Stribling, T. S. (Thomas Sigismund), 1881-1965 (Birthright) Search this
Twain, Mark, 1835-1910 (Man that corrupted Hadleyburg) Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketches
Illustrated letters
Christmas cards
Photographs
Awards
Place:
Spain -- description and travel
Date:
1891-1986
bulk 1891-1922
Summary:
The papers of painter and illustrator F. Luis Mora measure 1.7 linear feet and date from 1891 to 1986, with the bulk of material dating from 1891 to 1922. The collection includes biographical information, correspondence, 242 monthy pocket diaries by Mora, and printed and photographic materials.
Scope and Contents note:
The papers of painter and illustrator F. Luis Mora measure 1.7 linear feet and date from 1891 to 1986, with the bulk of material dating from 1891 to 1922. The collection includes biographical information, correspondence, 242 small monthly pocket diaries by Mora, and printed and photographic materials.
Biographical material includes one folder containing Mora's Rothschild Prize certificate.
The correspondence is primarily with galleries regarding sales, the value of artwork, and Mora's murals for the St. Louis World's Fair in 1904. There is also correspondence with Mora's family and friends regarding his personal life and a family vacation in Cadiz, Spain. The collection also includes two Christmas cards, several illustrated letters and two invitations to Mora's solo art shows. Some of the correspondence is to and from Mora's first wife, Sophia Compton.
The majority of the writings consists of 242 monthly pocket diaries, which contain brief daily entries and some sketches. Mora writes about his work, memberships in the Salmagundi Club and the National Academy of Design, and teaching at the Art Student League. He also discusses his ideas about painting and his observations of the art scene, including his visit to the 1913 Armory Show. Also included is a handwritten "Editorial" by Mora, probably for election to the Lotos Club.
Printed material includes clippings, brochures, programs, advertisements, exhibition catalogs, books, and magazines. Two books, The Man that Corrupted Hadleyburg and Other Essays and Stories, by Mark Twain (1917), and Birthright, by T.S. Stribling (1922), both illustrated by Mora, are included, along with over a dozen magazines containing illustrations by Mora.
Photographs include black and white photographs and glass plate negatives of Mora, family and friends, students, and artwork. Black and white pictures of Mora's artwork include his "Thine is Glory" mural (1919), the "National Academy Jury of 1907" painting (1907) and an etching of his daughter, Rosemary. Glass plate negatives are of his first wife, Sophia Compton, her mother Emma, Mora's father Domingo, the painting "Dance of Salome" (1893), Mora's brother-in-law Alfred Compton, his Boston Museum and Chase School of Art classes, and the Perth Amboy Terra Cotta Company, where Mora's father worked.
Arrangement note:
The collection is arranged as 5 series. Records are generally arranged alphabetically by subject. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Materials, circa early 1900s (Box 1; 1 folder)
Series 2: Correspondence, 1900-1969 (Box 1; 3 folders)
Series 3: Writings, 1899-1922 (Box 1; 0.4 linear feet)
Series 4: Printed Material, 1895-1986 (Boxes 1-2 and OV 3; 0.8 linear feet)
Series 5: Photographic Materials, 1891-1941 (Box 2, MGP 1, MGP 2; 0.4 linear feet)
Biographical/Historical note:
Francis Luis Mora (1974-1940) was born in Montevideo, Uruguay. In 1877, he and his family moved to Catalonia, Spain and in 1880, they moved again to the United States where they eventually settled in Perth Amboy, New Jersey. Both his father, Domingo, and his brother, Joseph, were also noted sculptors.
Mora studied at the School of the Boston Museum of Fine Arts and at the Art Students League of New York. He was a muralist, oil and watercolor portrait painter, and etcher, though he is best known for his illustrations in magazines such as Century, Harper's, and Ladies' Home Journal. He was a member of the Salmagundi Club and the National Academy of Design and taught at the Art Students League of New York and the Chase School of Art. He and his wife, Sophia ("Sonia") Compton, had a daughter, Rosemary, in 1918. After his wife's death, Mora married May Gosman Safford in 1932. Mora died at the age of 64 in 1940.
Related Archival Materials note:
Among the holdings of the Archives of American Art are the F. Luis Mora Art Works and Photographs (available on microfilm reel 5053) and a F. Luis Mora Letter to William John Wittemore (available on microfilm reel D30, frame 534.)
Provenance:
The F. Luis Mora papers were donated to the Archives of American Art by Cornelia Colton, the daughter of Mora's second wife, May Safford, in 1975. Additional papers were donated in 2008 by Gwen Compton, Mora's niece.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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.
This series contains two notebooks of biographical notes on Latin American artists, manuscripts and copies of manuscripts on Hispanic American artists and caricature, and articles and lectures by Sotomayor. There are also writings by others on Sotomayor, and the transcript of an interview of Sotomayor conducted by Grace Moreley regarding Latin American Art.
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection 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.
Collection Citation:
Antonio Sotomayor papers, circa 1920-1988. Archives of American Art, Smithsonian Institution.
The papers of performance artist and educator Roberto Sifuentes measure 4.3 linear feet and date from circa 1988 to 2006. The collection documents Sifuentes' work as a professional artist and educator through biographical material and interviews; correspondence including emails; project files including project descriptions, documentation of individual productions, audio and video recordings, and components of works for multimedia projects; conference files documenting symposia and conference participation; articles, versions of performance scripts, and other writings; printed material including press clippings, promotional press packets, and source material; as well as photographic material documenting performances and social events.
Scope and Contents:
The papers of performance artist and educator Roberto Sifuentes measure 4.3 linear feet and date from circa 1988 to 2006. The collection documents Sifuentes' work as a professional artist and educator through biographical material and interviews; correspondence including emails; project files including project descriptions, documentation of individual productions, audio and video recordings, and components of works for multimedia projects; conference files documenting symposia and conference participation; articles, versions of performance scripts, and other writings; printed material including press clippings, promotional press packets, and source material; as well as photographic material documenting performances and social events.
Arrangement:
The collection is arranged in 7 series:
Series 1: Biographical Material, circa 1990-2000 (0.2 linear feet; Box 1, 0.003 Gigabytes; ER01)
Series 2: Correspondence, circa 1990-2000 (0.2 linear feet; Box 1, 0.004 Gigabytes; ER02-ER05)
Series 3: Project Files, circa 1986-2000 (1.9 linear feet; Boxes 1-3, 0.051 Gigabytes; ER06-ER15, ER18-ER19)
Series 4: Conference Files, circa 1995-2006 (0.2 linear feet; Box 3)
Series 5: Writings, circa 1993-2000 (0.8 linear feet; Boxes 3-4, 0.002 Gigabytes, ER16-ER17)
Series 6: Printed Material, circa 1993-2000 (0.9 linear feet; Boxes 4-5)
Series 7: Photographic Material, circa 1990s (0.1 linear feet; Box 4)
Biographical / Historical:
Roberto Sifuentes, (born Los Angeles, 1967) is a Chicano performance artist and arts instructor at the School of the Art Institute of Chicago. He completed his BA from Trinity College in Hartford, Connecticut in 1989 and in 1993 founded La Pocha Nostra Performance Group with his career-long collaborator, Guillermo Gómez-Peña. La Pocha Nostra in its manifesto describes itself as a "trans-disciplinary arts organization...created out of our necessity to survive as Chicano artists in a racist Art World." Around 1992 Roberto began contributing as a collaborator and performer for performance works created by Gómez-Peña in collaboration with Coco Fusco, Couple in the Cage and New World (B)order. Sifuentes has continued his partnership with Gómez-Peña in creating new performance works and publications, as well touring widely to perform their works and deliver outreach programs including lectures and workshops.
Consistent with his work with La Pocha Nostra, Sifuentes has taken an activist sensibility and approach in incorporating stereotypical ritualistic and religious cultural imagery in his installations and performances, while engaging with emerging technologies. This juxtaposition between the futuristic and the traditional stereotype was reflected in his widely applied artistic persona Cybervato. Key works incorporating this persona include Borderscape 2000, Temple of Confessions, and Mexterminator. He has performed his works and contributed to symposia and conferences throughout the world at venues including National Review of Live Art, Glasgow; Center for Performance Research, Wales; Hemispheric Institute, New York University; Centro Cultural Recoleta, Buenos Aires; Corcoran Gallery of Art, Washington DC; De Young Museum, San Francisco; and El Museo del Barrio in New York City.
Provenance:
The Roberto Sifuentes papers were donated by Roberto Sifuentes to the Archives of American Art in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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.
A typescript of Sally K. Reynolds' eulogy at the memorial service for Xavier Gonzalez held at the Art Students League in New York City on October 24, 1993. It includes excerpts from Reynolds' interview with Xavier and Ethel Gonzalez conducted on August 8, 1990, in which Gonzalez spoke of his childhood in Mexico, his move to the United States, working as a fruit picker in Iowa, and stockyards in Chicago, and events leading to a scholarship to the at the Art Institute of Chicago.
Biographical / Historical:
Art dealer; New York City.
Provenance:
Donated 1993 by Sally K. Reynolds.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art dealers -- New York (State) -- New York Search this
An interview of José Moya del Pino conducted 1964 Sept. 10, by Mary McChesney, for the New Deal and the Arts Oral History Project.
Moya del Pino speaks of his youth in Spain, and his education in Rome and in Paris; meeting Matisse; moving to San Francisco and taking up portraiture there; starting with the Federal Art Project (FAP) and working on a mural at Coit Tower; political problems with the murals and other work done under the FAP; painting a mural in a post office in Alpine, Tex., and other murals; how work was assigned; his mural for the Social Security Building in Washington, D.C.; and his feelings about government support for the arts and how it should be administered. He recalls Diego Rivera and Victor Arnautoff.
Biographical / Historical:
José Moya del Pino (1891-1969) was a Spanish born painter and mural painter from California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hrs., 57 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Topic:
Coit Memorial Tower (San Francisco, Calif.) Search this
An interview of Jesús Moroles conducted 2004 July 19-20, by Cary Cordova, for the Archives of American Art, in Rockport, Tex.
Moroles speaks of his parents' poor background and young courtship; his parents' strong work ethic, and his inheritance of this work ethic; earning money through art commissions at a young age; being a young entrepreneur; joining the Air Force and avoiding combat in Southeast Asia by working with electronics; doing photography while stationed in Thailand; choosing stone as medium; numerous injuries he has received during stonecutting; working in Pietra Santa, Italy; meeting and working under Luis Jimenez; working in segregated Waxahachie, Tex.; differences between his figurative and abstract works; why he curates all his shows; and the reasons behind his unconventional stone-sawing methods. Moroles also discusses how he names his works and series; moving his studio to Rockport; his fears of being typecast as a specific type of artist (i.e., "fountain" or "Chicano"); incredulity and disdain towards art journalism and scholarship; his commission for the CBS building; his good relationships with his dealers; his new book of artwork; his desire to slow down his production; his unconventional Baptist/Latino upbringing and his present lack of religion; the Houston Police Memorial; the pyramid motif in his work; his visits to China; moving to Rockport; the tactile nature of his works; his belief in the musicality of granite; his megalomaniacal disposition towards his works; the drowning victims in the Forth Worth Water Gardens; his desire to create sacred places, and the meaning of that phrase; the process of "granite weaving"; his new metal pieces; the lack of political meanings in his art; his "Moonscapes"; and his affections for his daughter. Moroles also recalls Eckhard Pfeiffer, Isamu Noguchi, Ulrich Ruckriem, Eero Saarinen, David Shrader, Frank Ribelin, Ricardo Legoretta, Judy Baca, and others.
Biographical / Historical:
Jesús Moroles (1950- ) is a sculptor in Rockport, Tex. Cary Cordova (1970- ) is an art historian in Austin, Tex.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 6 hrs., 13 min.
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:
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
An interview of Franco Mondini-Ruiz conducted 2004 July 7-8, by Cary Cordova, for the Archives of American Art, in Alameda and San Antonio, Tex.
Mondini speaks of his parents' disparate backgrounds; his repressed childhood in Boerne, Tex.; his family's electronics store; discovering that his brother was actually his half-brother; attending undergrad and law school at St. Mary's in San Antonio, Tex.; his Catholic rearing; raising his Latino consciousness during and after law school; his life as a successful lawyer; his ingratiation into both rich white and Latino cultures; his partying and coming-out as a gay man; his making of art as a counterpoint to his office work; advice for young Latino artists; the importance of cheap art; exoticizing of Mexican culture by Anglos; quitting law and his experience living in Mexico City; and being diagnosed with HIV. Mondini-Ruiz also speaks of opening his Infinito Botanica and how he operated it; American drug culture; San Antonio's cityscape and his "utopic" hope for it; his "Blue Star on Houston" exhibition; drug use; his show at Bard College as his big break; living with Alejandro Diaz; homosexual and Mexican rococo aesthetics; his exhibit at the 2000 Whitney Biennial and moving to New York City; the importance of found art; the universality of class and race struggles; the problems with over-materialization of artwork; his "Ballroom" show in Marfa, Tex. and the issues confronting that city's arts patronage; his making of the "Spurs Installation"; his new anti-materialistic mindset; and the patterns within his career. Mondini-Ruiz also recalls Michael Tracy, Ito Romo, Rolando Briseno, Sandra Cisneros, Jesse Amado, Donald Judd, Frederieke Taylor, Julia Herzberg, Danny Lozano, Maaretta Jaukkuri, Tracey Moffat, Mike Casey, and others.
Biographical / Historical:
Franco Mondini-Ruiz (1961- ) is an artist in New York. Legal name is Gino Francisco Mondini. Interviewer Cary Cordova (1970-) is an art historian from Austin, Tex.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 5 hrs., 12 min.
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:
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The records of the Millicent Roger Museum measure 0.2 linear feet and date from 1983 to 1984. The records consist of two letters, one to and one from Arthur H. Wolf, the museum director, regarding the Hispanic Artists Registry; the registry of Hispanic artists and craftsmen in New Mexico, consisting of questionnaires completed by each artist; magazine and newspaper articles about the registry and about Millicent Rogers.
Scope and Contents:
The records of the Millicent Roger Museum measure 0.2 linear feet and date from 1983 to 1984. The records consist of two letters, one to and one from Arthur Wolf, the museum director, regarding the Hispanic Artists Registry; the registry of Hispanic artists and craftsmen in New Mexico, consisting of questionnaires completed by each artist; magazine and newspaper articles about the registry and about Millicent Rogers.
Arrangement:
The collection is arranged into one series.
Series 1: Millicent Rogers Museum Records, 1983-1984 (0.2 linear feet; Box 1)
Biographical / Historical:
Millicent Rogers Museum is located in Taos, New Mexico, and it was founded in 1956 by Paul Peralta-Ramos. The museum was established as a museum in memory of his mother, Millicent Rogers. The museum collects and exhibits art and artifacts related to the Southwest.
Provenance:
Donated July 1984 by Millicent Rogers Museum through the director Arthur Wolf. Microfilmed as part of AAA's Texas Arts Documentation Project.
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.
A scrapbook compiled by Patricia Covo Johnson, containing clippings, exhibition announcements and catalogs, and letters regarding exhibitions by José María Cundin, Pedro Friedberg, EnriqueGuzman, Xavier Esqueda, Lucas Johnson, Francisco Toledo and other artists.
Artists represented include: Pedro Friedeberg, Lucas Johnson, Gerry Tindall, Jose Maria Cundin, Dee Wolff, Brian Mains, Enrique Guzman, Xavier Exqueda, Francisco Toledo, Cathy Kuntz, Milo Lazarevic, Bob Camblin, Bill Steffy, Fletcher Mackey and Don Snell.
Biographical / Historical:
Art gallery; Houston, Texas. Founded 1975 by Patricia Covo Johnson.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1983 by Patricia Covo Johnson.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.
Scope and Contents:
The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.
Awards, greeting cards, license, and a resume are found in biographical materials. The papers also include early writings, notes, and fifteen notebooks. Professional files consist of agreements, exhibition and project files, a teaching file, and source material.
Printed materials consist of clippings, ephemera, exhibition catalogs and announcements, and an exhibition wall description. Photographs and negatives are of Amado, works of art, and personal subjects. Artwork includes a few drawings, a sketchbook, and portraits of Amado drawn by his students.
Arrangement:
The collection is arranged as six series.
Series 1: Biographical Material, circa 1983-2011 (Box 1; 4 folders)
Series 2: Writings and Notes, circa 1970-2016 (Box 1; 0.3 linear feet)
Series 3: Professional Files, 1990-2016 (Boxes 1-2; 0.4 linear feet)
Series 4: Printed Material, circa 1983-2016, undated (Boxes 1-2; 0.2 linear feet)
Series 5: Photographic Material, circa 1970-circa 2000 (Box 1; 0.2 linear feet)
Series 6: Artwork, circa 2010-2015 (Boxes 1-2; 3 folders)
Biographical / Historical:
Jesse Amado (1951- ) is an artist active in San Antonio, Texas.
In his youth Amado had aspirations to become an architect but lost interest later in high school. Amado joined the Navy at 17 becoming an east coast communications operator. He left the Navy after five years and moved to New York City. There, he visited art museums and became interested in art though he did not consider a career as an artist at this time. Instead, he studied English in college and graduated in 1977 from the University of Texas in Austin. He returned to San Antonio and became an English teacher in the public school system, but left this position a short time later. Following the suggestion of a friend, Amado joined the San Antonio fire department where he worked until retiring in 2002. Upon gaining a steady income, Amado began taking art classes at San Antonio College studying under Chicano artist Mel Casas. Amado continued to study fine art at the University of Texas in San Antonio in the 1980s. He earned another bachelor's degree as well as a master's degree in fine art in 1990. During this time he began exhibiting his artwork. He has since held numerous solo and group exhibitions of his work.
Amado completed residencies at San Antonio's Artspace, South Korea's City Gallery of Kwangju, the Bemis Center for Contemporary Arts in Omaha, N.E., and for the National Endowment for the Arts' Visual Arts Organization Grant at the Fabric Workshop and Museum of Philadelphia. His major projects include memorials for the San Antonio fire department and Days, an art installation in honor of Linda Pace at the San Antonio Central Library.
Related Materials:
Also at the Archives of American Art is an interview of Jesse Amado conducted May 31 and June 7, 2004 by Cary Cordova at the artist's studio, in San Antonio, Texas.
Provenance:
The papers were donated by Jesse Amado in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview of Mel Ramos conducted 1981 May 15, by Paul Karlstrom, for the Archives of American Art. Ramos speaks of the human figure as subject matter; contemporary iconography; the continuity of themes throughout art history; his interest in celebrities; his female nudes; his response to feminist objections to his work; the influence of Willem de Kooning, Salvador Dali, George Miyasaki, Nathan Oliveira and Wayne Thiebaud; Leta, his wife and model; his use of photographs; photo-realism; his work as part of the "painterly tradition."
Biographical / Historical:
Mel Ramos (1935-) is a painter and teacher in Oakland, Calif.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 45 min.
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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Photograph of the artists included in the Cuban Artists of the XXth Century exhibition
Type:
Photographs
Date:
1993 September
Citation:
Photograph of the artists included in the Cuban Artists of the XXth Century exhibition, 1993 September. Giulio V. Blanc papers, 1920-1995. Archives of American Art, Smithsonian Institution.
Enrique Riverón and Giulio V. Blanc. Enrique Riverón interview, 197-. Giulio V. Blanc papers, 1920-1995. Archives of American Art, Smithsonian Institution.
