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The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.
Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chronological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.
Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period from 1943-2001 and cover a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.
Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.
Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art and other locations. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings. Additional professional and project files document Charlton's work as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of "Zen in Ryoko-In."
Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.
Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler ("Trienniale," "The Universal Theater," and "Kiesler on Kieseler"), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and production of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 19 film reels.
Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.
Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substantial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.
Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches with occasional annotations.
Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, and her travels, family, friends, and artists. Photographs are also found throughout other series.
Sound and video recordings which could not be merged with other series were placed together in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.
The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Some of the video and sound recordings in this collection have been copied for research access and are available in the Archives of American Art offices.
Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund.
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film "Kiesler on Kiesler," created by Maryette Charlton.
The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Maryette Charlton (1924- 2013) was a painter, printmaker, photographer, and film maker in Chicago, Illinois and New York, New York. Charlton studied in Chicago with Moholy-Nagy at the Institute of Design, and received her B.F.A. at Pratt Institute and her M.F.A. from Columbia University. She has made several films about American artists. She was the cameraman for set designer Frederick Kiesler's "Kiesler's Universal Theater" for CBS in 1962 and collaborated with Kiesler's widow, Lillian, on various projects, especially the film "Kiesler on Kiesler" (housed at the Museum of Modern Art Video and Film Department).
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001