forum 57: 1 (July 1932). 1-9.

---------. “Distinguished Artist Comes Home for Visit: Miss Hildreth Meière Tells of the Interesting Work in which She Is Engaged.” In Women’s City Club Magazine [San Francisco, Calif.], 1:2 (March 1927). 9-12.

Meiere, Hildreth. “Her Life and Times (not Hard),” c. 1955.

----------. “Ramblings of a Mural Painter,” c. 1953.

----------. “Dossier,” c. 1945.

Pawlowski, Inge. “Sanctuary for the Apostles.” In St. Louis Review. June 28, 1957. sec.2.

Watson, Ernest W. “Hildreth Meière Mural Painter: An Interview with illustrations of her Work.” In American Artist 5:7 (September 1941). 5-9.

Cunningham, Harry F. “A Record of Successful Experiments.” In American Architect 145: 2626 (October 1934. 15-19.

Alexander, Hartley Burr. “Symbolism and Inscriptions.” In American Architect 145: 2626 (October 1934). 24-28.

Clute, Eugene. “The Story of Rockefeller Center: X The Allied Arts.” In Architectural Forum (October 1932). 353-58.

Ince, Ethel C. “Designer of Huge Medallions.” In Christian Science Monitor, May 18, 1932.

McCann, Anabel Parker. “Woman Who Will Help to Beautify Rockefeller Center Has Many Important Mural and Architectural Decorations to Her Credit.” In New York Sun. April 14, 1932.

Clute, Eugene. “Glass Mosaic.” In Architecture 65 (September 1931). 141-46.

Alexander, Hartley Burr. “Hildreth Meière’s Work for Nebraska.” In Architecture 63:6 (June 1931). 321-28.

Lay, Charles Downing. “Hildreth Meière.” In The Arts 14 (July/December 1928). 106-09.

Kistler, Aline. “Hildreth Meière: A San Francisco Woman Wins America’s Highest Painting Award.” In The San Franciscan, April 1928.

Lee, Anne. “Hildreth Meière Mural Painter.” Architectural Record 62: 2 (August 1927). 103-112

Parkhurst, Genevieve. “An Artist Who Happens to Be a Woman: The Remarkable Career of Hildreth Meière.” In Pictorial Review 27:12 (September 1926). 1-2, 106-07.

Sharer, Elizabeth Jean. “Hildreth Meière, 1892-1961 : An Artistic Biography of an American Muralist.” Ph.D. diss., University of New Mexico, 2001.

Hildreth Meière displayed her studies for commissions across the country in the annual exhibitions of the Architectural League of New York. Several of the Yearbooks of the Architectural League of New York contain photographs of her studies, including 1925, 1927, 1928, 1929, 1930, 1931, and 1932.

Hildreth Meière drew a series of forty-five illustrations for the volume Through Christ Our Lord in the Christ Life Series in Religion published by MacMillan. Her drawings illustrate the theme Through the Church to Christ and through Christ to the Father. The 1935 publication is the only example of Meière’s work as a book illustrator.

Michel, Dom Virgil O.S.B., and Dom Basil Stegman, O.S.B., S.T.D. and the Sisters of the Order of St. Dominic. Through Christ Our Lord. MacMillan Company, 1935.

“A good mural should be something that cannot be taken away without hurting the design of the building. If the building can look as well without it, it shouldn’t be there in the first place.”

Interview by Mary Kimbrough in St. Louis Post Dispatch, 1955

“The craftsman . . . is the designer’s right hand in the final execution of the job.”

Interview, 1941

“[I am] so trained to try to express a thought in design that I find it almost impossible to begin anything until I know what it is all about.”

Letter to Hartley Burr Alexander, 1932

“All I have to show are sketches for murals, battered cartoons, and photographs of finished commissions.”

“Her Life and Times (not Hard),” c. 1955

“We went to Italy [in 1911], and the glories of the Renaissance and all that preceded it opened before my hungry eyes, and I fell in love, once and for all, with mural painting and great beautiful walls.”

“Dossier,” c. 1946

“I personally have designed for glass, marble and tile mosaic, brick, glass, tapestry, leather, wood, and metal.”

Lecture to Pen and Brush Club, 1950

“[A mural painter’s] finished work exists not merely in itself, but in relation to three-dimensional form--to ‘enclosed space,’ as someone has defined architecture.”

Lecture to Pen and Brush Club, 1950

“. . . that curious but most important element called ‘scale,’ which does not exist for the picture painter, is one of the ever-present problems of the mural painter.”

Lecture to Pen and Brush Club, 1950

“. . . I have been an authority on . . . astronomy, anthropology, California flora, Renaissance ornament, Biblical history, the lives of the Saints, mosaics of all periods, American Indian art, the history of Nebraska . . . and the women’s movement. . . . I only regret that I forget all the information as soon as the job is done.”

Lecture to Pen and Brush Club, 1950

“I never realized how beautiful in design the Indian beadwork is. . . .

Letter to mother, 1921

“The whole essence of Byzantine art is the dome, and when you put mosaics on a curved surface, the light striking them changes. . . . The result will be moving light, and a surface that almost appears to be living.”

Interview by Pawlowski in “Sanctuary for the Apostles,” 1957

“Good exterior decorations are uncomplicated and easy to read. . . .”

“Working for a World’s Fair,” 1939-40

“My designs for metal, mosaic, and terracotta . . . passed through the hands of good craftsmen and came out, as usual, looking better than the cartoons.”

“Working for a World’s Fair,” 1939-40

“The designer appreciates the contribution the good craftsman makes; he is not jealous of it but prays for the greater glory that creative craftsmanship can bring to the work.”

Interview by Watson in American Artist, 1941

“The artist’s real fun is in the doing of his job; as to whether people like it when it is done and whether it endures or not, interesting as these points are to him, they are apart from that creative, subjective experience which is his life.”

“Working for a World’s Fair,” 1939-40