Skip to main content Smithsonian Institution

Search Results

Collections Search Center
10 documents - page 1 of 1

Helen Frankenthaler

Artist:
Hans Namuth, 17 Mar 1915 - 13 Oct 1990  Search this
Sitter:
Helen Frankenthaler, 12 Dec 1928 - 27 Dec 2011  Search this
Medium:
Cibachrome print
Dimensions:
Image: 43.3cm x 49.5 cm (17 1/16" x 19 1/2")
Sheet: 40.4cm x 51 cm (15 7/8" x 20 1/16")
Type:
Photograph
Date:
1987
Topic:
Artwork\Painting  Search this
Artist's Effects  Search this
Interior\Studio\Art  Search this
Helen Frankenthaler: Female  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Etcher  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter  Search this
Helen Frankenthaler: Education\Administrator\University\Trustee  Search this
Helen Frankenthaler: Visual Arts\Art Instructor  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Lithographer  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter\Abstract Expressionist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; this acquisition was made possible by a generous contribution from the James Smithson Society
Object number:
NPG.94.287
Restrictions & Rights:
© Hans Namuth Ltd.
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.94.287

Helen Frankenthaler

Artist:
Yousuf Karsh, 23 Dec 1908 - 13 Jul 2002  Search this
Sitter:
Helen Frankenthaler, 12 Dec 1928 - 27 Dec 2011  Search this
Medium:
Chromogenic print
Dimensions:
Image: 34 x 26.5 cm (13 3/8 x 10 7/16")
Sheet: 35.4 x 27.8 cm (13 15/16 x 10 15/16")
Mount: 40.7 x 33 cm (16 x 13")
Type:
Photograph
Date:
1991
Topic:
Home Furnishings\Furniture\Seating\Chair  Search this
Artwork  Search this
Helen Frankenthaler: Female  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Etcher  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter  Search this
Helen Frankenthaler: Education\Administrator\University\Trustee  Search this
Helen Frankenthaler: Visual Arts\Art Instructor  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Lithographer  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter\Abstract Expressionist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Estrellita Karsh in memory of Yousuf Karsh
Object number:
NPG.2012.77.29
Restrictions & Rights:
© Estate of Yousuf Karsh
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.2012.77.29

Oral history interview with Rebecca Reis, 1980

Interviewee:
Reis, Rebecca G., 1896-1988  Search this
Interviewer:
McNaught, William  Search this
Subject:
Motherwell, Robert Burns  Search this
Grosz, George  Search this
Guggenheim, Peggy  Search this
Ernst, Max  Search this
Rivers, Larry  Search this
Lipchitz, Jacques  Search this
Guston, Philip  Search this
Gottlieb, Adolph  Search this
Kline, Franz  Search this
Chagall, Marc  Search this
Frankenthaler, Helen  Search this
Rothko, Mark  Search this
Baziotes, William  Search this
Reinhardt, Rita  Search this
Reis, Bernard J.  Search this
Pollock, Jackson  Search this
Mark Rothko and His Times Oral History Project  Search this
Topic:
Sound recordings  Search this
Art  Search this
Interviews  Search this
Abstract expressionism  Search this
Record number:
(DSI-AAA_CollID)11939
(DSI-AAA_SIRISBib)215644
AAA_collcode_reis80
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215644
Additional Online Media:

Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000

Creator:
Louis, Morris, 1912-1962  Search this
Subject:
Faatz, Anita J. (Anita Josephine)  Search this
Noland, Kenneth  Search this
Greenberg, Clement  Search this
Truitt, Anne Dean  Search this
Brenner, Marcella  Search this
Frankenthaler, Helen  Search this
Bocour, Leonard  Search this
Hirshhorn Museum and Sculpture Garden.  Search this
André Emmerich Gallery  Search this
Robert Pierce/Films, Inc  Search this
Topic:
Law and art  Search this
Transcripts  Search this
Video recordings  Search this
Abstract expressionism  Search this
Sound recordings  Search this
Color-field painting  Search this
Interviews  Search this
Washington Color School (Group of artists)  Search this
Painters  Search this
Art, Modern  Search this
Photographs  Search this
Record number:
(DSI-AAA_CollID)7040
(DSI-AAA_SIRISBib)209173
AAA_collcode_louimorr
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209173
Additional Online Media:

Helen Frankenthaler

Artist:
René Robert Bouché, 20 Sep 1905 - Jul 1963  Search this
Sitter:
Helen Frankenthaler, 12 Dec 1928 - 27 Dec 2011  Search this
Medium:
Oil on canvas
Dimensions:
75.3cm x 68.7cm (29 5/8" x 27 1/16"), Accurate
Type:
Painting
Date:
1955
Topic:
Helen Frankenthaler: Female  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Etcher  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter  Search this
Helen Frankenthaler: Education\Administrator\University\Trustee  Search this
Helen Frankenthaler: Visual Arts\Art Instructor  Search this
Helen Frankenthaler: Visual Arts\Artist\Printmaker\Lithographer  Search this
Helen Frankenthaler: Visual Arts\Artist\Painter\Abstract Expressionist  Search this
Portrait  Search this
Credit Line:
Owner: Museum of the City of New York
Website: www.mcny.org/
Object number:
62.237.2
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_62.237.2

Alan R. Solomon papers, 1907-1970, bulk 1944-1970

Creator:
Solomon, Alan R.  Search this
Subject:
Stella, Frank  Search this
Fahlström, Öyvind  Search this
Paxton, Steve  Search this
Frankenthaler, Helen  Search this
Louis, Morris  Search this
Childs, Lucinda  Search this
Hay, Deborah  Search this
Johns, Jasper  Search this
Dunn, Judith  Search this
Moore, Peter  Search this
Scull, Robert C.  Search this
Kron, Joan  Search this
Rainier, Yvonne  Search this
McElroy, Robert R.  Search this
Oldenburg, Patty  Search this
Newman, Barnett  Search this
Finkelstein, Nat  Search this
Bontecou, Lee  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rosenquist, James  Search this
Warhol, Andy  Search this
Novick, Elizabeth  Search this
Lichtenstein, Roy  Search this
Greenberg, Jeanine  Search this
Segal, George  Search this
Scull, Ethel  Search this
Noland, Kenneth  Search this
Sabol, Audrey  Search this
Reed, Lou  Search this
Mulas, Ugo  Search this
Schute, Terry  Search this
Grisi, Laura  Search this
Chamberlain, John Angus  Search this
Duchamp, Marcel  Search this
Sisler, Mary  Search this
Dine, Jim  Search this
Oldenburg, Claes  Search this
Morris, Robert  Search this
Redon, Odilon  Search this
Castelli, Leo  Search this
Sonnabend, Ileana  Search this
Namuth, Hans  Search this
Greenberg, Clement  Search this
Picasso, Pablo  Search this
Hay, Alex  Search this
Rauschenberg, Robert  Search this
Whitman, Robert  Search this
Solomon, Alan R.  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Leo Castelli Gallery  Search this
San Francisco Art Institute  Search this
Harvard University. Germanic Museum  Search this
Pasadena Art Museum  Search this
Jewish Museum (New York, N.Y.)  Search this
Albright-Knox Art Gallery  Search this
Artforum  Search this
Cornell University  Search this
Velvet Underground (Musical group)  Search this
Amsterdam (Netherlands).Stedelijk Museum  Search this
University of California (1868-1952)  Search this
Art Gallery of Ontario  Search this
Centro de Artes Visuales (Instituto Torcuato Di Tella)  Search this
Once Group  Search this
Galerie Rive Droite  Search this
Biennale di Venezia  Search this
Expo 67  Search this
Topic:
Lithographs  Search this
Curators  Search this
Museum directors  Search this
Art, Modern  Search this
Art historians  Search this
Art  Search this
Authors  Search this
Theater  Search this
Educators  Search this
Performance art  Search this
Drawings  Search this
Art, Abstract  Search this
Transcripts  Search this
Sculptors  Search this
Painters  Search this
Photographs  Search this
Abstract expressionism  Search this
Interviews  Search this
Pop art  Search this
Record number:
(DSI-AAA_CollID)7165
(DSI-AAA_SIRISBib)209301
AAA_collcode_soloalan
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209301
Additional Online Media:

Ninth Street women : Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler : five painters and the movement that changed modern art / Mary Gabriel

Author:
Gabriel, Mary 1955-  Search this
Subject:
Krasner, Lee 1908-1984  Search this
De Kooning, Elaine  Search this
Hartigan, Grace  Search this
Mitchell, Joan 1925-1992  Search this
Frankenthaler, Helen 1928-2011  Search this
Physical description:
xvi, 927 pages, 48 unnumbered pages of plates : illustrations (some color), portraits ; 25 cm
Type:
Biography
Biographies
Place:
United States
Date:
2018
20th century
Topic:
Abstract expressionism  Search this
Painting, Abstract  Search this
Art, Modern  Search this
Women artists  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1084070

Morris Louis and Morris Louis Estate papers

Artist:
Louis, Morris, 1912-1962  Search this
Names:
André Emmerich Gallery  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Robert Pierce/Films, Inc  Search this
Bocour, Leonard, 1910-1993  Search this
Brenner, Marcella, 1912-2007  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Noland, Kenneth, 1924-2010  Search this
Truitt, Anne, 1921-2004  Search this
Extent:
17.8 Linear feet
Type:
Archival materials
Collection descriptions
Video recordings
Sound recordings
Interviews
Photographs
Date:
circa 1910s-2007
bulk 1965-2000
Summary:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Scope and Contents:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
Arrangement:
This collection is arranged as 2 series.

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Biographical / Historical:
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Related Materials:
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
Provenance:
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Morris Louis and Morris Louis Estate papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Painters -- United States  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Sound recordings
Interviews
Photographs
Citation:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.louimorr
See more items in:
Morris Louis and Morris Louis Estate papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-louimorr
Additional Online Media:

Alan R. Solomon papers

Creator:
Solomon, Alan R., 1920-1970  Search this
Names:
Albright-Knox Art Gallery  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Art Gallery of Ontario  Search this
Artforum  Search this
Biennale di Venezia  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Cornell University. -- Faculty  Search this
Expo 67 (Montréal, Québec)  Search this
Harvard University -- Students  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Jewish Museum (New York, N.Y.)  Search this
Leo Castelli Gallery  Search this
Los Once (Artists' group)  Search this
Pasadena Art Museum  Search this
San Francisco Art Institute  Search this
University of California (System)  Search this
Velvet Underground (Musical group)  Search this
Bontecou, Lee, 1931-  Search this
Castelli, Leo  Search this
Chamberlain, John, 1927-2011  Search this
Childs, Lucinda  Search this
Dine, Jim, 1935-  Search this
Duchamp, Marcel, 1887-1968  Search this
Dunn, Judith  Search this
Fahlström, Öyvind, 1928-1976  Search this
Finkelstein, Nat  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Greenberg, Jeanine  Search this
Grisi, Laura  Search this
Hay, Alex  Search this
Hay, Deborah  Search this
Johns, Jasper, 1930-  Search this
Kron, Joan  Search this
Lichtenstein, Roy, 1923-1997  Search this
Louis, Morris, 1912-1962  Search this
MacElroy, Robert R.  Search this
Moore, Peter  Search this
Morris, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-2010  Search this
Novick, Elizabeth  Search this
Oldenburg, Claes, 1929-  Search this
Oldenburg, Patty  Search this
Paxton, Steve  Search this
Picasso, Pablo, 1881-1973  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rainier, Yvonne  Search this
Rauschenberg, Robert, 1925-2008  Search this
Redon, Odilon, 1840-1916  Search this
Reed, Lou  Search this
Rosenquist, James, 1933-  Search this
Sabol, Audrey, 1922-  Search this
Schute, Terry  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Segal, George, 1924-2000  Search this
Sisler, Mary  Search this
Sonnabend, Ileana  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Whitman, Robert  Search this
Extent:
9.9 Linear Feet
Type:
Archival materials
Collection descriptions
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Date:
1907-1970
bulk 1944-1970
Summary:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.
Scope and Contents:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)
Biographical / Historical:
New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.
Provenance:
The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Alan R. Solomon papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Painters  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soloalan
Additional Online Media:

Mitch Tuchman papers related to the book Painters Painting, 1980-1989

Creator:
Tuchman, Mitch  Search this
Subject:
Newman, Barnett  Search this
Pavia, Philip  Search this
Scull, Ethel  Search this
Warhol, Andy  Search this
Greenberg, Clement  Search this
Noland, Kenneth  Search this
Olitski, Jules  Search this
Leider, Philip  Search this
Castelli, Leo  Search this
Geldzahler, Henry  Search this
De Kooning, Willem  Search this
Rauschenberg, Robert  Search this
Johnson, Philip  Search this
Hess, Thomas B.  Search this
Motherwell, Robert Burns  Search this
Nevelson, Louise  Search this
Frankenthaler, Helen  Search this
Kramer, Hilton  Search this
Stella, Frank  Search this
Albers, Josef  Search this
Rivers, Larry  Search this
Rubin, William  Search this
Johns, Jasper  Search this
De Antonio, Emile  Search this
Scull, Robert C.  Search this
Poons, Larry  Search this
Topic:
Artists  Search this
Editors  Search this
Modernism (Art)  Search this
Art  Search this
Art critics  Search this
Interviews  Search this
Art museum curators  Search this
Abstract expressionism  Search this
Art, Modern  Search this
Record number:
(DSI-AAA_CollID)6532
(DSI-AAA_SIRISBib)215804
AAA_collcode_tuchmitc
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215804

Modify Your Search






or


Narrow By