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Oral history interview with Peter Agostini, 1968

view Oral history interview with Peter Agostini, 1968 digital asset number 1
Agostini, Peter, 1913-1993
Roberts, Colette Jacqueline, 1910-1971
Bontecou, Lee
Chamberlain, John Angus
Cézanne, Paul
Cornell, Joseph
De Chirico, Giorgio
De Kooning, Willem
Demuth, Charles
Di Suvero, Mark
Dove, Arthur Garfield
Dubuffet, Jean
Duchamp, Marcel
Ferber, Herbert
Flannagan, John Bernard
Giacometti, Alberto
Greenberg, Clement
Hague, Raoul
Hare, David
Hartley, Marsden
Hopper, Edward
Judd, Donald C. (Donald Clarence)
Kaprow, Allan
Kienholz, Edward
Kline, Franz
Kohn, Gabriel
Kolbe, Georg
La Tour, Onya
Lachaise, Gaston
Lassaw, Ibram
Lippold, Richard
Lipton, Seymour
Macdonald-Wright, Stanton
Maillol, Aristide
Manship, Paul Howard
Marca-Relli, Conrad
Marin, John
Matisse, Henri
Melville, Herman
Mondrian, Piet
Morris, Robert
Nakian, Reuben
Noguchi, Isamu
O'Keeffe, Georgia
Oldenburg, Claes
Poe, Edgar Allan
Pollock, Jackson
Pompon, Fran­cois
Reinhardt, Ad
Rivera, Diego
Roszak, Theodore
Rothko, Mark
Samaras, Lucas
Scarpitta, Salvatore
Segal, George
Sheeler, Charles
Smith, David
Smith, Tony
Spaventa, George
Stankiewicz, Richard
Sugarman, George
Tobey, Mark
Whitman, Walt
Zorach, William
Columbia University
Works Progress Administration
Place of publication, production, or execution:
New York (State)
Physical Description:
Transcript: 99 pages.
General Note:
Originally recorded on 3 sound tape reels. Reformated in 2010 as 28 digital wav files. Duration is 10 hrs., 37 min. Transferred from 4 3" reels.
An interview of Peter Agostini conducted in 1968, by Colette Roberts, for the Archives of American Art at 151 Avenue B, New York, New York.
Mr. Agostini speaks of his childhood spent living throughout the five boroughs of New York; his interactions with clients of his father's acting employment agency; his early education in Catholic school and the creative freedom allotted by the nuns; his first feelings of isolation as an artist at the age of seven; the development of a sense of communication as the result of the loss of his mother at the age of three and time spent at a school for orphans; his early realization and vision of artistic destiny; his religious interests which lead to mysticism in his earlier work; his time spent working freely in the DaVinci Studio with Spaventa; the discovery by Hess of his works in Gallerie Grimaud; his attainment of the Longview Grant; his working experience throughout the Depression as part of the WPA casting plaster mannequins while working indirectly with Pollack as well as Marca Relli; his subsequent move to designing department store windows (use of Mondrian-like forms and lines); his feelings of his position as an observer; the importance of communication through art (communication without words); his rejection of the Abstract Expressionist group and choice of independence; the influence of the sculpture of Kolbe and Bache in the thirties; Clement Greenberg's distaste for his work; his feelings about the relative failure to sell his work due its unusual edginess and mystery; his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group; his description of his own work as "traditionless"; his feelings of self-importance as one of the most original sculptors in the art world; his influence on the younger generation, particularly Marisol; the enslavement to originality that the younger generation faces; his attitudes towards American Art forms and their lack of rebellious spirit; the virtues of the American writers, such as Poe, Whitman, and Melville as American "knapsack" writers; his personal technique which places an emphasis on the "skin" or volume of something; his attempt to create quiet art, or art that merely indicates features; his frustration with teaching and the problems of regurgitated knowledge; the role of Meyer Shapiro in his teaching career at Columbia; the formation of the Club and its similarity to the Cubist's café scene; his opinions on the relationship of sex and sensuality in American art; his personal struggles, including the loss of his second wife and two of his brothers, in addition to the estrangement of his only daughter by his first wife; his feelings on the role of psycho analysis and personal history in a work of art; his present works which feature the "swell." For the majority of the second half of the interview Ms. Roberts asks Mr. Agostini to express his opinions on the work of: Kline; DeKooning; Duchamp; Oldenburg; La Tour; DeChirico; Maillol; Pompon; Rothko; Chardin; Cezanne; Giacometti; Reinhardt; Chryssa; Tony Smith; Segal; Lachaise; Zorach; Manship; Flannagan; Kelly; Lassaw; David Smith; Hare; Lipton; Ferber; Lippold; Roszak; Nakian; Noguchi; Hague; Kohn; di Suvero; Chamberlain; Kaprow; Sugarman; Stankiewicz; Bontecou; Scarpitta; Cornell; Keinholz; Rivera; Judd; Robert Morris; O'Keeffe; Samaras; Mark Tobey; Marin; Pollock; Hartley; Dove; Macdonald-Wright; Demuth; Sheeler; Hopper; Mirot; Matisse; DuBuffet.
Quotes and excerpts must be cited as follows: Oral history interview with Peter Agostini, 1968. Archives of American Art, Smithsonian Institution.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Biography Note:
Peter Agostini (1913-1993) was a sculptor from New York, New York.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Location Note:
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Abstract expressionism
Sound recordings
Record number:
Data Source:
Archives of American Art
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