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Catalog of the Art School of the Art Institute of Chicago

Creator:
Art Institute of Chicago  Search this
Subject:
Art Institute of Chicago. School  Search this
Type:
Printed Materials
Date:
1924-1925
Record number:
(DSI-AAA)15724
See more items in:
C. J. Bulliet papers, circa 1888-1959
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15724

Faculty Handbook

Collection Creator:
Yoshida, Ray  Search this
Container:
Box 4, Folder 1
Type:
Archival materials
Date:
1971
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
Collection Rights:
The Ray Yoshida 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.
Collection Citation:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
See more items in:
Ray Yoshida papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-yoshray-ref275

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
de Hauke, César  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Haardt, Georges  Search this
La Fresnaye, Roger de  Search this
Seligman, Germain  Search this
Arenberg  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
Art  Search this
Gallery records  Search this
World War, 1939-1945  Search this
Art dealers  Search this
Art, European  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art galleries, Commercial  Search this
Art, Renaissance  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
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Delegate

Published by:
MelPat Associates, American, 1965 - 1986  Search this
Created by:
C. Melvin Patrick, American, died 1985  Search this
Amos T. Hall, American, 1896 - 1971  Search this
Subject of:
New York Giants, American, founded 1925  Search this
National Pan-Hellenic Council, American, founded 1930  Search this
Prince Hall Freemasonry, founded 1784  Search this
Dr. Ralph Bunche, American, 1903 - 1971  Search this
Southern Christian Leadership Conference, American, founded 1957  Search this
National Newspaper Publishers Association, American, founded 1827  Search this
Adam Clayton Powell Jr., American, 1908 - 1972  Search this
National Black Political Convention, 1971 - 1972  Search this
Logan H. Westbrook, American  Search this
Roy Wilkins, American, 1901 - 1981  Search this
National Association for the Advancement of Colored People, American, founded 1909  Search this
Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this
Tufts University, American, founded 1852  Search this
Democratic Party, American, founded 1828  Search this
National Insurance Association  Search this
National Urban League, American, founded 1910  Search this
National Council of Negro Women, founded 1935  Search this
Republican Party, American, founded 1854  Search this
American Bridge Association, American, founded 1932  Search this
Zeta Phi Beta Sorority, American, founded 1920  Search this
Phi Beta Sigma Fraternity, American, founded 1914  Search this
The Drifters, Inc., American, founded 1957  Search this
National Association of Negro Business and Professional Women's Clubs, Inc., American, founded 1935  Search this
Sigma Gamma Rho Sorority, Inc., founded 1922  Search this
Patti Austin, American, born 1950  Search this
National Funeral Directors and Morticians Association, Inc.  Search this
National Dental Association, American, founded 1913  Search this
George Leslie Brown  Search this
Alpha Kappa Alpha Sorority, Incorporated, founded 1908  Search this
Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this
Otha N. Brown Jr., American, 1931 - 2009  Search this
Shriners International, American, founded 1870  Search this
Gladys W. Dixon, American, born 1901  Search this
Daughters of Isis, American, founded 1910  Search this
National Medical Association, American, founded 1895  Search this
National United Church Ushers Association of America, Inc., American, founded 1919  Search this
Shirley Anita Chisholm, American, 1924 - 2005  Search this
National Alliance of Postal and Federal Employees, American, founded 1913  Search this
369th Veterans Association, American  Search this
Improved Benevolent and Protective Order of the Elks of the World, American, founded 1898  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 11 × 8 7/16 × 3/8 in. (28 × 21.5 × 0.9 cm)
Type:
magazines (periodicals)
Place made:
Harlem, New York City, New York, United States, North and Central America
Place depicted:
Miami, Dade County, Florida, United States, North and Central America
Detroit, Wayne County, Michigan, United States, North and Central America
California, United States, North and Central America
Colorado, United States, North and Central America
Connecticut, United States, North and Central America
Saint Louis, Missouri, United States, North and Central America
Atlanta, Fulton County, Georgia, United States, North and Central America
Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America
Date:
1972
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Business  Search this
Communities  Search this
Fraternal organizations  Search this
Fraternities  Search this
Government  Search this
Journalism  Search this
Labor  Search this
Mass media  Search this
Men  Search this
Political organizations  Search this
Politics (Practical)  Search this
Professional organizations  Search this
Religious groups  Search this
Sororities  Search this
United States--History--1969-2001  Search this
United States--Social life and customs  Search this
Urban life  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely
Object number:
2012.167.6
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2012.167.6
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Social (see also oversized, Box 154)

Collection Creator:
Davis, Benjamin O., Jr., 1912-  Search this
Container:
Box 11, Folder 7
Type:
Archival materials
Date:
undated
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
See more items in:
Benjamin O. Davis Jr. Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-1992-0023-ref1915
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School of the Art Institute of Chicago Files and Records

Collection Creator:
Halstead, Whitney  Search this
Extent:
(Box 1-2; 1.1 linear feet)
Type:
Archival materials
Date:
1920-1982, undated
Scope and Contents note:
This series contains records of Halstead's teaching activities at the School of the Art Institute of Chicago, including inter-departmental correspondence, minutes of meetings, reports, a scrapbook concerning the 1965 faculty strike, clippings, school publications, exhibition catalogs, and photographs.
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Whitney Halstead 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.
Collection Citation:
Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halswhit, Series 4
See more items in:
Whitney Halstead papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-halswhit-ref25

Portable postcard exhibition / students and faculty of the School of the Art Institute of Chicago

Author:
Art Institute of Chicago School  Search this
Subject:
Art Institute of Chicago School  Search this
Physical description:
1 portfolio (31 cards : ill.(some col.) ; 90 mm x 14 cm
Type:
Exhibitions
Place:
Illinois
Chicago
Date:
1969
1969]
20th century
Topic:
Art, American  Search this
Art schools--Exhibitions  Search this
Call number:
NC1871 .C55 1969
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_638225

Faculty Handbook

Collection Creator:
Halstead, Whitney  Search this
Container:
Box 1, Folder 31
Type:
Archival materials
Date:
1982
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Whitney Halstead 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.
Collection Citation:
Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Whitney Halstead papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-halswhit-ref28

Scrapbook on the Faculty Strike

Collection Creator:
Halstead, Whitney  Search this
Container:
Box 1, Folder 44-47
Type:
Archival materials
Date:
1962-1965
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Whitney Halstead 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.
Collection Citation:
Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Whitney Halstead papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-halswhit-ref33

Whitney Halstead papers

Creator:
Halstead, Whitney  Search this
Names:
Art Institute of Chicago. School  Search this
Hyde Park Art Center (Chicago, Ill.)  Search this
Nutt, Jim, 1938-  Search this
Yoakum, Joseph, 1886-1972  Search this
Extent:
7.1 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Photographs
Sketches
Sound recordings
Journals (accounts)
Drawings
Place:
Chicago (Ill.)
Date:
1920-1982
Summary:
The Whitney Halstead papers measure 7.1 linear feet and date from 1920 to 1982. They document the career of art historian, educator, critic, author, and artist Whitney Halstead. Found within the papers are scattered biographical material; a diary and travel journals; writings and notes (almost one-half of the collection); scattered correspondence; miscellaneous records and printed materials documenting Halstead's tenure at the Art Institute of Chicago; audio-cassette recordings of African and native music; artists files for Jim Nutt and Joseph E. Yoakum; exhibition files; art work by Halstead and others; and photographs of Halstead, friends and colleagues, and art projects. Also found are numerous photographs, slides, and negatives of primitive art, including American Indian art by Southwest tribes.
Scope and Content Note:
The Whitney Halstead papers measure 7.1 linear feet and date from 1920 to 1982. They document the career of art historian, educator, critic, author, and artist Whitney Halstead. Found within the papers are scattered biographical material; a diary and travel journals; writings and notes (almost one-half of the collection); scattered correspondence; miscellaneous records and printed materials documenting Halstead's tenure at the Art Institute of Chicago; audio-cassette recordings of African and native music; artists files for Jim Nutt and Joseph E. Yoakum; exhibition files; art work by Halstead and others; and photographs of Halstead, friends and colleagues, and art projects. Also found are numerous photographs, slides, and negatives depicting primitive art, mostly native American Indian art by Southwest tribes.
Arrangement:
The collection is arranged into 11 series by either type of material or subject file, and chronologically within each series. Oversized material from various series has been housed in OV folder 8 and is noted in the Series Description/Container Listing Section at the appropriate folder title with see also/see references.

Series 1: Biographical Material, 1966-1977 (Box 1; 1 folder)

Series 2: Personal Correspondence, circa 1933-1978 (Box 1; 6 folders)

Series 3: Diary and Travel Journals, 1957-1975 (Box 1; 3 folders)

Series 4: School of the Art Institute of Chicago Files, circa 1920-1982 (Box 1-2; 1.1 linear feet)

Series 5: Notes and Writings, circa 1923-1978 (Box 2-5; 3.4 linear feet)

Series 6: Artist Files, 1967-1977 (Box 5-6, OV 8; 36 folders)

Series 7: Hyde Park Art Center File, circa 1960-1977 (Box 6; 4 folders)

Series 8: Exhibition Files, 1966-1975 (Box 6, OV 8; 17 folders)

Series 9: Art Work, circa 1932-1970 (Box 6, OV 8; 21 folders)

Series 10: Photographs, circa 1949-1976 (Box 7; 0.9 linear feet)

Series 11: Printed Material, 1966-1975 (Box 7; 5 folders)
Biographical Note:
Art historian, educator, critic, author, and artist Whitney Halstead was born in 1926. After receiving a B.F.A. and an M.F.A. from the School of the Art Institute of Chicago, Halstead worked as an assistant in the Field Museum's anthropology department. He also taught art history at several Chicago-area universities, including the Art Institute, where he developed a series of courses on primitive art. Some historians have indicated that these courses were an important influence on the work of several artists of the "Chicago School" who studied with Halstead, including Roger Brown, Phil Hanson, Gladys Nilsson, Jim Nutt, and Karl Wirsum, among others. Halstead also played a prominent role in the 1965 Art Institute's faculty strike that resulted in better working conditions for the instructors, and by 1967, he had become Chairman of the Division of Fine Arts. In 1970, he assumed the position of Graduate Advisor.

Halstead wrote critical reviews for Artforum, the Chicago Daily News, and numerous articles and essays promoting local and primitive art, including the work of Jim Nutt and naïve artist Joseph E. Yoakum. He also curated several exhibitions, including Made In Chicago and Ulu/Inua: Form and Fantasy in Eskimo Art. Halstead's own art work, exhibitied primarily during the 1950s and early 1960s, was in a variety of media and reflected his interest in Dadaism and Surrealism.

Whitney Halstead died in 1979.
Related Material:
Additional Whitney Halstead papers are held by the Art Institute of Chicago.
Provenance:
The Whitney Halstead papers were donated by Theodore Halkin, the executor of Halstead's estate in 1986.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Whitney Halstead 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 historians -- Illinois -- Chicago  Search this
Works of art  Search this
Art critics -- Illinois -- Chicago  Search this
Genre/Form:
Sketchbooks
Photographs
Sketches
Sound recordings
Journals (accounts)
Drawings
Citation:
Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halswhit
See more items in:
Whitney Halstead papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halswhit
Additional Online Media:

Scientists Revitalize the Reds in Renoir’s Faded Painting

Creator:
Smithsonian Magazine  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Mon, 17 Feb 2014 17:58:51 +0000
Topic:
Search this
See more post:
Smithsonian Article Database
Data Source:
Smithsonian Magazine
EDAN-URL:
edanmdm:posts_0f9bfce26d505b397c5a68daa33845aa

Florence Arquin papers

Creator:
Arquin, Florence  Search this
Names:
Art Institute of Chicago -- Faculty  Search this
Federal Art Project (Ill.)  Search this
United States. Department of State  Search this
Kahlo, Frida  Search this
Rebay, Hilla, 1890-1967  Search this
Rivera, Diego, 1886-1957  Search this
Williams, Samuel  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
8.2 Linear feet
Type:
Archival materials
Collection descriptions
Prints
Sketches
Photographs
Date:
1923-1985
Summary:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.

Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.

The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.

Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.

Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.

Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.

Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.

Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.

There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)

Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)

Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)

Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)

Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)

Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)

Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American Studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.

Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.

Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.

Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.

Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin 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.
Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Occupation:
Educators -- Illinois -- Chicago  Search this
Topic:
Art -- Study and teaching  Search this
Art, Latin American  Search this
Art critics  Search this
Authors -- Illinois -- Chicago  Search this
Hispanic American art  Search this
Painters  Search this
Photographers  Search this
Women artists -- Illinois -- Chicago  Search this
Genre/Form:
Prints
Sketches
Photographs
Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arquflor
See more items in:
Florence Arquin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-arquflor
Additional Online Media:

Skowhegan School of Painting and Sculpture records, 1945-2013

Creator:
Skowhegan School of Painting and Sculpture  Search this
Subject:
Bishop, Isabel  Search this
Fortess, Karl E. (Karl Eugene)  Search this
Cummings, Willard Warren  Search this
Simon, Sidney  Search this
Gonzalez, Xavier  Search this
Topic:
Sound recordings  Search this
Motion pictures (visual works)  Search this
Art schools  Search this
Art, American  Search this
Record number:
(DSI-AAA_CollID)9409
(DSI-AAA_SIRISBib)211607
AAA_collcode_skowscho
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211607
Additional Online Media:

Faculty Report in Response to Self-Study Reports

Collection Creator:
Halstead, Whitney  Search this
Container:
Box 1, Folder 43
Type:
Archival materials
Date:
1982
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Whitney Halstead 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.
Collection Citation:
Whitney Halstead papers, 1920-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Whitney Halstead papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-halswhit-ref32

Ray Yoshida papers

Creator:
Yoshida, Ray  Search this
Names:
Art Institute of Chicago. School -- Faculty  Search this
Phyllis Kind Gallery  Search this
Berdich, Vera, 1915-2003  Search this
Blackshear, Kathleen, 1897-1988  Search this
Brown, Roger, 1941-1997  Search this
Ito, Miyoko, 1918-1983  Search this
Kapsalis, Thomas Harry, 1925-  Search this
Kim, Jin Soo, 1950-  Search this
Nilsson, Gladys, 1940-  Search this
Nutt, Jim, 1938-  Search this
Ramberg, Christina  Search this
Rossi, Barbara, 1940-  Search this
Spears, Ethel, 1903-1974  Search this
Wirsum, Karl, 1939-  Search this
Extent:
10 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Date:
circa 1895-2010
bulk 1950-2005
Summary:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.
Scope and Contents:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.

Biographical material about Ray Yoshida includes award certificates, identification records, student records, and interview transcripts. Also found is one video recording of a documentary short about Yoshida's art and object collection at his Chicago home.

Correspondence includes letters, postcards, and greeting cards from friends, colleagues, and artists, including Roger Brown, Jim Nutt, Gladys Nilsson, Christina Ramberg, Karl Wirsum, Miyoko Ito, Jin Soo Kim, Barbara Rossi, Vera Berdich, and Tom Kapsalis.

Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items.

Writings by Yoshida consist of college papers, fragments of writings on art and other subjects, and notes. Writings by others include essays by Yoshida's students, exhibition essay drafts, and poetry.

Teaching records primarily document Yoshida's tenure as a professor at the School of the Art Institute of Chicago, though a few records of guest professorships at other schools are included. These records include course evaluations, employment records, teaching notes, and letters of recommendation for students. Miscellaneous teaching records include department memos, course summaries, correspondence, and notes.

Personal business records consists of documentation regarding the sale, exhibition, and loan of artwork by Ray Yoshida, including his business dealings with the Phyllis Kind Gallery. Additionally there are several files regarding the estate of artist Roger Brown.

Printed material includes exhibition catalogs, announcements, news clippings, newsletters and press releases documenting Yoshida's career and other subjects.

Source material consists of material that Yoshida gathered and intended to use for his art. Collected printed material includes postcards, comics and comic books, mail order catalogs, magazines, product labels, and advertisements. Also found are many small clippings from comics collected for collages.

Photographs depict Ray Yoshida, friends, students, travel, and artwork. Also found are a few photographs of Karl Wirsum's studio, as well as photographs of various subjects collected by Yoshida. Additionally, there is one photograph album from the early 1910s of an unidentified family.

Sketchbooks include pencil and ink sketches of various subjects.

Artwork by Ray Yoshida includes collages on paper, pencil sketches, and ink drawings. Artworks by others include numerous prints by Kathleen Blackshear, Ethel Spears, and Vivian Mayers, and collages, drawings, and prints given to Yoshida by students and friends. Some work by unidentified artists is included as well. Other artwork, such as handmade picture and alphabet books, appears to have been created by children and collected by Yoshida.

Scrapbooks include volumes that were created by Yoshida as well as books created by others. Three of the scrapbooks containing source images, clippings, and comics appear to have been created by Yoshida. Additional scrapbooks were created by others and collected by Yoshida.
Arrangement:
The collection is arranged as 12 series.

Series 1: Biographical Material, 1950-2005 (0.5 Linear feet; Box 1)

Series 2: Correspondence, 1952-2009 (2 Linear feet; Boxes 1-3, 11, 15)

Series 3: Notebooks, circa 1956-circa 2000 (0.3 Linear feet; Box 3)

Series 4: Writings, circa 1950-2003 (0.3 Linear feet; Box 3)

Series 5: Teaching Records, circa 1960-2003 (0.6 Linear feet; Boxes 3-4)

Series 6: Personal Business Records, circa 1960-2010 (0.4 Linear feet; Box 4)

Series 7: Printed Material, 1906-2010 (1.8 Linear feet; Boxes 4-6, 11, OV 14)

Series 8: Source Material, circa 1940-circa 2005 (0.7 Linear Feet; Boxes 6-7, 11)

Series 9: Photographs, circa 1910-circa 2005 (0.5 Linear feet; Box 7)

Series 10: Sketchbooks, circa 1960-circa 2000 (1.1 Linear feet; Boxes 7-8, 11-13)

Series 11: Artwork, 1903-2009 (0.7 Linear feet; Boxes 8, 13)

Series 12: Scrapbooks, circa 1895-circa 2005 (1 Linear feet; Boxes 8-10, 13)
Biographical / Historical:
Ray Yoshida (1930-2009) was a painter, collagist, and educator in Chicago, Illinois.

Raymond Kakuo Yoshida was born in Kapaa, Hawaii, in 1930. He attended the University of Hawaii for two years and completed a B.A. in Arts Education at the Art Institute of Chicago in 1953. He also served in the U.S. Army for two years during the Korean War. In 1957 he recieved his M.F.A from Syracuse University and became a faculty member at the School of the Art Institute of Chicago in 1959. He was named Frank Harold Sellers Professor in the Department of Painting and Drawing in 1971, retired as professor emeritus in 1998, and continued to teach until 2003.

Yoshida was a member of the Chicago Imagists, a loose and informal group of representational artists from the late 1960s to early 1970s who were influenced by Surrealism and connected to the School of the Art Institute of Chicago. Yoshida's friends and contemporaries among this group include but are not limited to Roger Brown, Ed Paschke, Christina Ramberg, and Barbara Rossi. Yoshida was an inspiring teacher and he mentored many of the later Chicago Imagists such as Gladys Nilsson, Jim Nutt, and Karl Wirsum.

Yoshida's paintings and collages were strongly influenced by comics as well as his own collection of folk and outsider art. He regularly exhibited at Phyllis Kind Gallery in Chicago from 1975 to 1996, and a major retrospective of his work was organized by the Contemporary Museum of Honolulu in 1998. He retired to Hawaii in 2005 where he lived until his death in 2009 due to cancer. The School of the Art Institute of Chicago's Sullivan Galleries held a posthumous retrospective exhibition of Yoshida's work from 2010-2011 and the John Michael Kohler Art Center had an exhibition of Yoshida's personal collection of art and artifacts in 2013.
Provenance:
The collection was donated in 2012 by Ray Yoshida via Terri Yoho of the Kohler Foundation, representing Yoshida's estate, and in 2013 and 2015-2016 by Jennifer Sabas and Shayle Miller, estate executors.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
Rights:
The Ray Yoshida 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 -- Illinois -- Chicago  Search this
Collagists -- Illinois -- Chicago  Search this
Topic:
Folk art -- Collectors and collecting  Search this
Art -- Study and teaching  Search this
Painters -- Illinois -- Chicago  Search this
Art -- History  Search this
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Asian American artists  Search this
Genre/Form:
Photographs
Sketchbooks
Scrapbooks
Collages
Drawings
Interviews
Prints
Sketches
Transcripts
Video recordings
Citation:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.yoshray
See more items in:
Ray Yoshida papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-yoshray
Additional Online Media:

Skowhegan School of Painting and Sculpture records

Creator:
Skowhegan School of Painting and Sculpture  Search this
Names:
Bishop, Isabel, 1902-1988  Search this
Cummings, Willard Warren, 1915-1975  Search this
Fortess, Karl E. (Karl Eugene), 1907-1993  Search this
Gonzalez, Xavier, 1898-1993  Search this
Simon, Sidney, 1917-1997  Search this
Extent:
35.42 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Motion pictures (visual works)
Date:
1945-2013
Summary:
The Skowhegan School of Painting and Sculpture records measure 35.42 linear feet and date from 1945 to 2013. The paper records of the school document the period from circa 1945 to 1977 and consist of administrative records, financial records, visiting artist files, faculty files, student files, and photographic material. Also included are motion picture films by Jack Eastman and Karl Fortess, dating from circa 1950 to 1968, showing the school's campus and faculty, staff, and students at work and leisure. A large portion of the collection consists of the Skowhegan Lecture Archives, a sound recording archive of lectures given by artists speaking at the school between 1952 and 2013.
Scope and Contents:
The Skowhegan School of Painting and Sculpture records measure 35.42 linear feet and date from 1945 to 2013. The paper records of the school document the period from circa 1945 to 1977 and consist of administrative records, financial records, visiting artist files, faculty files, student files, and photographic material. Also included are motion picture films by Jack Eastman and Karl Fortess, dating from circa 1950 to 1968, showing the school's campus and faculty, staff, and students at work and leisure., artists, and students. A large portion of the collection consists of the Skowhegan Lecture Archives, a sound recording archive of lectures given by artists speaking at the school between 1952 and 2013.

Administrative records include files for the school's board, exhibitions and benefits, fundraising, government agencies, publicity, and other office files. Financial records consist of accounting procedure documents, bills paid, budgets, student drawing accounts, payroll, real estate expenses, and reports.

Files for visiting artists such as Philip Pearlstein, Yasuo Kuniyoshi, and William Zorach contain correspondence, lecture notes and transcripts, and records regarding the broadcast of artists' lectures. Faculty files consist of correspondence, faculty lists, and other material for Isabel Bishop, Xavier Gonzalez, Sidney Simon, and other faculty members. Student files include alumni records, correspondence, recommendations and rejections, and scholarship material.

Photographs and negatives are of Janet Fish, Paul Rasika, Alice Neel, Bette Davis, Jacob Lawrence, Roy Lichtenstein, faculty and visiting artists, and students at events, lectures, social gatherings, and in class.

Motion picture films include silent, color footage of the school's campus, working faculty and students, and social activities. Footage includes both edited footage and outtakes (footage shot but not used in the edited piece), that form three distinct sets of films from three different periods: 16 mm films from the 1950s, 8 mm films from 1964-1965, and super 8 mm films from 1966-1968. Based on handwritten notes on the original film containers, Karl Fortess was the creator of the 16 mm films, and Jack Eastman was the creator of the 8 mm film. It is unclear who created the super 8 mm films, but some of the footage appears to have been shot by Willard Cummings.
Arrangement:
The collection is arranged as 8 series.

Series 1: Administrative Records, 1945-1977 (Boxes 1-5, 12, OV 13; 5.0 linear feet)

Series 2: Financial Records, 1945-1967 (Boxes 5-8, 12, OV 13; 3.0 linear feet)

Series 3: Visiting Artists Files, 1948-1965 (Boxes 8; 0.5 linear feet)

Series 4: Faculty Files, 1946-1965 (Boxes 8-9; 0.4 linear feet)

Series 5: Student Files, 1946-1964 (Boxes 9-12; 2.0 linear feet)

Series 6: Photographic Materials, 1955-1977 (Boxes 11-12; 0.5 linear feet)

Series 7: Motion Picture Films, circa 1955-1970 (Box 11, film cans FC 13-30; 1.9 linear feet)

Series 8: Skowhegan Lecture Archives, 1952-2013
Biographical / Historical:
Skowhegan School of Painting and Sculpture (est. 1946) is an art school and artist residency in Skowhegan, Maine. Since the school's beginnings, it has attracted prominent visiting artists and faculty members such as Jacob Lawrence, Philip Pearlstein, Ben Shahn, Isabel Bishop, and Yasuo Kuniyoshi.

The school was founded by Willard W. Cummings, Henry Varnum Poor, Sidney Simon, and Charles Cutler. While serving in Europe during World War II on The War Art Unit project, a project that sent artists to battle zones in order to record their impressions, they noticed that the European system of studying art allowed students intimate access to artists, their studios, and creative life. The Skowhegan School founders wanted to create a similar intimacy between students and artists in the U.S. After returning to the U.S., Cummings, Poor, Simon, and Cutler built an art program that included visiting artists and an artist lecture series that enabled students to interact with professional, well-established artists. In 1960, the school's administration was reorganized due to a fire that burned down the barn, which served as a fresco painting studio, and other nearby buildings. The reorganization introduced trustees and other facets of the administration that were needed to sustain the school's funding and operations.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-27-N68-30, N68-78-N68-80, and N68-96-N68-97. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Skowhegan School of Painting and Sculpture records were lent to the Archives of American Art for microfilming in 1968. The Skowhegan School of Painting and Sculpture via Willard Cummings and Jack Eastman donated portions of the lent material from 1968 to 1977. The lecture archive was donated between 2002 to 2014 via the Executive Director.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Skowhegan Lecture Archives: Authorization to publish, quote or reproduce requires written permission from Skowhegan in addition to the copyright holders. A list of copyright holders is available at the Archives of American Art Washington, D.C. office. Transcripts may not be duplicated.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American -- Study and teaching  Search this
Function:
Art Schools -- Maine -- Skowhegan
Genre/Form:
Sound recordings
Motion pictures (visual works)
Citation:
Skowhegan School of Painting and Sculpture records, 1945-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.skowscho
See more items in:
Skowhegan School of Painting and Sculpture records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-skowscho

Oral history interview with Don Baum, 1986 January 31-May 13

Interviewee:
Baum, Don, 1922-2008  Search this
Interviewer:
Prince, Sue Ann  Search this
Subject:
Leaf, June  Search this
Cornell, Joseph  Search this
Spears, Ethel  Search this
Moholy-Nagy, László  Search this
Ito, Miyoko  Search this
Golub, Leon  Search this
Abercrombie, Gertrude  Search this
Illinois Arts Council  Search this
Roosevelt University  Search this
Topic:
Art  Search this
Sculptors  Search this
Psychoanalysis and art  Search this
Art schools  Search this
Sculpture, Modern  Search this
Assemblage (Art)  Search this
Interviews  Search this
Record number:
(DSI-AAA_CollID)12033
(DSI-AAA_SIRISBib)214480
AAA_collcode_baum86
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214480
Additional Online Media:

Portable postcard exhibition 2 : a cyberwork organized on generative systems Facebook, 2011 / organizer: Sonia Landy Sheridan ; box cover by Guy Herman ; printer: Whitman Communications, Lebanon, New Hampshire ; workshop: generative systems Facebook

Title:
Portable postcard exhibition two
Portable postcard exhibition 2, generative systems artists Facebook, 2011
Generative systems artists Facebook, 2011
Author:
Sheridan, Sonia Landy 1925-  Search this
Herman, Guy  Search this
Art Institute of Chicago School  Search this
Physical description:
[31] postcards : col. ill. ; 9 x 14 cm
Type:
Exhibitions
Date:
2011
21st century
Topic:
Art, Modern  Search this
New media art  Search this
Computer art  Search this
Postcards  Search this
Call number:
NC1871.C55 A78 2011
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_980428

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

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 88-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Maryette Charlton 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:
Filmmakers -- Illinois -- Chicago  Search this
Photographers -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Topic:
Filmmakers -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- New York (State) -- New York  Search this
Museums -- Administration  Search this
Color  Search this
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-charmary
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