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Barbara Aubin papers

Creator:
Aubin, Barbara, 1928-2014  Search this
Extent:
8.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Date:
circa 1949-2006
Scope and Contents:
The papers of painter, teacher and curator, Barbara Aubin, measure 8.6 linear feet and date from circa 1949-2006. Included is biographical information; personal and professional correspondence; writings; personal business records; photographs of Aubin, her works of art and family; scrapbooks; two VHS videos and printed material relating to Aubin. Also included is a miniature portrait of a man "Joshua" (presumably a relative of Aubin's) painted on ivory in a medallion, possibly dated 1867.
Biographical / Historical:
Barbara Aubin (1928-2014) was a painter, teacher, and curator in Chicago, Illinois.
Provenance:
Donated 2016 by the Barbara Aubin estate via Amie Hyman, executor and in 2023 by the Union League Club of Chicago via Mark Tunney, General Manager, and Jane Stevens, trustee.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Art museum curators -- Illinois -- Chicago  Search this
Topic:
Women artists  Search this
Women educators  Search this
Women painters  Search this
Genre/Form:
Scrapbooks
Video recordings
Identifier:
AAA.aubibarb
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dee97ff6-4aa6-4978-87a5-189e8b64d858
EDAN-URL:
ead_collection:sova-aaa-aubibarb

Robert Bechtle papers

Creator:
Bechtle, Robert, 1932-2020  Search this
Extent:
13.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Drawings
Diaries
Video recordings
Date:
circa 1930s-2020
Summary:
The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.
Scope and Contents:
The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.

Biographical material includes military service documents including infantry yearbooks, as well as academic records and degrees for Bechtle and his mother, who continued her education later in life. Also included are highschool yearbooks, the senior year issue featuring art direction from Bechtle, as well as resumes and other supplemental material used by Bechtle's employing institutions to grant sabbaticals and other paid leave. Correspondence is mostly from galleries and museums, in addition to letters from various peers. Also included are letters of recommendation written by Bechtle for faculty or graduate art programs, as well as numerous letters by Bechtle to his mother while he was in the military, including photographs of his travels in Europe, especially Germany. Personal business records include grant applications, applications for sabbatical and other paid leave, as well as studio expenses, planners, and miscellaneous travel documents. Exhibition and gallery records include planning documents for key exhibitions, correspondence, financial documents including sales information, and printed materials from galleries Bechtle worked with over the years, as well as mailing lists, print catalogs, print documentation, and inventory records.

Writings include artist statements and interviews, schoolwork including art history and philosophy papers and notebooks, and academic papers written on Bechtle's work. Teaching materials include lessons, readings, materials lists and syllabi particularly concerning painting, design and printmaking courses at San Francisco State University and other schools.

Printed material includes press clipping and a press scrapbook, as well as invitations and posters, press releases and exhibition catalogs, as well as other types of publications featuring Bechtle's artwork and miscellaneous books and pamphlets from Bachtle's European travel.Photographic material includes photographs of Bechtle and his friends and family, his classmates at CCAC and his military colleagues in Germany. Also included are photographs and slides of artwork by Bechtle and others, as well as photographs and slides used to make Bechtle's photorealistic paintings, drawings, and prints. The artwork series includes childhood and early career drawings including sketchbooks by Bechtle, as well as original materials made by Bechtle for his design work including the Kaiser Company, as well as watercolor and tempera works on paper including demonstration works made in the classroom setting.
Arrangement:
The collection is arranged as nine series:

Series 1: Biographical Material , circa 1940s-1999 (1 Linear foot: Box 1)

Series 2: Correspondence, circa 1950-2017 (1.2 Linear feet: Boxes 2-3)

Series 3: Personal Business Records (1 Linear foot: Boxes 3-4)

Series 4: Exhibition and Gallery Records, circa 1960s-2019 (1.3 Linear feet: Boxes 4-5)

Series 5: Writings, circa 1950-2015 (0.8 Linear feet: Boxes 5-6)

Series 6: Teaching Files, circa 1956-1988 (0.2 Linear feet: Box 6)

Series 7: Printed Material, circa 1939-2020 (4.6 Linear feet: Boxes 6-10, 13, Oversize 21)

Series 8: Photographic Material , circa 1930s-2010 (2.8 Linear feet: Boxes 10-15)

Series 9: Artwork, circa 1930s-1999 (1 Linear foot: Box 12, Oversize 16-20)
Biographical / Historical:
Robert Bechtle (1932-2020) was a photorealist painter, educator, and printmaker born in Alameda, California, and lived and worked primarily in the San Francisco Bay Area including a long-time residence in Oakland.

Bechtle completed both undergraduate and Master of Fine Arts degrees at the California College of Arts and Crafts by 1958, in between which he served a few year in the United States Military, primarily stationed in Germany. Like the other photorealist painters of his era, Bechtle engineered a style of painting which was based more on keen observation and excruciating detail than any visually discernible stylism. His subjects were largely suburban and mundane and often incorporated images of himself and family members. He would project photographs and incorporate those copied images directly into paintings. In addition to paintings, Bechtle eventually translated his practice into both charcoal drawing and printmaking. He taught at the San Francisco State University where he was named Professor Emeritus in 1999, as well as other schools.

One of the milestones of his career was a retrospective exhibition organized in 2005 by the San Francisco Museum of Modern Art, also traveling to the Corcoran Museum of Art in 2006. Robert Bechtle's work has been exhibited internationally and his paintings and other artworks are held in numerous collections including the San Francisco Museum of Modern Art, Oakland Museum of California, Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art,and the Guggenheim Museum in New York City, the Walker Art Center in Minneapolis, and the Smithsonian American Art Museum in Washington. Bechtle passed in October 2020 from Lewy Dementia and is survived by his second wife Whitney Chadwick and his two children Max and Anne, who were born from his first marriage to Nancy Dalton.
Related Materials:
The Archives of American Art also holds a 1978 September 13- 1980 February 1 oral history intereview with Robert A. Bechtle and a 2010 February 8-9 oral history interview with Robert A. Bechtle.
Provenance:
Donated 2022-2023 by the Robert Bechtle and Whitney Chadwick Revocable Trust via Robert Firehock, representative of the Estate of Robert Bechtle.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: 40 demonstration works of art on papers by Robert Bechtle.
Occupation:
Printmakers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Educators -- California -- San Francisco  Search this
Topic:
Photo-realism  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Drawings
Diaries
Video recordings
Citation:
Robert Bechtle papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bechrobe
See more items in:
Robert Bechtle papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b997eb71-56ba-4747-8ad4-676d3e3b5e20
EDAN-URL:
ead_collection:sova-aaa-bechrobe

Nanae Momiyama papers, 1928-circa 2000, bulk 1948-2000

Creator:
Momiyama, Nanae, 1924-2002  Search this
Subject:
Secor, Johanna  Search this
Kusama, Yayoi  Search this
Kenkeleba House  Search this
National Association of Women Artists (U.S.)  Search this
Bruce Museum  Search this
Type:
Sketchbooks
Scrapbooks
Sound recordings
Greeting cards
Interviews
Sketches
Drawings
Photographs
Place:
Japan
Citation:
Nanae Momiyama papers, 1928-circa 2000, bulk 1948-2000. Archives of American Art, Smithsonian Institution.
Topic:
Calligraphy, Japanese  Search this
Women artists  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American educators  Search this
Women painters  Search this
Women educators  Search this
Women illustrators  Search this
Theme:
Women  Search this
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)15751
(DSI-AAA_SIRISBib)287096
AAA_collcode_mominana
Theme:
Women
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_287096
Online Media:

Reginald R. Isaacs papers

Creator:
Isaacs, Reginald R., 1911-  Search this
Names:
Bauhaus  Search this
Gropius, Walter, 1883-1969  Search this
Pollock, Jackson, 1912-1956  Search this
Extent:
22.54 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Scrapbooks
Exhibition catalogs
Writings
Photographs
Date:
circa 1842-1991
bulk 1928-1991
Summary:
The papers of Reginald R. Isaacs measure 22.54 linear feet and date from 1842 to 1991, with the bulk of the material from 1928 to 1991. The collection includes Isaacs's personal and professional papers, as well as extensive research material he collected and created for his two-volume biography, Walter Gropius: The Man and His Work.
Scope and Content Note:
The papers of of architect, instructor, writer, and city planner Reginald R. Isaacs (1911-1986) measure 22.54 linear feet and date from 1842 to 1991 with the bulk of the material dating from 1883 to 1985. The collection includes Isaacs's personal and professional papers, as well as extensive research material he collected and created for his two volume two-volume biography of Bauhaus architect, Walter Gropius: Walter Gropius: The Man and His Work. The bulk of Walter Gropius' papers are housed at the Busch Reisinger Museum at Harvard University, and the Bauhaus Archiv in Germany.

Series 1 to 12 contain contain biographical, legal, and financial material; personal and professional correspondence; project and subject files; writings and publications; teaching files; works of art; scrapbooks; printed material; and photographs relating to Isaacs' personal and professional career.

Series 13 forms the bulk of the collection and pertains specifically to the writing and publication of Isaacs' biography of Gropius. It contains research material, correspondence (much of it with Gropius), drafts of the manuscript, publication correspondence, photographs and illustrations, and printed material. Some of the research material, including some of the photographs and illustrations that were used in the biography, appear to have been original documents of Walter Gropius, while large portions of the material are photocopies of the originals, many of them in German.
Arrangement:
The collection is arranged into fourteen series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1935-1986, undated (Boxes 1, 22; 8 folders)

Series 2: Legal Material, 1976-1984, undated (Box 1; 3 folders)

Series 3: Financial Material, 1945-1969 (Box 1; 2 folders)

Series 4: Correspondence, circa 1891, 1936-1986 (Boxes 1-2; 1.5 linear feet)

Series 5: Project Files, 1948-1980, undated (Box 2, OV 23; 0.5 linear feet)

Series 6: Subject Files, 1961-circa 1982, undated (Box 3; 2 folders)

Series 7: Writings, 1940-1986, undated (Boxes 3-4, 22; 2.0 linear feet)

Series 8: Teaching Files, 1954-1973 (Boxes 4-5; 1.0 linear foot)

Series 9: Works of Art, 1965-1967, undated (Box 5, OV 23; 3 folders)

Series 10: Scrapbooks, 1929-1969 (Box 5; 2 folders)

Series 11: Printed Material, 1842-1844, 1913-1986, undated (Box 5; 0.5 linear feet)

Series 12: Photographs, 1959-1981, undated (Boxes 5, 22; 7 folders)

Series 13: Walter Gropius Biography, circa 1880s-1991, undated (Boxes 6-22, OV 23, MGP 1, MGP 2, MGP 4; 16.0 linear feet)

Series 14: Unprocessed Addition, 1974-1985 (Box 24; 1.0 linear foot)
Biographical Note:
Born in Canada in 1911, Reginald R. Isaacs began working in architectural offices at age 14, later coming under the influence of "Beaux-Arts diplomes" at the University of Minnesota and Harvard and subsequently under that of Walter Gropius at Harvard University. He later studied sociology and planning at the University of Chicago under Louis Wirth and Rexford Guy Tugwell.

Isaacs served on the staffs of city planning commissions in Minneapolis, Syracuse, and Chicago, and in the federal government in the National Youth Agency, Public Housing Authority, and Housing and Home Finance Agency. His architectural practice in Minneapolis, Washington, D.C., Chicago, and other cities included the design of housing, colleges, and hospitals. He was director of planning and development for Michael Reese Hospital in Chicago, 1945-1953, where Walter Gropius, planner Walter Blucher, and sociologist Louis Wirth collaborated with him as consultants. He was a United Nations expert on regional planning in South America, and a planning consultant for the Ford Foundation, the U.S. State Department, Puerto Rico, and the Virgin Islands.

Recommended by Walter Gropius, Isaacs served as the Charles Dyer Norton Professor of Regional Planning at Harvard University from 1953-1978. He was also Chairman of the Graduate School of Design's Departments of City and Regional Planning as well as Landscape Architecture. Throughout his career he lectured at universities throughout the United States and in almost every country of Central and South America and in the Caribbean.

In 1962 Isaacs and Gropius began their collaboration on Walter Gropius: The Man and his Work, until the death of Gropius in 1969. The first volume of the biography was published in German in 1983, with the second volume following in 1984. Isaacs died of a massive heart attack in 1986, never realizing his goal to see an English-language edition which was published posthumously in 1991 by the Estate of Reginald Isaacs.

Missing Title

1911 -- Born in Winnipeg, Manitoba, Canada

1935 -- Received Bachelor of Architecture degree from the University of Minnesota

1939 -- Received Masters of Architecture degree from Harvard University, Graduate School of Design

1947-1950 -- Studied sociology and planning with Louis Wirth and Rexford Guy Tugwell at the University of Chicago

1945-1953 -- Director of planning at Michael Reese Hospital, Chicago, Illinois

1951-1953 -- Guest lecturer at Harvard University's Graduate School of Design with Walter Gropius and also served a two-year term as a member of the Board of Overseers Committee to Visit the Graduate School of Design

1953-1978 -- Named the Charles Dyer Norton Professor of Regional Planning

1953-1964 -- Chairman of the Department of City and Regional Planning

1953-1958 -- Chairman of the Department of Landscape Architecture

1962 -- Began collaboration with Walter Gropius on the biography Walter Gropius - The Man and his Work

1969 -- Walter Gropius dies

1983 -- Walter Gropius, Der Mensch und Sein Werk, Volume 1 published by Gebr. Mann Nerlag, Berlin

1984 -- Walter Gropius, Der Mensch und Sein Werk, Volume 2, published by Gebr. Mann Nerlag, Berlin

1986 -- Isaacs dies

1991 -- Walter Gropius: An Illustrated Biography of the Creator of the Bauhaus, published by the Estate of Reginald Isaacs. The Papers of Reginald R. Isaacs donated to the Archives of American Art by his son, Henry Isaacs.
Provenance:
The collection was donated to the Archives of American Art by Henry Isaacs, son of Reginald Isaacs, in January 1991. An additional 1.0 linear foot was donated by Merry White, daughter of Reginald Isaacs, in 1997.
Restrictions:
This collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Architecture and society  Search this
Schools of architecture  Search this
Architectural writing  Search this
Architecture, Modern  Search this
Architects and community  Search this
Architects and housing developers  Search this
Architects in government  Search this
Architects  Search this
International style (Architecture)  Search this
Authors  Search this
Industrial designers  Search this
City planning  Search this
Architecture, Modern -- 20th century  Search this
City planners  Search this
Educators -- Massachusetts  Search this
Genre/Form:
Sketches
Scrapbooks
Exhibition catalogs
Writings
Photographs
Citation:
Reginald R. Isaacs papers, circa 1842-1991, bulk 1928-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.isaaregi
See more items in:
Reginald R. Isaacs papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99abacd2a-fa5c-419a-85f4-ac33498ce6c1
EDAN-URL:
ead_collection:sova-aaa-isaaregi
Online Media:

William Christenberry papers

Creator:
Christenberry, William, 1936-2016  Search this
Extent:
7.3 Linear feet
14.76 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Video recordings
Sound recordings
Sketchbooks
Date:
circa 1917-2018
Summary:
The papers of photographer, painter, sculptor, and educator William Christenberry (1936-2016) measure 7.3 linear feet and 14.76 GB and date from circa 1917-2018, with the bulk of the records dating from 1960-2018. The collection sheds light on Christenberry's career through personal papers, gallery and museum files, professional files, personal business records, printed and digital material, photographs, artwork, and sound and video recordings about his work.
Scope and Contents:
The papers of photographer, painter, sculptor, and educator William Christenberry (1936-2016) measure 7.3 linear feet and 14.76 GB and date from circa 1917-2018, with the bulk of the records dating from 1960-2018. The collection sheds light on Christenberry's career through personal papers, gallery and museum files, professional files, personal business records, printed and digital material, photographs, artwork, and sound and video recordings about his work.

Personal papers include personal correspondence with friends and family and transcripts of interviews with Christenberry. Gallery and museum files mostly consist of correspondence, price lists, and records of exhibitions. Professional files shed light on Christenbery's relationship with various foundations, colleges and universities, his involvement in the renovation of the John A. Wilson Building in Washington, D.C., and his teaching tenure at the Corcoran College of Art and Design.

Personal business records document purchase of art supplies, and also include correspondence with collectors, sales records, permission forms, and papers concerning fellowships that Christenberry received. Printed materials include newspaper clippings and articles, solo and group exhibition material, and reproductions of Christenberry's work.

Photographs include several series of Christenberry's work and publicity photos of Christenberry. Artwork includes one sketchbook, and project sketches.

Recorded materials consist of sound, video, and digital recordings primarily of footage compiled during the creation of William A. Christenberry, Jr.: A Portrait (1997), produced by Stanley J. Staniski, and the making of The Place I know, Visions of the South (2003).
Arrangement:
This collection is arranged as 8 series.

Series 1: Personal Papers, circa 1917, 1953-2016 (Box 1; .3 linear feet)

Series 2: Gallery and Museum Files, 1984-2017 (Box 1; .7 linear feet)

Series 3: Professional Files, 1979-2018 (Box 2; .5 linear feet, ER01; 0.263 GB)

Series 4: Personal Business Records, 1979-2017 (Box 2; .3 linear feet)

Series 5: Printed Material, 1947-2017 (Box 2-3, 8; 1.1 linear feet)

Series 6: Photographs, 1958-2012 (Box 3, 8; .4 linear feet, ER02-ER03; 0.275 GB)

Series 7: Artwork, 1965-2000 (Box 3, 8; 4 folders)

Series 8: Recorded Materials, 1980-2009 (Box 4-7; 4 linear feet, ER04-ER12; 14.23 GB)
Biographical / Historical:
Washington, D.C. photographer, painter, sculptor, and educator William Christenberry (1936-2016) was a pioneer in the use of color photography and is known for his images of west-central Alabama and his explorations of the psychology of place.

Originally from Hale County, Alabama, Christenberry had an interest in art and photography from an early age. He earned his B.F.A. and M.F.A. from the University of Alabama and, after graduating in 1959, joined the faculty at his alma mater. After a brief stint in New York where he met Walker Evans, Christenberry took a position as assistant professor of art at Memphis State University in 1962. While in Memphis, Christenberry began exploring color photography more thoroughly while also crafting his own unique style; he also organized a small happening in Memphis in 1965.

Christenberry and his wife moved to Washington D.C. in 1968 where he took a position at the Corcoran College of Art and Design. While living in D.C., Christenberry began photographiing buildings and hand-lettered signs, and photographed other structures and scenes during trips back to Hale County.

Christenberry held solo exhibitions of his work at The Corcoran Gallery of Art, Montgomery Museum of Fine Arts, Philadelphia Museum of Art, The Philips Collection, Palais des Beaux-Arts in Brussels, Belgium, and many more; and participated in group exhibitions such as Visualizing the Blues: Images of the American South, 1962-2000 (2000) at the Ogden Museum of Southern Art, New Orleans, Picturing Modernity (2010) at the San Francisco Museum of Art, and Seeing Now: Photography Since 1960 (2011) at the Baltimore Museum of Art. He received a Guggenheim Fellowship in 1984, an honorary doctoral degree from the University of Alabama in 1998, and several other notable awards for artistic merit. His work may be found in the collections of the J. Paul Getty Museum, Hirshhorn Museum and Sculpture Garden, Center for Creative Photography, Birmingham Museum of Art, and many others.
Related Materials:
Also found in the Archives of American Art are an oral history interview with William Christenberry conducted by Merry Foresta, March 3 and 31, 2010, and an oral history interview of William Christenberry conducted by Buck Pennington, January 17, 1983.
Provenance:
The collection was donated in 2019 by Sandra Christenberry, William Christenberry's widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Washington (D.C.)  Search this
Photographers -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Sculptors -- Washington (D.C.)  Search this
Genre/Form:
Interviews
Video recordings
Sound recordings
Sketchbooks
Citation:
William Christenberry Papers, circa 1917-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chriswill
See more items in:
William Christenberry papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98865da86-17c8-4912-94f5-93f8c0e9b2e7
EDAN-URL:
ead_collection:sova-aaa-chriswill
Online Media:

Cyrus Edwin Dallin papers

Creator:
Dallin, Cyrus E. (Cyrus Edwin), 1861-1944  Search this
Names:
Dallin, Colonna Murray, 1861-1948  Search this
Extent:
8 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Sketchbooks
Diaries
Date:
circa 1878-circa 1970
Summary:
The papers of sculptor and educator Cyrus Edwin Dallin date from circa 1878-circa 1970. The papers document Dallin's life and career through biographical and family material; business and personal correspondence; writings by and about Dallin including lectures and poems; printed material including exhibition catalogs and clippings; a sketchbook; photographic research files related to Dallin's sculptures; and photographs of Dallin and his work. The papers also contain some documentation related to Dallin's wife, Vittoria Colonna Dallin, including journal notes and other writings.
Scope and Contents:
The papers of sculptor and educator Cyrus Edwin Dallin date from circa 1878-circa 1970. The papers document Dallin's life and career through biographical and family material; business and personal correspondence; writings by and about Dallin including lectures and poems; printed material including exhibition catalogs and clippings; a sketchbook; photographic research files related to Dallin's sculptures; and photographs of Dallin and his work. The papers also contain some documentation related to Dallin's wife, Vittoria Colonna Dallin, including journal notes and other writings.
Arrangement:
Due to prior arrangement on microfilm the collection is arranged as one series.
Biographical / Historical:
Arlington, Massachusetts sculptor and educator Cyrus Dallin (1861-1944) was best known for his sculptures of American Indians.

Dallin was born in Utah and moved to Boston in 1880 where he studied with sculptor Truman H. Bartlett. He then studied in Paris, France, before settling in Arlington, Massachusetts and beginning a 40 year tenure as a member of the faculty at the Massachusetts Normal Art School (now Massachusetts College of Art and Design) in Boston.

As president of the Massachusetts branch of the Eastern Association of Indian Affairs, Dallin worked to protect land rights and sovereignty, improve healthcare and education, and revitalize Native arts. He also served as an advisor on the Algonquin Indian Council of New England.

Dallin's public sculptures can be found throughout the United States in cities including Boston, Chicago, Philadelphia, Salt Lake City, and Kansas City.

Dallin was married to Vittoria Colonna Murray Dallin, who was central to social and civic life in Arlington, Massachusetts, where she helped to found or lead several civic organizations. Her most notable accomplishment was the Arlington Pageant of 1913 which celebrated the new Town Hall and the adjoining landscaped garden area, which included Cyrus Dallin's sculpture, "The Indian Hunter," and a flagpole with four Dallin sculptures.
Related Materials:
The Archives of American Art also holds microfilm of the Cyrus Dallin scrapbook, 1893-1896. Cyrus Edwin Dallin papers are also held by Syracuse University.
Provenance:
Material on reel 141 was lent for microfilming in 1972 by Mrs. Edwin B. Dallin via her granddaughter Mrs. J. K. McCabe, Jr. Material on reel 178 was lent for microfilming in 1971 by Dallin's son Lawrence Dallin. Material on reels 179-184 was lent for microfilming in 1971 by the Robbins Memorial Library, which received it from the Dallin family.
Restrictions:
The Archives of American Art does not own the original papers. Use is limited to the microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Massachusetts -- Arllington  Search this
Sculptors -- Massachusetts -- Arlington  Search this
Genre/Form:
Sketchbooks
Diaries
Citation:
Cyrus Edwin Dallin papers, circa 1878-circa 1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dallcyrp
See more items in:
Cyrus Edwin Dallin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f3778af2-88fe-4efa-81d3-b629f90376a0
EDAN-URL:
ead_collection:sova-aaa-dallcyrp
Online Media:

Oral history interview with Gaspar Enriquez

Interviewee:
Enriquez, Gaspar, 1942-  Search this
Interviewer:
Augusta, Laura, 1981-  Search this
Extent:
2 Items (sound files (3 hrs., 48 min.), digital, wav)
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
2023 January 10 and April 26
Scope and Contents:
An interview with Gaspar Enriquez conducted 2023 January 10 and April 26, by Laura Augusta for the Archives of American Art, at Mi Casa Art Center in San Elizario, Texas.­
Biographical / Historical:
Gaspar Enriquez (1942- ) is a Chicano painter, portrait artist, and educator in San Elizario in El Paso County, Texas. Known for his portraits of members of his local Chicano community, Enriquez has made a career of exploring what it means to reflect, teach, and advance what it means to be Chicano.

Laura Augusta (1981 -) is an art historian and curator in El Paso, Texas.
Related Materials:
The Archives of American Art also hods the Gaspar Enriquez papers.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Texas  Search this
Painters -- Texas  Search this
Topic:
Chicano art  Search this
Chicano artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.enriqu23
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f1c20492-1540-45c4-a3f6-db03346dc597
EDAN-URL:
ead_collection:sova-aaa-enriqu23

Linda Nochlin papers

Creator:
Nochlin, Linda  Search this
Names:
Courbet, Gustave, 1819-1877  Search this
Lajer-Burcharth, Ewa  Search this
Mitchell, Joan, 1926-1992  Search this
Pearlstein, Philip, 1924-  Search this
Zuka  Search this
Extent:
31.2 Linear feet
3.62 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sketchbooks
Sound recordings
Video recordings
Diaries
Date:
circa 1876
1937-2017
Summary:
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.62 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.
Scope and Contents:
The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.62 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.

Biographical materials include two address books; awards and prizes; certificates and diplomas; childhood writings and notes, assignments, and school newsletters; course work at Vassar College and NYU's Institute of Fine Arts; honors; and one sound recording and three transcripts of Nochlin interviews with Alain Veinstein, Dan Karlholm, Jon Weiner, and Moira Roth.

Over 150 date books and notebooks spanning nearly 60 years contain appointments, reminders, travel plans, thoughts on art, journal entries, daily activities, to-do lists, contact information, fiction writing, and other small notations. Correspondence is with family; close colleagues and artists Ewa Lajer-Burcharth, Zuka Mitelberg, Joan Mitchell, and Philip Pearlstein; and professional contacts regarding speaking engagements, publishing projects, exhibitions, artists' work, conferences, and events.

The bulk of the collection documents Nochlin's prolific writing career that includes her lifelong research and work on Gustave Courbet, realism, bathers and the body, as well as numerous essays and lectures, research and writings on artists, and various other writing projects.

Files for professional activities contain material for conferences and symposiums that include 11 sound and video recordings, grants, fellowships, and travel arrangements and expenses. Teaching files consist of documentation for courses taught by Nochlin at New York University Institute of Fine Arts, Vassar College, Yale University, and other academic institutions.

Publications and other printed materials include annotated books, booklets, clippings, exhibition catalogs, journals and magazines, newsletters, offprints, five video recordings of broadcasts and documentary material, flyers, invitations, posters, and postcards. Artwork includes sketches in ink, charcoal, paint, and pencil created during Nochlin's childhood into her early 20s, along with artwork by children, and one video art recording by Zoulikha Bouabdellah.

Photographs and negatives are of Nochlin with artists Nancy Graves, Sebastian Horsley, and Shirley Jaffe; childhood classmates; friends and colleagues; students; and travels to Europe. Also included are photographs of works of art, personal photographs of family members, and portraits and snapshots of Nochlin.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Materials, circa 1940-2012 (1.0 linear feet; Box 1, OV 35 / 0.003 GB; ER01-ER03)

Series 2: Datebooks and Notebooks, 1959-2017 (2.5 linear feet; Boxes 2-5, OV 35 / 0.001 GB; ER004)

Series 3: Correspondence, 1946-2014 (2.0 linear feet; Boxes 5-7, OV 35 / 0.058GB; ER005-ER011; ER120)

Series 4: Writing Project Files, circa 1876, 1953-2016 (17.0 linear feet; Boxes 7-21, 30-31, 33-34, OVs 36-37 / 3.72 GB; ER012-ER102)

Series 5: Professional Files, 1957-2012 (1.0 linear feet; Boxes 22-23 / 0.001 GB; ER103)

Series 6: Teaching Files, 1953-2012 (2.5 linear feet; Boxes 23-25, OV 36 / 0.016 GB; ER104-ER119)

Series 7: Printed Materials, 1939-2017 (3.0 linear feet; Boxes 26-28, 32, 34, OVs 39-40)

Series 8: Artwork, circa 1940-2004 (1.0 linear feet; Boxes 28, 34, OV 38)

Series 9: Photographic Materials, circa 1935-circa 2010 (1.0 linear feet; Boxes 28-29, 34)
Biographical / Historical:
Linda Nochlin (1931-2017) was a feminist art historian and professor at New York University Institute of Fine Arts in New York, New York. She is widely known for her essay first published in 1971, "Why Have There Been No Great Women Artists?," that explored the institutional systems in place for analyzing art history and their impacts on women artists. In 1976, Nochlin co-curated Women Artists: 1550-1950 alongside Ann Sutherland Harris at the Los Angeles County Museum of Art, and in 2007 she co-curated with Maura Reilly the Global Feminisms Exhibition at the Brooklyn Museum. Both exhibitions are considered landmark exhibitions of women artists.

Nochlin was born in Brooklyn, New York. She attended the Brooklyn Ethical Culture School and Midwood High School before enrolling in Vassar College where she majored in philosophy with minors in Greek and art history. After graduating in 1951, she went on to earn a master's degree in English from Columbia University in 1952. In 1963, she earned her PhD in art history from the Institute of Fine Arts. Nochlin's PhD dissertation, "Gustave Courbet: A Study of Style and Society," marked the beginning of her lifelong study of the 19th-Century French artist Gustave Courbet.

Nochlin taught at Yale University, the Graduate Center at the City University of New York, and Vassar College. She was also a visiting professor at Columbia University, Hunter College, Stanford University, Williams College, and Yale University, and later became the Lila Acheson Wallace Professor Emerita of Modern Art at the Institute of Fine Arts.

Nochlin authored numerous art history books including Realism (1971), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Representing Women (1999), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), Bathers, Bodies, Beauty: The Visceral Eye (2006), Courbet (2007), and Misère: The Visual Representation of Misery in the 19th Century (2018).
Related Materials:
Also found at the Archives of American Art is an oral history interview of Linda Nochlin conducted on June 9-30, 2010 by James McElhinney, for the Archives of American Art's Oral History of Women in the Visual Arts project at Nochlin's home in New York, N.Y.
Provenance:
The collection was donated in 2018 by Daisy Pommer, Linda Nochlin's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Feminists  Search this
Women art historians  Search this
Realism  Search this
Women artists  Search this
Genre/Form:
Interviews
Sketchbooks
Sound recordings
Video recordings
Diaries
Citation:
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nochlind
See more items in:
Linda Nochlin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93d5d9e13-5820-4043-8b00-242e4f1e5e93
EDAN-URL:
ead_collection:sova-aaa-nochlind
Online Media:

Albert Bloch papers

Creator:
Bloch, Albert  Search this
Names:
Bloch, Anna  Search this
Fehl, Philipp P.  Search this
Kandinsky, Wassily, 1866-1944  Search this
Klee, Paul, 1879-1940  Search this
Klinker, Emmy  Search this
Marc, Franz, 1880-1916  Search this
Penney, James, 1910-1982  Search this
Sudlow, Robert  Search this
Extent:
17.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1873-2014
Summary:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.
Scope and Contents:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.

Biographical material includes vital records, passports, chronologies, biographical summaries, family history documents, and bibliography files compiled by Anna Bloch. Correspondence is with family, friends, artists, art historians, students, museums, galleries, publishers, magazines, and others, and includes letters of both a personal and professional nature. Of note is Albert Bloch's correspondence with artists Wassily Kandinsky, Paul Klee, Emmy Klinker, Franz Marc, Philipp Fehl, and his students James Penney and Robert Sudlow.

Writings include poetry, lectures, essays, notes, and Bloch's translations of the writings of Austrian writer Karl Kraus. Included are many drafts of his book of poetry, Ventures in Verse: Selected Pieces. Also found are love notes between Albert and Anna Bloch. Writings by others include a few notebooks and loose notes by Anna Bloch, essays and lectures about Bloch's artwork, and poetry.

Personal business records include lists of artworks, price lists, sales records, and ownership records, and more recent records concerning artwork conservation; agreements, and consignment records with art galleries and dealers; and artwork shipping records, all maintained by Anna Bloch. Exhibition files are not comprehensive, and primarily document retrospective exhibitions of Bloch's artwork occurring after his death. Of note are records, including a scrapbook, for a 1997 retrospective at the Nelson-Atkins Museum of Art.

Printed material includes exhibition publications, news clippings, magazines, journals, and photocopies of Bloch's work for The Mirror. Photographs depict Bloch in his home, studio, and with family and friends. Also found are many photographs of family and friends, artwork by Bloch, Blue Rider exhibition photographs taken by artist Gabriele MĂ¼nter, and two photograph album "Record Books" that contain annotated photographs of his painting during the period that he lived in Germany. A small amount of artwork includes sketches by Bloch.
Arrangement:
This collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1873-1990s (0.4 Linear feet; Box 1)

Series 2: Correspondence, 1912-2013 (6.2 Linear feet; Boxes 1-7)

Series 3: Writings, circa 1920s-1990s (3.9 Linear feet; Boxes 7-11)

Series 4: Personal Business Records, 1914-2014 (0.6 Linear feet; Box 11)

Series 5: Exhibition Files, 1939-2000 (0.7 Linear feet; Box 12, 19)

Series 6: Printed Material, 1911-2006 (2 Linear feet; Boxes 12-14)

Series 7: Photographic Materials, circa 1882-2013 (4.1 Linear feet; Boxes 14-21)

Series 8: Artwork, circa 1930s-1950s (0.2 Linear feet; Box 17)
Biographical / Historical:
Albert Bloch (1882-1961) was a painter and educator in Lawrence, Kansas. From 1909 to 1921, he lived and worked in Germany, where he was associated with Der Blaue Reiter (The Blue Rider) group of European modernists.

Bloch was born in St. Louis, Missouri, and as a teenager attended the St. Louis School of Fine Arts. From 1905 to 1913, he contributed numerous caricatures, cartoons, covers, and articles to the satirical newspaper The Mirror. In 1905, he married Hortense Altheimer and they lived briefly in New York City before moving to the artists' district in Munich, Germany, thanks to the financial support of William Reedy, editor of The Mirror. By 1911 Bloch had befriended prominent members of the Neue Kunstlervereinigung Munchen (NKVM), including Wassily Kandinsky and Franz Marc. He joined them when they later seceded from the NKVM group to form Der Blaue Reiter. Bloch exhibited six paintings in the group's first exhibition in 1911-1912. Over the next few years, Bloch exhibited his works regularly, most notably at Der Sturm Gallery. He and his family remained in Germany throughout World War I, returning to the US in 1921.

Bloch worked briefly at the Chicago Academy of Fine Art, and in 1923, settled in Lawrence, Kansas, accepting a faculty position at the University of Kansas. During this period he did not regularly exhibit his work and focused on teaching and writing. He corresponded with Austrian writer Karl Kraus, editor of Die Fackel, and began to translate Kraus' works into English. In the early 1930s, Bloch met Anna Francis at the University of Kansas and later she lived with the Bloch family, including Hortense and two sons, Bernard and Walter. After the death of his wife Hortense, Alfred married Anna in 1951. 1947, Bloch suffered a heart attack and retired from the University of Kansas. That same year a book of his poetry, Ventures in Verse: Selected Pieces, was published.

Bloch continued to paint and had a large retrospective of his work in 1955 at the University of Kansas Museum of Art. He died in December 1961 after a long illness.
Related Materials:
The Albert Bloch, the American Blue Rider Exhibition records, 1994-1997, are available at the Nelson-Atkins Museum of Art.
Provenance:
The collection was donated in 2015 by the Albert Bloch Foundation via Scott Heffley, president. Additonal letters from Anna Bloch donated 2017 by David Strauss, Albert Bloch's cousin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Kansas -- Lawrence  Search this
Painters -- Kansas -- Lawrence  Search this
Topic:
Art -- Study and teaching  Search this
Expressionism (Art)  Search this
Blaue Reiter (Group of artists)  Search this
Genre/Form:
Photographs
Sketches
Citation:
Albert Bloch papers, 1873-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blocalbe
See more items in:
Albert Bloch papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9de19bb6e-6cde-48f6-9d3e-67fc9916e819
EDAN-URL:
ead_collection:sova-aaa-blocalbe
Online Media:

Angel Suarez Rosado papers

Creator:
SuĂ¡rez RosĂ¡do, Angel  Search this
Names:
McCarthy, Justin, 1891-1977  Search this
Rojas, Daniel  Search this
Rosario, Vidal  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
1978-2010
Summary:
The papers of Angel Suarez Rosado measure 0.6 linear feet and date from 1978 to 2010. The papers document Suarez Rosado's career as an artist and teacher through a resume, teaching files on drawing plant life and on drawing anatomical figures, work for the Crayola Factory, articles, exhibition announcements and catalogs, sketchbooks and sketches, and photographs of artwork and altar pieces. Also included are two hollow book pieces of art, two miscellaneous pieces of art, and a sketchbook of cars by Justin McCarthy.
Scope and Contents:
The papers of Angel Suarez Rosado measure 0.6 linear feet and date from 1978 to 2010. The papers document Rosado's career as an artist and teacher through a resume, teaching files on drawing plant life and on drawing anatomical figures, work for the Crayola Factory, articles, exhibition announcements and catalogs, sketchbooks and sketches, and photographs of artwork and altar pieces. Also included are two hollow book pieces of art, two miscellaneous pieces of art, and a sketchbook of cars by Justin McCarthy.
Arrangement:
The collection is arranged into one series.

Series 1: Angel Suarez Rosado papers, 1978-2010 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Angel Suarez Rosado (1957- ) is a Puerto Rican born altar maker, sculptor, mask maker, painter, and educator in Easton, Pennsylvania. Angel Suarez Rosado moved to New York City from Cayeye, Puerto Rico as a young adult and was active in New York. Suarez Rosado currently teaches classes at the Crayola Factory, Easton, Pennsylvania.
Provenance:
Donated 2015 by Angel Suarez Rosado.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Pennsylvania  Search this
Painters -- Pennsylvania  Search this
Sculptors -- Pennsylvania  Search this
Topic:
Latino and Latin American artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Citation:
Angel Suarez Rosado Papers, 1978-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.suarange
See more items in:
Angel Suarez Rosado papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90ca60c8e-12f7-4000-840d-af4b518157e6
EDAN-URL:
ead_collection:sova-aaa-suarange
Online Media:

Jud Fine and Barbara McCarren papers

Creator:
Fine, Jud  Search this
McCarren, Barbara  Search this
Extent:
16.7 Linear feet
0.345 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Date:
circa 1968-2009
Summary:
The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.
Scope and Contents:
The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

Correspondence is mostly professional in nature and is largely from Jud Fine's early career in the late sixties through the 1970s. There is also come McCarren/Fine correspondence starting in the 1990s as well as some correspondence regarding Barbara McCarren's solo career.

The writings series is comprised primarily of Jud Fine's writing practice associated with his earlier career, including notes and journal entries, lectures by Fine, as well as manuscripts for catalog essays and artist publications, an interview from 1984, and writings on Fine by others.

The personal business series includes exhibition files as well as gallery files containing sale and consignment paperwork, as well as daily business of the studio, primarily pertaining to Jud Fine's earlier career, with some documents pertaining to Barbara McCarren's solo career from the 1990s on.

Project files document various public art works and commissions taken on or applied for by McCarren/Fine, as well as solo projects that date before and after their formal collaboration in 1996. These documents include correspondence, contracts, reports, meeting minutes, renderings and other plans, notes, photographic material and research material, some of which is in digital formats.

Printed material includes various promotional materials for McCarren/Fine and solo projects for Barbara McCarren and Jud Fine, as well as a graphic design magazine publication, and a monographic catalog for a Jud Fine exhibition from 1974. Photographic material includes miscellaneous snapshots and snapshot albums, some of Fine and McCarren, in the studio and with artist friends, as well as an untitled album with study images of a strelitzia plant.

Artwork includes a single, unsigned painted work on canvas that has been cut awat from the frame or support.
Arrangement:
The collection is arranged as seven series:

Series 1: Correspondence, circa 1970-2001 (0.5 Linear feet: Box 1)

Series 2: Writings, circa 1968-2003 (0.5 Linear feet: Box 1)

Series 3: Personal Business, circa 1969-2001 (1 Linear foot: Box 2)

Series 4: Project Files, circa 1988-2009 (14.4 Linear feet: Boxes 2-20; Oversize 21; 0.345 Gigabytes: ER0001-ER0005)

Series 5: Printed Material, circa 1974-1992 (0.2 Linear feet: Box 16)

Series 6: Photographic Material, circa 1970s-2000 (0.1 Linear feet: Box 16)

Series 7: Artwork, circa 1980s (1 Folder: Box 16)
Biographical / Historical:
Jud Fine (1944- ) is a sculptor and educator in Venice, California, as well as former director of the University of Southern California Roski School of Fine Arts. Jud Fine is married to fellow artist, sculptor and installation artist Barbara McCarren (1958-), born in Washington, D.C., and they maintain a studio where they work on projects and commissions both individually and collaboratively.

Born in Los Angeles, Fine received a BA in History from the University of California, Santa Barbara. With a limited artwork portfolio he was lucky enough to be accepted into the Masters of Fine Arts program at Cornell University. Fine's reputation as an artist took hold firmly in the late 1960s and early 1970s, becoming particularly well known for sculpture and mixed media drawings, which established a recognizable style and conceptual framework. He has been represented by Ronald Feldman Gallery in New York City since 1972. He has participated in solo and group exhibitions internationally at institutions including Museum of Contemporary Art, Los Angeles, Los Angeles County Museum of Art, Chicago Art Institute, Museum of Contemporary Art, Chicago, Guggenheim Museum, New York, Yale University Art Museum, Museum Stuki, Poland, University of Sidney, Power Art Institute, Australia and the Pushkin State Museum of Fine Art, Moscow. McCarren received her bachelors of arts degree at UCLA in1980 and would meet Fine during work towards her masters of fine arts at USC in 1986. After nearly a decade of pursuing solo career opportunities including public art commissions, they decided to join forces making collaborative project proposals as McCarren Fine.

As Mccarren/Fine they have executed several works including Waterline a two square block mixed use development in Huntington Beach, CA, Split Mound for the San Francisco Zoo, Mais a 23-acre interactive park in Long beach, CA, Modestopo, the civic center plaza for the City of Modesto and Stanislaus County, CA and both the Central Library and Pershing Square in downtown Los Angeles. Beyond public art commissions, their collaboration has extended to their studio practice, with collaborative exhibitions including a 2002 show in Bangkok, Thailand, that was later expanded with new work for the 2005 show, Currency, at Ronald Feldman Gallery, New York. Together McCarren/Fine have completed around thirty public work projects, and numerous studio projects.
Provenance:
Donated in 2022 by Jud Fine and Barbara McCarren.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Installation artists -- California -- Los Angeles  Search this
Topic:
Public art -- United States  Search this
Genre/Form:
Interviews
Citation:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finejud
See more items in:
Jud Fine and Barbara McCarren papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c608732e-9329-442c-a514-56242b3018e9
EDAN-URL:
ead_collection:sova-aaa-finejud

Oral history interview with Cadex Herrera

Interviewee:
Herrera, Cadex, 1975-  Search this
Interviewer:
Espinosa, Fernanda  Search this
Names:
Pandemic Oral History Project  Search this
Extent:
1 Item (video files (26 min.) VIdeo, digital, mp4)
7 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Video recordings
Interviews
Date:
2020 August 11
Scope and Contents:
An interview with Cadex Herrera conducted 2020 August 11, by Fernanda Espinosa, for the Archives of American Art's Pandemic Oral History Project at Herrera's home in White Bear Lake, Minnesota.
Biographical / Historical:
Cadex Herrera (1975- ) is an artist, activist, and educator in White Bear Lake, Minnesota. Herrera was a lead artist in the creation of the George Floyd mural in Minneapolis, Minnesota.
Provenance:
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.
Restrictions:
This interview is open for research.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- Minnesota  Search this
Educators -- Minnesota  Search this
Topic:
Latino and Latin American artists  Search this
Pandemics  Search this
COVID-19 (Disease)  Search this
Genre/Form:
Video recordings
Interviews
Identifier:
AAA.herrer20
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d6c9f5e9-adf3-4379-bedc-1683cc1afb10
EDAN-URL:
ead_collection:sova-aaa-herrer20
Online Media:

Barry Faulkner papers

Creator:
Faulkner, Barry, 1881-1966  Search this
Names:
MacDowell Colony  Search this
Beal, Gifford, 1879-1956  Search this
Brush, George de Forest, 1855-1941  Search this
Bynner, Witter, 1881-1968  Search this
Fraser, James Earle, 1876-1953  Search this
Gibran, Kahlil, 1922-  Search this
Grimes, Frances, 1869-1963  Search this
Gugler, Eric, 1889-1974  Search this
Hosmer, Harriet Goodhue, 1830-1908  Search this
Kent, Rockwell, 1882-1971  Search this
Kroll, Leon, 1884-1974  Search this
Manship, Paul, 1885-1966  Search this
Parrish, Maxfield, 1870-1966  Search this
Platt, Charles A. (Charles Adams), 1861-1933  Search this
Powers, Hiram, 1805-1873  Search this
Redfield, Edward Willis, 1869-1965  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Smith, Joseph Lindon, 1863-1950  Search this
Sweeney, James Johnson, 1900-  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Tonetti, Mary Lawrence  Search this
Twain, Mark, 1835-1910  Search this
White, Lawrence Grant  Search this
Young, Mahonri Sharp, 1911-1996  Search this
Extent:
2.82 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Diaries
Scrapbooks
Sketches
Writings
Photographs
Travel diaries
Photograph albums
Place:
New Hampshire
Date:
circa 1858-1973
Summary:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Scope and Content Note:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.

Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.

Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.

Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.

Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.

Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.

The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.

Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.

The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1914-1971 (Box 1, 3, RD1; 13 folders)

Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)

Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)

Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)

Series 5: Diaries, 1922-1956 (Box 2; 6 folders)

Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)

Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)

Series 8: Scrapbook, 1951 (Box 3; 2 folders)
Biographical Note:
Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.

In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.

In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.

Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.

During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.
Related Material:
Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.
Provenance:
The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New Hampshire -- Keene  Search this
Topic:
World War, 1914-1918  Search this
Artist colonies -- New Hampshire -- Peterborough  Search this
Artists' studios in art  Search this
Educators -- New Hampshire  Search this
Artists' studios -- New Hampshire  Search this
Painting, Modern -- 20th century -- New Hampshire -- Keene  Search this
Muralists -- New Hampshire -- Keene  Search this
Mural painting and decoration -- 20th century -- United States  Search this
Artists -- New Hampshire  Search this
Function:
Artist colonies -- New Hampshire
Genre/Form:
Sketchbooks
Diaries
Scrapbooks
Sketches
Writings
Photographs
Travel diaries
Photograph albums
Citation:
Barry Faulkner papers, circa 1858-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.faulbarr
See more items in:
Barry Faulkner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b300c09-9ef0-4fb6-a81d-7d8098df7fc7
EDAN-URL:
ead_collection:sova-aaa-faulbarr
Online Media:

Frank Harmon Myers papers

Creator:
Myers, Frank Harmon, 1899-1956  Search this
Names:
Bunker, John  Search this
Myers, Ella Price  Search this
Extent:
2.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1891-1976
bulk 1908-1960
Summary:
The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.
Scope and Contents:
The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Biographical materials include Myers' resume, letters that confirm some of the courses he studied and taught, one membership list and meeting minutes of the Carmel Art Association, notes from a Myers art lecture on Sante Fe, one sales ledger, and drafts and notes of "And The Glory," a biography on Myers written by his wife, Ella Price Myers. Correspondence is a mixture of personal and professional letters, shedding light on Myers' freidnships, personal and professional relationship with his wife, and his travels. Correspondents include artists Sheldon Dixie and Albert Berne, poet and advertiser John Bunker, Myers' nephew Sheldon, and his son Frank. The series also includes a map that of the United States on which Myers traced his sketching trips, 1926 to 1950, a cartoon by Herman Wessel, and clippings related to John Weis. Printed materials include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions, a series of advertisements illustrated by Myers, two lithographs of his artwork, and some exhibition ephemera. Artwork consists of childhood drawings by Myers of Native Americans, holiday themes, and portraits; later sketches, mostly in charcoal and pencil, include figure and portrait studies, city scenes, and several still lifes; one 1916 landscape painting by Myers, cloth with a linoleum block design, paint samples from Myers' studio, and small sketches and doodles drawn on scraps of paper. Photographic materials depict Myers' artwork, portraits of the artist, his family and friends, and his home in Pacific Grove.

A fair amount of the collection's files include notes with contextual information written by Ella Price Myers.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Materials, 1891-1976 (Box 1; .2 linear feet)

Series 2: Correspondence, 1921-1973 (Box 1-2; 1 linear feet)

Series 3: Printed Materials, 1924-1963 (Box 2, OV 3; .5 linear feet)

Series 4: Artwork, circa 1908-1956 (Box 2, OV 4; .6 linear feet)

Series 5: Photographical Materials, 1910-1962 (Box 2; 4 folders)
Biographical / Historical:
Frank Harmon Myers (1899-1956) was an impressionist painter and art educator who lived in Cincinnati, Ohio, and Pacific Grove, California. Myers was born in Cleves, Ohio, and moved to Cincinnati around 1907. His interest in art took off prior to his teenage years, illustrating a series of body-length portraits of Native Americans, several landscapes, and art with holiday themes. Myers studied at the Art Academy of Cincinnati under Frank Duveneck, H. H. Wessel, and John Ellsworth Weiss; took a summer course at the Pennsylvania Academy of Fine Arts under Daniel Garber, Hugh Henry Breckenridge, and Joseph Thurman Pearson Jr.; and the School of Fine Arts at Fontainebleau, France, under Jean Despujols and Gourguet. Myers began showing his art at the Closson Galleries circa 1920 and taught at the Art Academy of Cincinnati from 1921 to circa 1941. In 1932, Myers spent a year on sabbatical in Sante Fe, New Mexico, painting animals, people, ranches and farms, villages, and landscapes. He and his wife, Ella Price Myers, moved to Pacific Grove, California, in 1940 so that Myers could pursue painting full-time. His work was frequently exhibited at the Carmel Art Association from this point onwards, with additional solo shows at Pebble Beach Galleries, San Jose State College, M. H. De Young Museum, Crocker Art Gallery, and others. Myers paintings were featured in group exhibitions at The Salon, Paris, Harlow Galleries, New York, St. Louis City Museum, Missouri, Alright Museum, New York, and more. Myers served as president of the Carmel Art Association in 1953.
Separated Materials:
The Archives of American Art also holds one scrapbook of Frank Myers publicity, circa 1925-1945, lent for microfilming on reel D42. Loaned materials were returned to Ella Price Myers and are not described in the collection container inventory.
Provenance:
The collection was donated by Ella Price Myers, Myers' widow, from 1960 to 1974. An addition was donated in 1994 by Myers' daughter-in-law Patricia Clarke Myers, ex-wife of Myers' only son Frank P. Myers.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Ohio -- Cincinnati  Search this
Landscape painters -- Ohio -- Cincinnati  Search this
Painters -- Ohio -- Cincinnati  Search this
Painters -- California -- Monterey  Search this
Topic:
Painting, American  Search this
Impressionism (Art) -- United States  Search this
Citation:
Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.myerfran
See more items in:
Frank Harmon Myers papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9077c2193-4a6b-4502-a980-af9b71db1d43
EDAN-URL:
ead_collection:sova-aaa-myerfran

Amy Jones papers

Creator:
Jones, Amy, 1899-1992  Search this
Names:
United States. Department of the Treasury. Section of Fine Arts  Search this
Extent:
3.5 Linear feet
2.9 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Video recordings
Interviews
Date:
circa 1930-2005
Summary:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, several recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.
Scope and Contents:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, some recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.

Biographical materials include awards and certificates, audio and video recordings from interviews and talks, resumes, inventories of works, membership cards, and writings. Correspondence pertains to Jones' dealings with galleries, museums, collectors, and also includes Christmas cards illustrated by Jones. Subject files include records of the sale and exhibition of her artwork; custodial history of her archive; project files; and some papers relating to her work as an art educator. Printed materials include newspaper and magazine clippings, exhibition announcements, catalogs, and posters, and publications that reproduced Jones' work. Photographs depict Jones as well as many of her watercolor landscapes, still lifes, and portraits. Artwork consists of loose sketches and drawings as well two sketchbooks. Scrapbooks contain correspondence, photographs, notes and sketches, contracts, expenses, and printed material documenting three of Jones' mural paintings between 1937-1941 as part of the U.S. Treasury Relief Art Project.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1950s-2015 (Box 1; .5 linear feet, ER01; 2.90 GB)

Series 2: Correspondence, 1943-2000 (Box 1; 8 folders)

Series 3: Subject Files, 1941-1993 (Box 1-2; .6 linear feet)

Series 4: Printed Material, 1930s-1992 (Box 2-3; 1 linear feet)

Series 5: Photographs, 1910s, 1930s-1980s (Box 3; 9 folders)

Series 6: Artwork, circa 1930s-1980s (Box 3; 9 folders)

Series 7: Scrapbooks, 1935-1943, 1980 (Box 3-5; .6 linear feet)
Biographical / Historical:
Amy Jones (Frisbie) (1899-1992) was a painter, printmaker, sculptor, and art educator in New York.

After attending Erasmus Hall High School in Brooklyn, New York, Jones studied under Xavier Gonzalez, Ben Wolf, and Anthony di Bona at the Pratt Institute. She left school early and moved to Buffalo, New York with her new husband, Blair Jones, and they had a daughter, Lucy. Jones continued to work on her art over the next few years designing Christmas cards and painting still lifes, portraits, and landscapes. Jones completed three murals between 1937-1941 for the U.S. Treasury Relief Art Project in Winsted, Connecticut; Painted Post, New York; and Scotia, New York. Jones established herself as a watercolorist in the U.S. and internationally by the 1940s. Her solo exhibitions include those held at Mount Holyoke College, Galleria Santo Stefano in Venice, Italy, a 10-year survey at New Britain Museum of American Art, and Katonah Gallery; and group exhibitions at National Gallery of Art, Corcoran Gallery, American Institute of Arts and Letters, and Albright-Knox Art Gallery. Her work may be found in the collections of the Ford Motor Company, Springfield College of Illinois, New Britain Museum of American Art, and the homes of many private collectors.
Provenance:
A portion of the collection was donated by Amy Jones in 1985, and the remainder was donated in 2015 by Lucy Jones Berk, Amy Jones' daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State)  Search this
Muralists -- New York (State)  Search this
Printmakers -- New York (State)  Search this
Sculptors -- New York (State)  Search this
Educators -- New York (State)  Search this
Topic:
Federal aid to the arts  Search this
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Women printmakers  Search this
Women sculptors  Search this
Women educators  Search this
Genre/Form:
Scrapbooks
Sound recordings
Video recordings
Interviews
Citation:
Amy Jones papers, 1910s-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.joneamy
See more items in:
Amy Jones papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95080e7e9-a352-45e2-b823-7d78b3cb5812
EDAN-URL:
ead_collection:sova-aaa-joneamy

Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990

Creator:
Falkenstein, Claire, 1908-1997  Search this
Subject:
O'Donnell, May  Search this
Still, Patricia  Search this
Still, Clyfford  Search this
Sawyer, Kenneth B.  Search this
Guggenheim, Peggy  Search this
Green, Ray  Search this
Kuh, Katharine  Search this
Wildenhain, Frans  Search this
Tapie, Michel  Search this
Temko, Allan  Search this
Tobey, Mark  Search this
Pond Farm Workshop  Search this
Merging One Gallery  Search this
San Francisco Museum of Art  Search this
John Bolles Gallery (San Francisco, Calif.)  Search this
Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this
Martha Jackson Gallery  Search this
Malvina Miller  Search this
Los Angeles Museum of Art  Search this
Coos Art Museum  Search this
Galerie Anderson-Mayer  Search this
Galerie Stadler  Search this
Fresno Art Museum  Search this
Mills College  Search this
University of California, San Francisco. School of Fine Arts  Search this
Type:
Sketchbooks
Diaries
Scrapbooks
Interviews
Citation:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
Topic:
Art patronage  Search this
Artists' studios  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women authors  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6135
(DSI-AAA_SIRISBib)216351
AAA_collcode_falkclai
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216351
Online Media:

Nanette Carter papers, 1972-2009

Creator:
Carter, Nanette  Search this
Subject:
Freeman, Bettye  Search this
Pindell, Howardena  Search this
Pratt Institute. Art School  Search this
Type:
Sound recordings
Interviews
Citation:
Nanette Carter papers, 1972-2009. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
African American educators  Search this
African American painters  Search this
Theme:
African American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21735
(DSI-AAA_SIRISBib)399059
AAA_collcode_cartnane
Theme:
African American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_399059

Oral history interview with Ida Kohlmeyer, 1989 May 17-20

Interviewee:
Kohlmeyer, Ida, 1912-1997  Search this
Interviewer:
Berman, Avis  Search this
Subject:
Glade, Luba B.  Search this
Hofmann, Hans  Search this
Rothko, Mark  Search this
Still, Clyfford  Search this
Sweeney, James Johnson  Search this
Trivigno, Pat  Search this
White , Ruth  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ida Kohlmeyer, 1989 May 17-20. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women sculptors  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)11867
(DSI-AAA_SIRISBib)213277
AAA_collcode_kohlme89
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213277

Oral history interview with Jennifer Bartlett, 1987 June 18-September 28

Interviewee:
Bartlett, Jennifer, 1941-2022  Search this
Interviewer:
Berman, Avis  Search this
Subject:
Murray, Elizabeth  Search this
Serra, Richard  Search this
Tworkov, Jack  Search this
Mills College  Search this
Yale University. School of Fine Arts  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Jennifer Bartlett, 1987 June 18-September 28. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Women educators  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)12304
(DSI-AAA_SIRISBib)215656
AAA_collcode_bartle87
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215656
Online Media:

Oral history interview with Julia Santos Solomon, 2020 August 26

Interviewee:
Santos Solomon, Julia, 1956-  Search this
Interviewer:
Espinosa, Fernanda  Search this
Subject:
Pandemic Oral History Project  Search this
Type:
Interviews
Video recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Julia Santos Solomon, 2020 August 26. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Pandemics  Search this
COVID-19 (Disease)  Search this
Latino and Latin American artists  Search this
Women educators  Search this
Women painters  Search this
Women textile designers  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)21976
AAA_collcode_santos20
Theme:
Latino and Latin American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_21976

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