Artist. She is remembered as being, during her forty-year career, one the most noted American muralists of the Twentieth Century. She broke from the academic traditions and blends of Byzantine mosaics, Egyptian wall painting, classical Greek vase painting and Native American bead work into a style that became known as Art Deco. She became an artist in a world that had forever been dominated by men. She knew early in her life that she wanted to be an artist, foremost a portraitist. The daughter of Marie and Ernest Meiere, she attended private Catholic schools as a child. Upon her high school graduation in 1911 her mother, who had been aspiring painter before her marriage, took her and her sister, Lloyd, to Italy. In Florence she studied manuscripts and prints in libraries, memorized the details of the masters of the Italian Renaissance, and fell in love with the frescoed walls. It was at this point she decided to pursue mural painting over portraits. On her return to New York, she attended the Art Student League. With the decline of her father's health, the family moved to San Francisco where she continued to study at the California School of Fine Arts. Painting a mural in the city's theater of a ballerina led to connections back in New York City, thus she returned. Since the Beaux-Arts Institute of Design in Turtle Bay did not accept women, she settled for the New York School of Applied Design for Women; as a woman,“settling” became a repeated pattern for much of her career. After the Architectural League started accepting women in 1934, she joined, and in six years, she was the recipient of the Gold Medal in Murals in the League's annual competition. She was the first woman member of the New York Arts Commission. Upon receiving an invitation that all members of the Art Commission needed to wear a black tie to a formal event, she donned a black tie with a long, flowing black evening dress that had a very low neckline. She enjoyed the New York City night life, where she made fashion statements, as well as becoming a business woman seeking commissions. managing a budget and giving instructions to male employees. Her first important commission was in 1924 with the decoration, in painted and gilded raised gesso, of the Great Hall of the National Academy of Sciences in Washington, D.C. Her passion for Art Deco really came to life in the Temple Emanu-El on 65th Street. The design was geometric motifs interspersed with Judaic symbols that ascend the eight-story-high arch of the main sanctuary. Other examples of her talent were the bank at One Wall Street, New York City in 1931; the Walker-Lespenard Telephone Company, New York in 1931; and the Illinois Bell Telephone, Chicago in 1938. Her special talent for designing mosaics and stained glass in New York City's religious facilities is seen in St. Thomas' Church in 1935, St. Bartholomew’s from 1928 through 1929 and again from 1948 through 1949; and St. Patrick's Cathedral in 1940. She created mosaic medallions and panels illustrating St. Frances' “Canticle of the Sun” for the ceiling of the Rockefeller Chapel at the University of Chicago along with miniature paintings for the chapel. In 1937, she created the facade for the Logan Branch Library in Chicago. She designed the ceiling and altar of the Washington’s National Cathedral in 1951 and the Cathedral Basilica of St. Louis, Missouri in 1958. She gained particular notoriety in New York City when she accepted a dual commission in 1932 for metal panels on the exteriors of both RKO Building and Radio City Music Hall in Rockefeller Center. For the Chicago's 1933 World's Fair Century of Progress Exhibition, she executed the “Progress of Women” mural for the National Council of Women and decoration of the terracotta pool floor for an American Telephone and Telegraph installation. For the 1939 to 1940 New York World's Fair, she completed eight exterior mural for Fair Buildings including Medicine and Public Health, American Telephone, and the Temple of Religion. Her favorite commission was the Nebraska State Capital in Lincoln from 1924 to 1929, where she made in mosaic Native American images. During World War II, she made over 500 portable altars for the military chaplains. She made several trips to Europe where her style of Art Deco was introduced and accepted especially by the French. While on one of her trips, she met then married Richard von Goebel, an Austrian aristocrat, in New Jersey on May 29, 1929 in a civil ceremony ; their short marriage ended in an annulment upon learning his previous marriage had not fully been resolved; and by 1930 their daughter was born. She did not use the surname “von Goebel.” Today, her daughter Louise Meiere Dunn gives lectures world-wild on her mother's 40-year career, holds the position of President of the International Hildreth Meiere Association, and has published the 2000 book, “Hildreth Meiere: Her Words and Mine.” In 1955, Meiere published her autobiography, “Hildreth Meiere-Her Life and Times.” Most recently in 2014, “The Art Deco Murals of Hildreth Meier” by Catherine Coleman Brawer and Kathleen Murphy Skolnik was published.