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Ruth Asawa Life Mask

Artist:
Ruth Aiko Asawa, 24 Jan 1926 - 6 Aug 2013  Search this
Alan Brooks  Search this
Sitter:
Ruth Aiko Asawa, 24 Jan 1926 - 6 Aug 2013  Search this
Medium:
Ceramic, bisque-fired clay
Dimensions:
Without Base: 20.3 × 12.7 × 7.6 cm (8 × 5 × 3")
Type:
Sculpture
Date:
c. 1966-1975
Topic:
Mask\Life mask  Search this
Ruth Aiko Asawa: Female  Search this
Ruth Aiko Asawa: Visual Arts\Artist\Sculptor  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution. Gift of the children of Ruth Asawa and Albert Lanier.
Object number:
NPG.2023.9
Restrictions & Rights:
Usage conditions apply
Copyright:
© Estate of Ruth Asawa
See more items in:
National Portrait Gallery Collection
Exhibition:
Recent Acquisitions 2023
On View:
NPG, North Gallery 140
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm48030c3ae-5792-4fd6-b6d0-bfdb71ad1962
EDAN-URL:
edanmdm:npg_NPG.2023.9

Ruth Asawa internment camp ID

Artist:
Unidentified Artist  Search this
Sitter:
Ruth Aiko Asawa, 24 Jan 1926 - 6 Aug 2013  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 3.5 × 2.3 cm (1 3/8 × 7/8")
Mount: 6.3 × 10.1 cm (2 1/2 × 4")
Type:
Photograph
Place:
United States\Arkansas\Desha\Rohwer
Date:
1943
Topic:
Equipment\Sign  Search this
Ruth Aiko Asawa: Female  Search this
Ruth Aiko Asawa: Visual Arts\Artist\Sculptor  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of the children of Ruth Asawa
Object number:
NPG.2016.2
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Location:
Currently not on view
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4b3200dd6-1ecb-421e-aa9d-727e39d491b4
EDAN-URL:
edanmdm:npg_NPG.2016.2

Ben Cunningham papers

Creator:
Cunningham, Ben, 1904-1975  Search this
Names:
Hiler, Hilaire, 1898-1966  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1904-1984
bulk 1930-1975
Summary:
The papers of artist and educator Ben Cunningham measure 2.3 linear feet and date from 1904 to 1989 with the bulk of the material dating from 1930 to 1975. The collection documents his career through professional and personal papers, writings, printed materials, artwork, and photographic materials.
Scope and Contents:
The papers of artist and educator Ben Cunningham measure 2.3 linear feet and date from 1904 to 1989 with the bulk of the material dating from 1930 to 1975. The collection documents his career through professional and personal papers, writings, printed materials, artwork, and photographic materials.

Personal and professional papers include resumes, biographical summaries, audiovisual recordings of two interviews with Cunningham, papers related to the damage of Autumn Nonscape, and handmade cards by Cunningham, his wife, and others. One file concerning artist and psychologist Hilaire Hiler includes several letters by Hiler, correspondence with Hiler's daughter and son after his death, and one print made by Hiler. The series is comprised mostly of professional correspondence between Patsy and Ben Cunningham and collectors, museums, galleries, and others concerning the exhibition and sale of Cunningham's artwork. Personal correspondence includes postcards, letters about friends and current events, christmas cards, and some business topics are discussed as well. Writings include an illustated lecture on color given by Cunningham at the Art Students' League, mixed writings and notes by Cunningham, notes by Patsy on Ben's life, things he once said, his artwork, and bibliographic information. Writings by others about Cunningham, one pamphlet draft from the Newark School of Fine and Industrial Arts that incorporated Cunningham's ideas and philosophies, and a copy of "The Revision of Vision" by S. I. Hayakawa are also present. Printed materials consist of clippings about Cunningham's career, the death of Jean Varda, exhibition catalogs, announcements, posters, and invitiations, reproductions of Cunningham's artwork, two scrapbooks, and more. Artwork includes glass slides that Cunningham used to create designs, two sketches, one drawing, and a woodcut by Cunningham. Studies include those for Callipycia, Gordon Knot, Topological Conjecture, Escape Velocity, poster work for the John Lindsay's New York mayoral campaign, and more. Photographic materials depict the artist, exhibitions and events, and several snapshots of his studio. The series also includes photographs, slides, and transparencies of Cunningham's artwork; and one file of artwork made by his students at Cooper Union.
Arrangement:
The Ben Cunningham papers are arranged as five series:

Series 1: Personal and Professional Papers, 1941-1984 (1.2 linear feet; Box 1-2, 5)

Series 2: Writing Files, 1950s-1989 (9 folders; Box 2, 5)

Series 3: Printed Materials, 1940-1981 (.8 linear feet; Box 2, 5)

Series 4: Artwork, 1930-1970s (7 folders; Box 3, 5, OV 6)

Series 5: Photographic Materials, 1904-1972 (.6 linear feet; Box 3-5)
Biographical / Historical:
Ben Cunningham (1904-1975) was an artist and educator who worked in San Francisco and New York. He was from Nevada and initially attended the University of Nevada to study architecture. After a year, he moved to California to attend the San Francisco Art Institute. His first one-man show was at the Beaux Arts Gallery in San Francisco in 1931, and for the next decade exhibited in solo and group shows. While in San Francisco, Cunningham also worked as a muralist and was a supervisor of mural paintings under the Federal Art Project. Cunningham moved to New York City in 1944 where he continued his work as an artist, and began teaching at the Newark School of Fine and Industrial Arts, Cooper Union, Pratt Institute, and the Art Students' League of New York. He conducted the summer workshop in advanced painting at the University of Minnesota at Duluth. His artwork can be found in the permanent collections of the Museum of Modern Art, New York, Solomon R. Guggenheim Museum, Forth Worth Art Museum, the Birla Academy of Art and Culture in Kolkata, India, and private collections.
Related Materials:
Syracuse University Libraries also holds papers of Ben Cunningham.
Provenance:
Donated 1972-1989 by the estate of Patsy and Ben Cunningham.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Ben Cunningham papers, 1904-1989, bulk 1930-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnben
See more items in:
Ben Cunningham papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw918af72ce-a92b-462e-bdc5-85b44e03702b
EDAN-URL:
ead_collection:sova-aaa-cunnben

Helen Ludwig papers, 1937-1999

Creator:
Ludwig, Helen  Search this
Type:
Sketchbooks
Citation:
Helen Ludwig papers, 1937-1999. Archives of American Art, Smithsonian Institution.
Topic:
Painting -- California -- San Francisco  Search this
Prints -- Technique  Search this
Women artists  Search this
Women painters  Search this
Women art teachers  Search this
Women illustrators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7924
(DSI-AAA_SIRISBib)210092
AAA_collcode_ludwhele
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210092

Helen Ludwig papers

Creator:
Ludwig, Helen  Search this
Extent:
10.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1937-1999
Scope and Contents:
A majority of the collection contains sketchbooks by Helen Ludwig. Also included are biographical information; correspondence; published and unpublished writings by Ludwig; photographs and slides of works of art; financial documents; and printed material.
Biographical / Historical:
Helen Ludwig (1911-2009) was a painter, illustrator, and graphic artist, in San Francisco, California. Ludwig gained a following in San Francisco and the Bay area for her scenes of the region. She is also known for her work teaching art to children with disabilities.
Provenance:
Donated 1980-1999 by Helen Ludwig and in 2016 by the Helen Ludwig estate via Vera Conrad, Ludwig's executor and granddaughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- California -- San Francisco  Search this
Art teachers -- California -- San Francisco  Search this
Topic:
Painting -- California -- San Francisco  Search this
Prints -- Technique  Search this
Women artists  Search this
Women painters  Search this
Women art teachers  Search this
Women illustrators  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.ludwhele
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b804d40d-403f-4bd4-8c2b-f5355eae7e82
EDAN-URL:
ead_collection:sova-aaa-ludwhele

Hans Hofmann papers

Creator:
Hofmann, Hans, 1880-1966  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Amgott, Madeline  Search this
Dickey, Tina, 1954-  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Hofmann, Maria, 1885-1963  Search this
Hofmann, Renate Schmitz, 1930-1992  Search this
Mauer, Alfred  Search this
Extent:
29.92 Linear feet
5 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Date:
circa 1904-2011
Summary:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.
Scope and Content Note:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital materials, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hofmann wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources. Some material is in digital format.
Arrangement:
The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Missing Title

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44, 5.00 GB; ER01-ER04)
Biographical Note:
German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

Missing Title

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.
Related Material:
The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts.

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/
Separated Materials:
Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.
Provenance:
Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.
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 access copy requires advance notice. Contact Reference Services for more information.
Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters  Search this
Art teachers  Search this
Topic:
Motion pictures (visual works)  Search this
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Authors -- Massachusetts  Search this
Abstract expressionism  Search this
Painting, Modern -- 20th century -- Study and teaching  Search this
Art students -- New York (State) -- New York  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Citation:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hofmhans
See more items in:
Hans Hofmann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95a404d2f-0dad-4193-9b6a-738b7eab2811
EDAN-URL:
ead_collection:sova-aaa-hofmhans
Online Media:

Sylvia Lark papers, 1971 - 1994

Creator:
Lark, Sylvia, 1947-1990  Search this
Subject:
University of California, Berkeley. Department of Art  Search this
Citation:
Sylvia Lark papers, 1971 - 1994. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Painting, Abstract  Search this
Native American artists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6197
(DSI-AAA_SIRISBib)216467
AAA_collcode_larksylv
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216467

Ralph Soule Du Casse papers

Creator:
Du Casse, Ralph Soule, 1916-  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Date:
circa 1892-1980
Summary:
The Ralph Soule Du Casse papers measure 4 linear feet and date from circa 1892-1980. They illustrate his career through biographical materials, correspondence, writings, personal business records, printed and photographic materials, and artwork.
Scope and Contents:
The Ralph Soule Du Casse papers measure 4 linear feet and date from circa 1892-1980. Biographical material consists of Du Casse's resume, materials regarding Du Casse's military records and career, and documents regarding genealogical records and family members. Correspondence is to and from Du Casse and includes family and business correspondence. Writings consist of a script for Du Casse's play "Route Order," a typescript of "West Coast School of Painting Since 1946", and other writings by Du Casse. Also present are writings by others including "Ralph Du Casse Exhibition" by Louise Ballard and a typescript of "The Bold Noo World of Ralph Soule Du Casse" by Annette Kazuko Kaide.

Personal business records consist of materials related to Du Casse's time as a teacher, lists of artworks and sales records, travel records, and other miscellaneous business records. Printed material includes a scrapbook compiled by Du Casse's father, Ralph R. Du Casse (1926-1960) and a disassembled scrapbook compiled by Du Casse containing letters, school records, four sketches, clippings, announcements, and photographs (1909-1967). Also included are various news clippings, press releases, exhibition announcements and catalogs for Du Casse and for others, brochures and pamphlets, and programs and other printed material. Photographic material consists of personal photographs of Du Casse and his family and friends, as well as his artwork. Artwork includes a folder of seven sketches.
Arrangement:
This collection consists of seven series.

Series 1: Biographical Materials, circa 1892-1970 (.2 Linear feet: Box 1, OV 6)

Series 2: Correspondence, circa 1913-1976 (.2 Linear feet: Box 1)

Series 3: Writings, circa 1908-1971 (.5 Linear feet: Box 1)

Series 4: Personal Business Records, circa 1930-1977 (.3 Linear feet: Boxes 1-2)

Series 5: Printed Material, circa 1909-1977 (2.3 Linear feet: Boxes 2-4)

Series 6: Photographic Material, circa 1904-1980 (.4 Linear feet: Box 5, OV 7)

Series 7: Artwork, circa 1940-1980 (.1 Linear feet: Box 5)
Biographical / Historical:
Ralph Soule Du Casse (1916-2003) was a painter who worked primarily in San Francisco, California.

Ralph Soule Du Casse was born in Kentucky and attended the University of Cincinnati in 1940 where he gained a bachelor's degree, and at the University of California in Berkeley where he obtained a master's in 1948. He also studied with Hans Hoffman and attended the California College of Arts in 1950 where he obtained an additional master's degree in fine arts. His early paintings ranged from a loose and gestural abstract style to a linear style rooted in cubism.

During World War Two Du Casse served in the U.S. Army's cavalry corps and was honorably discharged due to demobilization. After the war he studied in Sorbonne in Paris. Du Casse taught at the University of California, Berkeley, the California College of Arts and Crafts, and the California School of Fine Art. Throughout the 1970s he was chairman of the art department at Mills College in Oakland.

Du Casse has had exhibitions at the Lucien Labaudt Gallery, the Rotunda Gallery, the Guggenheim Museum, the University of Illinois, the Syracuse Museum in New York, and many others. His work is housed in the collections of the Guggenheim Museum, the Museum of Modern Art in Brazil, the museum of modern art in San Francisco, and the Virginia Museum of Fine Art. It also resides in the private collections of Vincent Price, Phyllis Wattis, and the Haas family collection in San Francisco.

Ralph Soule Du Casse died on December 30, 2003 in the San Francisco Bay area.
Provenance:
The Ralph Soule Du Casse papers were donated in 1979 by Ralph Soule Du Casse.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco  Search this
Art teachers -- California -- San Francisco  Search this
Genre/Form:
Drawings
Scrapbooks
Citation:
Ralph Soule Du Casse papers, circa 1892-1980, Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ducaralp
See more items in:
Ralph Soule Du Casse papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw962ebb9cb-6ff8-4890-8ae8-d99b303b66aa
EDAN-URL:
ead_collection:sova-aaa-ducaralp

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw925cee8b4-a8f7-4f7f-b704-bf23331c4f25
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Victor Mikhail Arnautoff papers

Creator:
Arnautoff, Victor Mikhail, 1896-1979  Search this
Names:
United States. Congress. House. Committee on Un-American Activities  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Scrapbooks
Date:
circa 1920-2017
bulk 1920-1953
Scope and Contents:
The papers of artist and art teacher Victor Mikhail Arnautoff measure 3.3 linear feet and date from 1920 to 2017 with the bulk of the material dating from the 1920 to 1953. The collection contains biographical material such as marriage certificates, passports, naturalization certificates, and an Arnautoff family history; correspondence between family members, as well as with colleagues including Diego Rivera, and with institutions concerning Arnautoff's work; writings about Arnautoff and others, including his statement regarding the House Un-American Activities Committee Hearing; professional records related to mural projects and exhibitions of Arnautoff's work; and printed material including exhibition announcements and catalogs, clippings, and On the Drumhead by Mike Quin, illustrated by Victor Arnautoff. Also included are a scrapbook containing correspondence, printed material, and photographs highlighting Arnautoff's career with particular emphasis on the controversy surrounding his Dix McSmear lithograph, as well as photographic material depicting Arnautoff, other individuals, and works of art. The bulk of the collection is made up of artwork, including sketches, a sketchbook, watercolors, and prints.
Arrangement:
The collection is arranged in eight series.

Series 1: Biographical Material, 1920-1952, 1961-1979, 1995-1997 (Box 1; 0.1 linear feet)

Series 2: Correspondence, circa 1923-2008 (Box 1; 0.5 linear feet)

Series 3: Writings, 1956, circa 1984-2006 (Box 1; 5 folders)

Series 4: Professional Records, 1940-1953, 1963-2004 (Box 1, OV 5; 0.2 linear feet)

Series 5: Printed Material, 1923-1998, 2007-2017 (Boxes 1-2, OV 5; 0.6 linear feet)

Series 6: Scrapbook, 1928-1968, 1979-1981 (Bound Volume 4; 0.2 linear feet)

Series 7: Photographic Material, circa 1920s-circa 1960s, 2015 (Box 2; 0.2 linear feet)

Series 8: Artwork, circa 1920s-circa 1950s (Boxes 2-3, OVs 6-13; 1.4 linear feet)
Biographical / Historical:
Victor Mikhail Arnautoff (1896-1979) was an artist and art teacher known for his murals. Arnautoff was born in the Ukraine and served in the Russian army during World War I. After a defeat in Siberia, he crossed into China, where he remained for five years. In China he met and married his wife Lydia, and they had their first two sons.

In 1925 Arnautoff went to San Francisco to study at the California School of Fine Arts. He continued with his family to Mexico in 1929 and became an assistant to muralist Diego Rivera. While in Mexico, his third son was born, and Arnautoff met Bernard Zakheim, with whom he would later work on the Coit Tower murals. Arnautoff and his family returned to San Francisco in 1931 and in 1934 he was chosen to paint one of the murals at the Coit Tower with funding from the Public Works of Art Project. Arnautoff was one of the most prolific muralists in San Francisco in the 1930s, completing murals at Coit Tower and the Palo Alto Clinic, as well as the Presidio chapel, George Washington High School, and the California School of Fine Arts library. He also painted murals at five post offices in California and Texas.

Arnautoff began teaching at the California School of Fine Arts in 1936. He taught at Stanford from 1938 to 1962 and also taught art courses at the California Labor School.

Following the death of his wife in 1961, Arnautoff retired from teaching at Stanford and returned to the Soviet Union in 1963. While living there he continued to create works of art and published a memoir. He died in Leningrad in 1979.
Provenance:
The Victor Mikhail Arnautoff papers were donated to the Archives of American Art in 1983 by Jacob and Vasily Arnautoff, Victor Arnautoff's sons. Additional papers were donated in 2018 by Michael and Peter Arnautoff, Victor Arnautoff's son and grandson, and by Robert Cherney, a scholar who wrote a book about Arnautoff.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- San Francisco  Search this
Topic:
Artists -- California -- San Francisco  Search this
Muralists -- California -- San Francisco  Search this
Genre/Form:
Sketchbooks
Drawings
Scrapbooks
Citation:
Victor Mikhail Arnautoff papers, 1920-2017, bulk 1920-1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arnavict
See more items in:
Victor Mikhail Arnautoff papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99889c245-52bb-43ac-b9c0-1c546fd1dcb2
EDAN-URL:
ead_collection:sova-aaa-arnavict
Online Media:

Mel Ramos papers, 1959-1984

Creator:
Ramos, Mel, 1935-  Search this
Subject:
Lichtenstein, Roy  Search this
Alloway, Lawrence  Search this
Wesselmann, Tom  Search this
Thiebaud, Wayne  Search this
Type:
Works of art
Interviews
Citation:
Mel Ramos papers, 1959-1984. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- California  Search this
Pop art  Search this
Hispanic American artists  Search this
Theme:
Latino and Latin American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13505
(DSI-AAA_SIRISBib)208776
AAA_collcode_ramomel
Theme:
Latino and Latin American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208776

George Demont Otis papers, 1931-1974

Creator:
Otis, George Demont, 1879-1962  Search this
Subject:
Hartley, Grace  Search this
Nixon, Pat  Search this
Type:
Sketchbooks
Citation:
George Demont Otis papers, 1931-1974. Archives of American Art, Smithsonian Institution.
Topic:
Indians of North America  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6980
(DSI-AAA_SIRISBib)209109
AAA_collcode_otisgeor
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209109

Increase Robinson photographs, 1909-1920

Creator:
Robinson, Increase, 1890-1981  Search this
Subject:
Lemos, Julia Wyszynski  Search this
Reichmann, Josephine Lemos  Search this
Wyszynski, Eustace  Search this
Citation:
Increase Robinson photographs, 1909-1920. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- Illinois -- Chicago -- Photographs  Search this
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7309
(DSI-AAA_SIRISBib)209462
AAA_collcode_robiincr
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209462

Alfred R. Mitchell correspondence, 1919-1962

Creator:
Mitchell, Alfred R. (Alfred Richard), 1888-1972  Search this
Subject:
Eakins, Susan Macdowell  Search this
Cox, John  Search this
Zoloaga, Ignacio  Search this
Citation:
Alfred R. Mitchell correspondence, 1919-1962. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- History -- California -- San Francisco  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8412
(DSI-AAA_SIRISBib)210586
AAA_collcode_mitcalfr
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210586

Victor Mikhail Arnautoff papers, circa 1920-2017, bulk 1920-1953

Creator:
Arnautoff, Victor Mikhail, 1896-1979  Search this
Subject:
Rivera, Diego  Search this
United States. Congress. House. Committee on Un-American Activities  Search this
Type:
Sketchbooks
Drawings
Scrapbooks
Citation:
Victor Mikhail Arnautoff papers, circa 1920-2017, bulk 1920-1953. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- California -- San Francisco  Search this
Muralists -- California -- San Francisco  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8702
(DSI-AAA_SIRISBib)210883
AAA_collcode_arnavict
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210883
Online Media:

Alfred R. Mitchell letter and response, 1925 Aug. 10-Aug. 18

Creator:
Mitchell, Alfred R. (Alfred Richard), 1888-1972  Search this
Subject:
National Gallery of Art (U.S.)  Search this
Citation:
Alfred R. Mitchell letter and response, 1925 Aug. 10-Aug. 18. Archives of American Art, Smithsonian Institution.
Topic:
Painting -- United States  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9054
(DSI-AAA_SIRISBib)211245
AAA_collcode_mitcalfl
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211245

Otis Oldfield papers, 1910-1975

Creator:
Oldfield, Otis, 1890-1969  Search this
Subject:
Groninger, Homer  Search this
Stackpole, Ralph  Search this
Labaudt, Lucien  Search this
Oldfield, Helen  Search this
Roche, Marcel  Search this
Ryan, Beatrice Judd  Search this
Taylor, Mildred  Search this
Chittenden, Alice Brown  Search this
Cuneo, Rinaldo  Search this
Dixon, Maynard  Search this
Gee, Yun  Search this
Citation:
Otis Oldfield papers, 1910-1975. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Art -- Study and teaching -- California -- San Francisco  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9230
(DSI-AAA_SIRISBib)211425
AAA_collcode_oldfotip
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211425

Giacomo Patri papers, 1905-1983

Creator:
Patri, Giacomo Giuseppe, 1898-1978  Search this
Subject:
Robeson, Paul  Search this
Kent, Rockwell  Search this
Eloesser, Leo  Search this
Patri School for Art Fundamentals  Search this
Type:
Interviews
Sketchbooks
Citation:
Giacomo Patri papers, 1905-1983. Archives of American Art, Smithsonian Institution.
Topic:
Artists' illustrated books  Search this
Illustrated books -- 20th century  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10120
(DSI-AAA_SIRISBib)213023
AAA_collcode_patrgiac
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213023

Otis Oldfield letters and photograph, 1913

Creator:
Oldfield, Otis, 1890-1969  Search this
Subject:
San Francisco Museum of Art  Search this
Citation:
Otis Oldfield letters and photograph, 1913. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Art -- Study and teaching -- California -- San Francisco  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10387
(DSI-AAA_SIRISBib)213747
AAA_collcode_oldfotis
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213747

James A. McGrath papers, 1950-2011

Creator:
McGrath, James A., 1928-  Search this
Subject:
Wiley, William T.  Search this
Tobey, Mark  Search this
Rauschenberg, Robert  Search this
Type:
Drawings
Poems
Prints
Postcards
Paintings
Sketches
Illustrated letters
Christmas cards
Photographs
Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
Topic:
Performance artists -- California -- San Francisco  Search this
Illustrators -- California -- San Francisco  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)15948
(DSI-AAA_SIRISBib)301046
AAA_collcode_mcgrjame
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_301046
Online Media:

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