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Kandinsky : philosophie de l'abstraction : l'image métaphysique / Philippe Sers

Author:
Sers, Philippe  Search this
Kandinsky, Wassily 1866-1944  Search this
Subject:
Kandinsky, Wassily 1866-1944 Criticism and interpretation  Search this
Physical description:
291 p. : ill. (some col.) ; 23 cm
Type:
Books
Date:
1995
C1995
Topic:
Art, Abstract  Search this
Art--Philosophy  Search this
Call number:
N40.1.K16 S47 1995
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_552954

Kandinsky (1866-1944) With an introd. and notes by Herbert Read

Author:
Kandinsky, Wassily 1866-1944  Search this
Read, Herbert 1893-1968  Search this
Physical description:
24 p. illus. (part mounted col.) 31 cm
Type:
Books
Date:
1959
[1959]
Call number:
ND699.K3 R5
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_669198

Kandinsky in Munich : the formative Jugendstil years / by Peg Weiss

Author:
Weiss, Peg  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
Physical description:
xxi, 268 p., [48] leaves of plates : ill. (some col.) ; 23 cm
Type:
Books
Place:
Germany
Munich
Date:
1979
C1979
Topic:
Art nouveau  Search this
Call number:
N40.1.K16 W4
N40.1.K16W4
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_368897

The nature of looking : twentieth century modern painting ; Wassily Kandinsky, Georgia O'Keeffe, Fernand Leger, Joan Mitchell ; [exhibition] September 27 to November 30, 1997 / Colorado Springs Fine Arts Center

Author:
Colorado Springs Fine Arts Center  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
O'Keeffe, Georgia 1887-1986  Search this
Léger, Fernand 1881-1955  Search this
Mitchell, Joan 1926-1992  Search this
Physical description:
1 folded sheet ([8] p.) : col. ill. ; 31 cm
Type:
Books
Exhibitions
Date:
1998
1997
Topic:
Art appreciation  Search this
Call number:
N552.5 A7 1997
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_668379

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company, New York, N.Y.  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltran-Masses, Federico, b. 1885  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Archival materials
Collection descriptions
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians, galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Stendahl Art Galleries records 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:
Art -- New Guinea  Search this
Hispanic American art  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art galleries, Commercial -- California -- Los Angeles  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stenartg
Additional Online Media:

Werner Drewes papers

Creator:
Drewes, Werner, 1899-1985  Search this
Names:
Richard York Gallery  Search this
Smithsonian Institution  Search this
Boccia, Edward, 1921-2012  Search this
Drewes, Maria  Search this
Eldred, Thomas  Search this
Feininger, T. Lux  Search this
Fitz-Gerald, Clark B. (Clark Battle), 1917-2004  Search this
Hélion, Jean, 1904-1987  Search this
Kandinsky, Wassily, 1866-1944  Search this
Marcks, Gerhard  Search this
Osver, Arthur, 1912-2006  Search this
Schrag, Karl  Search this
Urban, Albert  Search this
Extent:
15.76 Linear feet
Type:
Archival materials
Collection descriptions
Prints
Photographs
Sketchbooks
Scrapbooks
Diaries
Date:
1838-2015
bulk 1890-1990
Summary:
The papers of painter, printmaker, designer, and teacher, Werner Drewes, measure 15.76 linear feet and date from 1838-2015, with the bulk of the material dating from the 1890s-1990s. The papers document Drewes' life and career through biographical and family material; correspondence with family members, artists, galleries, and art institutions and organizations; scattered teaching notes and writings including a diary; catalogs and inventories of artwork; three scrapbooks; printed material; 38 sketchbooks, loose sketches, and prints; and photographs of Drewes, his family, friends and colleagues, exhibitions, travels, and works of art. Also found are scattered papers of Drewes' second wife, Maria Drewes.
Scope and Contents:
The papers of painter, printmaker, designer, and teacher, Werner Drewes, measure 15.76 linear feet and date from 1838-2015, with the bulk of the material dating from the 1890s-1990s. The papers document Drewes' life and career through biographical and family material; correspondence with family members, artists, galleries, and art institutions and organizations; scattered teaching notes and writings including a diary; catalogs and inventories of artwork; three scrapbooks; printed material; 38 sketchbooks, loose sketches, and prints; and photographs of Drewes, his family, friends and colleagues, exhibitions, travels, and works of art. Also found are scattered papers of Drewes' second wife, Maria Drewes.

Biographical material documents Drewes' family history through family trees and biographical notes made by family members, and also includes 3 of Drewes' passports, some student and military records, resumés, and a partial interview transcript.

Correspondence is with family members; artists including Ed Boccia, Thomas Eldred, T. Lux Feininger, Clark Fitzgerald, Wassily Kandinsky, Jean Helion, Gerhard Marcks, Arthur Osver, Karl Schrag, and Albert Urban; and galleries and art organizations and institutions such as Richard York Gallery, the Smithsonian Institution, and others. Correspondence also relates to the Drewes estate, as well as to loans, exhibitions and sales of artwork.

Notes and writings include a diary kept by Drewes between 1918-1920 in Europe, a "love letter" in verse form written by Drewes to his first wife, Margaret, some teaching notes and notes on design, and 2 essays about Drewes written by others.

Catalogs and inventory records provide comprehensive documentation of the artwork Drewes created over the course of his career. Entries include titles, assigned numbers, subjects, dimensions, media used, and sketches or photos of artwork.

Three scrapbooks provide scattered documentation of Drewes' life and career, and include clippings from the 1920s and 1930s, and a scrapbook created by Maria Drewes for her husband's memorial service.

Printed material includes event announcements and exhibition catalogs, as well as news clippings tracing Drewes' career from the 1920s to the 1980s.

Artwork consists of greeting cards made by Drewes, as well as 38 sketchbooks and numerous loose sketches in pencil, ink, watercolor, and crayon.

Photographic material includes vintage family photographs, prints, negatives, slide tranparencies, and 8 glass plate negatives, of Drewes, his family and friends, events including exhibitions and travels, and artwork.

Found in Maria Drewes' papers are correspondence, 17 diaries primarily documenting travels with Werner Drewes, two scrapbooks with designs for jewelry, and photos of family, friends and jewelry.
Arrangement:
Series 1: Biographical Material, 1838-1980s (0.4 linear feet; Boxes 1, 16)

Series 2: Correspondence, 1878-2004 (1.2 linear feet; Boxes 1-2, 16)

Series 3: Notes and Writings, 1922-2002 (0.5 linear feet; Box 2)

Series 4: Catalogs and Inventory Records, circa 1919-circa 1980s (2.3 linear feet; Boxes 2-6)

Series 5: Scrapbooks, 1920s-1985 (3 folders; Box 5)

Series 6: Printed Material, 1897-2015 (1 linear feet; Boxes 5-6)

Series 7: Artwork and Sketchbooks, circa 1890s-2002 (3.67 linear feet; Boxes 6-9, 16-17)

Series 8: Photographic Material, circa 1890s-2000 (5.53 linear feet; Boxes 9-14, 17, MGP 2)

Series 9: Mary (Maria) Louise Lischer Drewes Papers, 1930s-1980s (1 linear foot; Box 15)

Many of the records were assigned color-coded alpha-numeric labels prior to donation. In series where these labeling systems predominate, material has been arranged according to those systems and all previously assigned labels are indicated in the Container Listing. Many folder titles are taken from the original labels. Glass plate negatives are housed separately and closed to researchers.

The collection is arranged as 9 series.
Biographical / Historical:
Painter, printmaker and designer Werner Drewes (1899-1985) was born in Canig, Germany, and immigrated to the United States in 1930. A student of the Bauhaus, and a prolific artist and teacher, Drewes worked with many kinds of media and produced numerous woodcuts, etchings, oils, watercolors, drawings and collages over the course of his life.

Drewes served for two years on Germany's Western Front during World War 1, before studying at the Bauhaus, Weimar, from 1921-1922. He then traveled throughout Europe, Asia and North and South America with his wife Margaret before returning to Germany in 1927 and enrolling at the Bauhaus, Dessau. During his time there Drewes forged his artistic ideas from the radical influences of renowned architects and artists including Lyonel Feininger, Johannes Itten, Wassily Kandinsky, Paul Klee, and Oscar Schlemmer, and learned the Bauhaus teaching approach that would serve him throughout his career. In 1930 Drewes, Margaret, and their 2 young sons emigrated to the United States and settled in New York City where Drewes attended the Art Students League. From 1935-1936 he taught drawing and printmaking at the Brooklyn Museum School as an employee of the Works Progress Administration Federal Art Project (WPA FAP). In 1936 he became a founding member of American Abstract Artists and the following year joined the American Artists' Congress and became an American citizen. From 1937-1940 he taught painting and printmaking at Columbia University.

In the early 1940s Drewes taught at the Master Institute in Riverside Museum, New York City, and worked as a technical supervisor for the Graphic Art Division of the FAP. From 1944-1945 he worked at Stanley William Hayter's Atelier 17 improving his intaglio technique and then teaching design, printmaking and photography at Brooklyn College. In 1946 he taught design at the Institute of Design in Chicago before being appointed Professor of Design at the School of Fine Arts of Washington University in Saint Louis, where he continued to teach until his retirement in 1965.

Following Margaret's death in 1959, Drewes married jewelry designer and fellow professor of Washington University, Mary (Maria) Louise Lischer in 1960. On Drewes' retirement he and Maria moved to Pennsylvania where he continued to paint, focusing primarily on still lifes and landscapes. He moved to Washington in 1972 and published his American Indians portfolio, before finally setting in Reston, Virginia, where the Rose Catalog of his prints was published and where he lived as a working and exhibiting artist until his death in 1985.

In October 1984 a comprehensive retrospective, Sixty-Five Years of Printmaking, was held at the then named Smithsonian's National Museum of American Art. Drewes' work can be found in the collections of the Brooklyn Museum, the Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Modern Art, National Gallery of Art, New York Public Library, Smithsonian American Art Museum, and the Whitney Museum of American Art.
Provenance:
The Werner Drewes papers were donated in 2005 by Werner Drewes' sons Wolfram U. Drewes, Harald D. Drewes, and Bernard W. Drewes. 4 additional items were donated by Karen Seibert, Drewes granddaughter, in 2015. Some material had been previously loaned for microfilming in 1979, and was subsequently included in the 2005 gift.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Werner Drewes 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.
Occupation:
Painters -- Virginia -- Reston  Search this
Designers -- Virginia  Search this
Printmakers -- Virginia -- Reston  Search this
Topic:
Educators -- Virginia  Search this
Transcripts  Search this
Art -- Study and teaching  Search this
Interviews  Search this
Greeting cards  Search this
Genre/Form:
Prints
Photographs
Sketchbooks
Scrapbooks
Diaries
Citation:
Werner Drewes papers, 1838-2015, bulk 1890-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.drewwern
See more items in:
Werner Drewes papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-drewwern
Additional Online Media:

Rose Fried Gallery Records

Creator:
Rose Fried Gallery (New York, N.Y.)  Search this
Names:
Pinacotheca Gallery (New York, N.Y.)  Search this
Baertling, Olle, 1911-1981  Search this
Cornell, Joseph  Search this
Cunningham, Ben, 1904-1975  Search this
Delaunay, Sonia  Search this
Etrog, Sorel, 1933-  Search this
Ferren, John, 1905-1970  Search this
Fried, Rose  Search this
Hendler, Raymond, 1923-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mondrian, Piet, 1872-1944  Search this
Morgan, Russell  Search this
Picabia, Francis, 1879-1953  Search this
Richter, Hans, 1888-1976  Search this
Torres-García, Joaquín, 1874-1949  Search this
Xceron, Jean, 1890-1967  Search this
Extent:
8.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sound recordings
Interviews
Date:
1936-1972
bulk 1945-1970
Summary:
The Rose Fried Gallery records measure 8.1 linear feet and date from 1936 to 1972 with the bulk of materials dating from 1945 to 1970. The majority of the collection consists of artists files documenting the gallery's relationship with abstract, modern, and Latin American artists; additional named subject files; and scattered administrative and financial files. Individual artists and subject files contain a wide variety of documentation, such as correspondence, photographs, financial records, and printed materials.
Scope and Contents:
The Rose Fried Gallery records measure 8.1 linear feet and date from 1936 to 1972 with the bulk of materials dating from 1945 to 1970. The majority of the collection consists of artists files documenting the gallery's relationship with abstract, modern, and Latin American artists; additional named subject files; and scattered administrative and financial files. Individual artists and subject files contain a wide variety of documentation, such as correspondence, photographs, financial records, and printed materials.

Scattered administrative records document the founding and history of the Rose Fried Gallery, biographical materials about Rose Fried, as well as scattered administrative correspondence, press releases, and gallery catalogs. There are two sound recordings of interviews with Rose Fried in which she discusses the origins of the Rose Fried Gallery and some of the gallery's shows.

The bulk of the records consist of alphabetical artists' and clients' files documenting the gallery's dealings with individual artists, clients, other galleries, museums, and universities. Contents of individual files vary but may include correspondence, contractual agreements, financial records, printed material, and photographs. A few of the artists represented in the files include Olle Baertling, Joseph Cornell, Ben Cunningham, Sonia Delaunay, Sorel Etrog, John Ferren, Raymond Hendler, Wassily Kandinsky, Stanton MacDonald-Wright, Piet Mondrian, Russell Morgan, Francis Picabia, Hans Richter, Joaquin Torres-Garcia, and Jean Xceron, among many others.
Arrangement:
The collection is arranged as two series.

Series 1: General Administrative Records, 1947-1970 (9 folders; Box 1)

Series 2: Artists' and Clients' Files, 1936-1972 (7.9 linear feet; Boxes 1-8, OV 9)
Historical Note:
Rose Fried established the Rose Fried Gallery in the 1940s in New York City, New York. Fried established the gallery when she took over the Pinacotheca Gallery owned by Dan Harris. The Gallery specialized in abstract and modern art, and represented cubists, futurists, Dadaists, and masters of Latin American art. The Rose Fried Gallery was instrumental in introducing the American public to many abstract painters, including Mondrian and Kandinsky. The Gallery remained operational until Fried's death in 1970.
Provenance:
The Rose Fried Gallery Records were donated by Rose Fried and her brother and executor Paul Fried in multiple accretions between 1968 and 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy also requires advance notice. Contact Reference Services for more information.
Rights:
The Rose Fried Gallery records 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Gallery owners  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Hispanic American artists  Search this
Art dealers -- New York (State) -- New York  Search this
Art, Abstract  Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Citation:
Rose Fried Gallery Records, 1936-1972, bulk 1945-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosefrig
See more items in:
Rose Fried Gallery Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosefrig
Additional Online Media:

Katharine Kuh papers

Creator:
Kuh, Katharine  Search this
Names:
Albright-Knox Art Gallery  Search this
Art Institute of Chicago -- Faculty  Search this
Biennale di Venezia  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Arp, Jean, 1887-1966  Search this
Barnet, Will, 1911-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Biddle, George, 1885-1973  Search this
Breuer, Marcel, 1902-  Search this
Calder, Alexander, 1898-1976  Search this
Campoli, Cosmo  Search this
Chagall, Marc, 1887-  Search this
Chavez Morado, José, 1909-2002  Search this
Chermayeff, Serge, 1900-  Search this
Cornell, Joseph  Search this
Cox, Richard  Search this
Davis, Stuart, 1892-1964  Search this
Day, Worden, 1916-1986  Search this
De Kooning, Willem, 1904-  Search this
Dickinson, Edwin Walter, 1891-  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Elizabeth II, Queen of Great Britain, 1926-  Search this
Ernst, Jimmy, 1920-1984  Search this
Falkenstein, Claire, 1908-1997  Search this
Feitelson, Lorser, 1898-1978  Search this
Friendly, Fred W.  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Goto, Joseph, 1920-  Search this
Grabe, Klaus  Search this
Graves, Robert, 1895-1985  Search this
Guggenheim, Peggy, 1898-  Search this
Guston, Philip, 1913-1980  Search this
Hare, David, 1917-  Search this
Hare, Denise Browne  Search this
Hayter, Stanley William, 1901-1988  Search this
Hirshhorn, Joseph  Search this
Hofmann, Hans, 1880-1966  Search this
Hélion, Jean, 1904-1987  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Johns, Jasper, 1930-  Search this
Johnson, Philip, 1906-2005  Search this
Johnson, Ray, 1927-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Juliet  Search this
Klee, Paul, 1879-1940  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Le Corbusier, 1887-1965  Search this
Lundeberg, Helen, 1908-1999  Search this
Lye, Len, 1901-1980  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Millier, Arthur, 1893-  Search this
Moholy-Nagy, László, 1895-1946  Search this
Motherwell, Robert  Search this
Mérida, Carlos, 1891-1984  Search this
Nutting, Muriel Leone Tyler, b. 1892  Search this
Nutting, Myron Chester, 1890-1972  Search this
O'Higgins, Pablo, 1904-  Search this
Orozco, José Clemente, 1883-1949  Search this
Ozbekhan, Hasan, 1921-2007  Search this
Perkins, Frances  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Sandberg, Carl  Search this
Seligmann, Kurt, 1900-1962  Search this
Shackelford, Shelby  Search this
Shahn, Ben, 1898-1969  Search this
Spaeth, Otto, d. 1966  Search this
Sterne, Hedda, 1916-  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Still, Clyfford, 1904-  Search this
Tanning, Dorothea, 1910-2012  Search this
Tobey, Mark  Search this
Winston, Harry Lewis  Search this
Woolf, Olga  Search this
Young, Victor  Search this
Photographer:
Pollack, Peter, 1909-1978  Search this
Extent:
12 Linear feet
Type:
Archival materials
Collection descriptions
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Date:
1875-1994
bulk 1930-1994
Summary:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Katharine Kuh 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:
Art, Abstract -- United States  Search this
Art, American  Search this
Art festivals  Search this
Women museum curators -- Illinois -- Chicago  Search this
Women art critics -- New York (State) -- New York  Search this
Authors -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- United States  Search this
Art galleries, Commercial -- Illinois -- Chicago  Search this
Women art historians -- Illinois -- Chicago  Search this
Women art dealers -- Illinois -- Chicago  Search this
Women art dealers -- New York (State) -- New York  Search this
Women art critics -- Illinois -- Chicago  Search this
Genre/Form:
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Citation:
Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhkath
See more items in:
Katharine Kuh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhkath

Chaim and Dorothy Koppelman papers

Creator:
Koppelman, Chaim, 1920-2009  Search this
Names:
American Federation of Arts  Search this
Associated American Artists  Search this
Audubon Artists (New York, N.Y.)  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat, 1920-1964  Search this
Kandinsky, Wassily, 1866-1944  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy, 1923-1997  Search this
Ozenfant, Amédée, 1886-1966  Search this
Picasso, Pablo, 1881-1973  Search this
Pond, Clayton, 1941-  Search this
Rebay, Hilla, 1890-1967  Search this
Siegel, Eli, 1902-  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
4 Linear feet
Type:
Archival materials
Collection descriptions
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Date:
circa 1930s-2006
bulk 1942-2005
Summary:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.

Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.

Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.

Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.

Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.

Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman. Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:

Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)

Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)

Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)

Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)

Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)

Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)

Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)

Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)

Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)

Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)

Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.

Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.

After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.

Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."

Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award. In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.

In December 2009, Koppelman died at age 89 in New York City.

Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.

Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.

Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."

She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.

Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Chaim and Dorothy Koppelman 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:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koppchai
See more items in:
Chaim and Dorothy Koppelman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-koppchai

J. B. Neumann papers

Creator:
Neumann, J. B. (Jsrael Ber)  Search this
Names:
Artlover  Search this
Gehenna Press  Search this
New Art Circle (New York, N.Y.)  Search this
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Beckmann, Max, 1884-1950  Search this
Kandinsky, Wassily, 1866-1944  Search this
Morrison, Helen Balfour  Search this
Namuth, Hans  Search this
Rattner, Abraham  Search this
Schmid, Elsa, 1897-  Search this
Photographer:
White, Clarence H., 1871-1925  Search this
Extent:
2.1 Linear feet (4 boxes)
Type:
Archival materials
Collection descriptions
Drawings
Photographs
Scrapbooks
Etchings
Date:
1905-1967
Summary:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.
Scope and Contents:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.
Arrangement:
This collection is arranged as 5 series.

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)
Biographical / Historical:
J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.
Related Materials:
The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.
Provenance:
Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
The J. B. Neumann 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:
Art dealers -- New York (State) -- New York  Search this
Gallery directors -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- United States -- History  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art -- Periodicals  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Etchings
Citation:
J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neumjsra
See more items in:
J. B. Neumann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neumjsra

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:
Archival materials
Collection descriptions
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 Münter, 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.

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 Albert Bloch 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.
Occupation:
Educators -- Kansas -- Lawrence  Search this
Topic:
Art -- Study and teaching  Search this
Expressionism (Art) -- Germany  Search this
Der Blaue Reiter (Art)  Search this
Painters -- Kansas -- Lawrence  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
EDAN-URL:
ead_collection:sova-aaa-blocalbe

Kandinsky : the path to abstraction / edited by Hartwig Fischer and Sean Rainbird ; with essays by Shulamith Behr ... [et al.]

Author:
Fischer, Hartwig  Search this
Rainbird, Sean  Search this
Behr, Shulamith  Search this
Tate Modern (Gallery)  Search this
Öffentliche Kunstsammlung Basel  Search this
Subject:
Kandinsky, Wassily 1866-1944 Criticism and interpretation  Search this
Physical description:
224 p. : ill. (chiefly col.) ; 30 cm
Type:
Exhibitions
Place:
Soviet Union
Date:
2006
Topic:
Art, Abstract  Search this
Call number:
N6999.K33 A4 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_810383

Galka E. Scheyer & the Blue Four : Correspondence 1924-1945 / edited and introduced by Isabel Wünsche

Author:
Wünsche, Isabel  Search this
Scheyer, Galka E  Search this
Subject:
Scheyer, Galka E  Search this
Feininger, Lyonel 1871-1956  Search this
Jawlensky, Alexej von 1864-1941  Search this
Kandinsky, Wassily 1866-1944  Search this
Klee, Paul 1879-1940  Search this
Physical description:
xvi, 380 p. : ill., (some col.) ; 24 cm
Type:
Correspondence
Place:
Germany
Date:
2006
Topic:
Blaue Vier (Group of artists)  Search this
Artists  Search this
Expressionism (Art)  Search this
Call number:
N6868.5.E9 .G2413 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_812149

The influence of Persian art on Gauguin, Matisse, and Kandinsky / [microform] / Fereshteh Daftari

Author:
Daftari, Fereshteh  Search this
Subject:
Gauguin, Paul 1848-1903 Criticism and interpretation  Search this
Matisse, Henri 1869-1954 Criticism and interpretation  Search this
Kandinsky, Wassily 1866-1944 Criticism and interpretation  Search this
Physical description:
xv, 384 leaves ; 21 cm
Type:
Microforms
Date:
1988
Topic:
Art, Iranian--Influence  Search this
Exoticism in art--Europe  Search this
Call number:
N7280 D342 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_877796

The influence of Persian art on Gauguin, Matisse, and Kandinsky / Fereshteh Daftari

Author:
Daftari, Fereshteh  Search this
Subject:
Gauguin, Paul 1848-1903 Criticism and interpretation  Search this
Matisse, Henri 1869-1954 Criticism and interpretation  Search this
Kandinsky, Wassily 1866-1944 Criticism and interpretation  Search this
Physical description:
xvi, 384 p., [145] p. of plates : ill. ; 29 cm
Type:
Books
Place:
Europe
Date:
1991
Topic:
Art, Iranian--Influence  Search this
Exoticism in art  Search this
Call number:
N7280 .D34
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_880866

Analogías musicales : Kandinsky y sus contemporáneos : Museo Thyssen-Bornemisza, Madrid, 11 de febrero-25 de mayo de 2003 / comisario, Javier Arnaldo ; comité cientifico, Tomàs Llorens, Christian Meyer, Javier Arnaldo

Title:
Kandinsky y sus contemporáneos
Musical analogies : Kandinsky and his contemporaries
Kandinsky and his contemporaries
Author:
Arnaldo, Javier  Search this
Llorens Serra, Tomás 1936-  Search this
Meyer, Christian  Search this
Museo Thyssen-Bornemisza  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
Physical description:
413 p. : ill. (many col.) ; 29 cm
Type:
Exhibitions
Date:
2003
C2003
20th century
Topic:
Art and music  Search this
Art, Modern  Search this
Call number:
NX180.M87 A53 2003
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_702080

Kandinsky : origen de la abstracción

Author:
Kandinsky, Wassily 1866-1944  Search this
Bozal Fernández, Valeriano  Search this
Ackermann, Marion  Search this
Fundación Juan March  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
Physical description:
160 p. : ill. (some col.), ports. ; 29 cm
Type:
Books
Exhibitions
Date:
2003
C2003
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_719152

Kandinsky, complete writings on art / edited by Kenneth C. Lindsay and Peter Vergo

Author:
Kandinsky, Wassily 1866-1944  Search this
Lindsay, Kenneth Clement 1919-  Search this
Vergo, Peter  Search this
Physical description:
xiii, 924 p. : ill. ; 23 cm
Type:
Books
Date:
1994
1982
20th century
Topic:
Art, Modern  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_738615

Sounds of colours

Title:
Kandinsky, sounds of colours
Author:
Kandinsky, Wassily 1866-1944  Search this
Helly Nahmad Gallery (New York, N.Y.)  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
Physical description:
101 p. : col. ill. ; 34 cm
Type:
Books
Exhibitions
Date:
2004
Call number:
N6999.K3 A4 2004b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_743597

Schoenberg, Kandinsky, and the Blue Rider / edited by Esther da Costa Meyer, Fred Wasserman ; with essays by Magdalena Dabrowski ... [et al.]

Author:
Meyer, Esther da Costa 1947-  Search this
Wasserman, Fred  Search this
Dabrowski, Magdalena  Search this
Rosenbaum, Joan  Search this
Jewish Museum (New York, N.Y.)  Search this
Subject:
Kandinsky, Wassily 1866-1944  Search this
Schoenberg, Arnold 1874-1951  Search this
Physical description:
208 p. : ill. (chiefly col.) ; 30 cm. + 1 compact disc
Type:
Exhibitions
Date:
2003
20th century
Topic:
Painting, Modern  Search this
Art and music  Search this
Blaue Reiter (Group of artists)  Search this
Call number:
ND195 .S34 2003
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_747629

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