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Enrique Riverón papers, 1918-1990s

Creator:
Riverón, Enrique, 1902-1998  Search this
Subject:
Cantinflas  Search this
García Lorca, Federico  Search this
Orozco, JosÔe Clemente  Search this
Kiki  Search this
Cugat, Xavier  Search this
Gómez Sicre, José  Search this
De Diego, Julio  Search this
Lozano Castro, Alfredo  Search this
Tamayo, Rufino  Search this
Prohias, Antonio  Search this
Reed, Alma M.  Search this
Gattorno, Antonio  Search this
Picasso, Pablo  Search this
Baker, Josephine  Search this
Pidgeon, Walter  Search this
Carreño, Mario  Search this
Yunkers, Adja  Search this
Waguermert, Luis Gomez  Search this
Hughes, Langston  Search this
Neruda, Pablo  Search this
Peláez, Amelia  Search this
Sicre, Juan José  Search this
Milland, Ray  Search this
Rebajes, Pauline  Search this
Bermúdez, Cundo  Search this
Salinas, Baruj  Search this
Siqueiros, David Alfaro  Search this
Russell, Rosalind  Search this
Wichita State University  Search this
Type:
Scrapbooks
Photographs
Topic:
Artists  Search this
Cuban American art  Search this
Illustrators  Search this
Sculptors  Search this
Expatriate artists  Search this
Magazine illustration  Search this
Cuban American artists  Search this
Cartoonists  Search this
Hispanic American artists  Search this
Caricatures and cartoons  Search this
Record number:
(DSI-AAA_CollID)5433
(DSI-AAA_SIRISBib)216020
AAA_collcode_riveenri
Theme:
Latino and Latin American
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216020
Additional Online Media:

Giulio V. Blanc papers, 1920-1995

Creator:
Blanc, Giulio V., 1955-1995  Search this
Subject:
Sí, Juan  Search this
Libin, Victoria  Search this
Rodríguez, Arturo  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo),  Search this
García, Hernán  Search this
Gomez-Pena, Guillermo  Search this
Riverón, Enrique  Search this
Larraz, Julio  Search this
Cano, Pablo  Search this
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Goldman, Shifra M.  Search this
Vater, Regina  Search this
Martínez-Cañas, María  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Cano, Margarita  Search this
Demi  Search this
Carreño, Mario  Search this
Sánchez, Juan  Search this
Brito, María Cristina  Search this
PelÔaez, Amelia  Search this
Macia, Carlos A.  Search this
Carulla, Ramón  Search this
Trasobares, César  Search this
Lam, Wifredo  Search this
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Type:
Sound recordings
Topic:
Artists  Search this
Cuban American art  Search this
Hispanic American art  Search this
Cuban American artists  Search this
Art, Latin American  Search this
Art historians  Search this
Record number:
(DSI-AAA_CollID)5414
(DSI-AAA_SIRISBib)216346
AAA_collcode_blangiul
Theme:
Latino and Latin American
The Art Market
American Art and Artists in a Global Context
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216346
Additional Online Media:

José Gómez-Sicre

Artist:
Julio Berestein  Search this
Sitter:
José Gómez-Sicre, 6 Jul 1916 - 22 July 1991  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 20.6 × 25.3 cm (8 1/8 × 9 15/16")
Type:
Photograph
Place:
Cuba\Ciudad de la Habana\La Habana
Date:
c. 1950s
Topic:
Interior  Search this
Home Furnishings\Furniture  Search this
Home Furnishings\Furniture\Seating\Chair  Search this
Printed Material\Book  Search this
Artwork  Search this
Artwork\Painting  Search this
Home Furnishings\Furniture\Bookcase  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Artist's Effects\Frame  Search this
José Gómez-Sicre: Male  Search this
José Gómez-Sicre: Law and Law Enforcement\Lawyer  Search this
José Gómez-Sicre: Humanities and Social Sciences\Critic\Art  Search this
José Gómez-Sicre: Literature\Writer\Art  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2014.25
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.2014.25

José Gómez-Sicre

Artist:
Augusto Tagle, 1918 - 1974  Search this
Sitter:
José Gómez-Sicre, 6 Jul 1916 - 22 July 1991  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 24.8 × 20.1 cm (9 3/4 × 7 15/16")
Type:
Photograph
Date:
c. 1944
Topic:
Interior  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Costume\Dress Accessory\Tie\Necktie  Search this
José Gómez-Sicre: Male  Search this
José Gómez-Sicre: Law and Law Enforcement\Lawyer  Search this
José Gómez-Sicre: Humanities and Social Sciences\Critic\Art  Search this
José Gómez-Sicre: Literature\Writer\Art  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of María Martínez-Cañas in honor of José Gómez-Sicre and José Martínez-Cañas for their lifetime commitment to the visual arts of Cuba
Object number:
NPG.2014.50
Restrictions & Rights:
© 2014 María Martínez-Cañas
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.2014.50

José Gómez-Sicre and José Clemente Orozco

Artist:
José Gómez-Sicre, 6 Jul 1916 - 22 July 1991  Search this
Sitter:
José Gómez-Sicre, 6 Jul 1916 - 22 July 1991  Search this
José Clemente Orozco, 23 Nov 1883 - 7 Sep 1949  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 11.5 × 16.8 cm (4 1/2 × 6 5/8")
Type:
Photograph
Place:
México\Jalisco\Guadalajara
Date:
1941
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
Artwork\Painting  Search this
Artist's Effects  Search this
Interior\Studio  Search this
Artist's Effects\Easel  Search this
José Clemente Orozco: Visual Arts\Artist  Search this
José Clemente Orozco: Male  Search this
José Clemente Orozco: Visual Arts\Artist\Painter\Muralist  Search this
José Gómez-Sicre: Male  Search this
José Gómez-Sicre: Law and Law Enforcement\Lawyer  Search this
José Gómez-Sicre: Humanities and Social Sciences\Critic\Art  Search this
José Gómez-Sicre: Literature\Writer\Art  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Dr. Alejandro Anreus and Debra Blehart in memory of Juan. J. Mathé
Object number:
NPG.2014.51
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_NPG.2014.51

Giulio V. Blanc papers

Creator:
Blanc, Giulio V.  Search this
Names:
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Brito, Maria, 1947-  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carreño, Mario  Search this
Carulla, Ramón, 1938-  Search this
Demi, 1955-  Search this
Garcia, Hernan, 1935-  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Goldman, Shifra M., 1926-2011  Search this
Gómez-Peña, Guillermo  Search this
Lam, Wifredo  Search this
Larraz, Julio  Search this
Libin, Victoria  Search this
Macia, Carlos A., 1951-1994  Search this
Martínez-Cañas, María  Search this
Riverón, Enrique  Search this
Rodríguez, Arturo, 1956-  Search this
Sánchez, Juan, 1954-  Search this
Sí, Juan  Search this
Trasobares, César  Search this
Vater, Regina  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this
Interviewee:
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Extent:
11 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1920-1995
Summary:
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
Arrangement:
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Biographical Note:
Independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.
Provenance:
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Giulio V. Blanc 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:
Cuban American art -- Florida -- Miami  Search this
Art, Latin American  Search this
Artists -- Cuba  Search this
Cuban American artists  Search this
Art historians -- Florida -- Miami  Search this
Genre/Form:
Sound recordings
Citation:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
Identifier:
AAA.blangiul
See more items in:
Giulio V. Blanc papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blangiul
Additional Online Media:

Enrique Riverón papers

Creator:
Riverón, Enrique  Search this
Names:
Wichita State University -- Faculty  Search this
Baker, Josephine, 1906-1975  Search this
Bermúdez, Cundo, 1914-  Search this
Cantinflas, 1911-1993  Search this
Carreño, Mario  Search this
Carreño, Mario -- Photographs  Search this
Cugat, Xavier, 1900- -- Photographs  Search this
De Diego, Julio, 1900-  Search this
García Lorca, Federico, 1898-1936  Search this
Gattorno, Antonio  Search this
Gómez Sicre, José  Search this
Hughes, Langston, 1902-1967  Search this
Kiki, 1901-1953  Search this
Lozano Castro, Alfredo  Search this
Milland, Ray -- Photographs  Search this
Neruda, Pablo, 1904-1973 -- Photographs  Search this
Orozco, José Clemente, 1883-1949 -- Photographs  Search this
Peláez, Amelia, 1897-1968 -- Photographs  Search this
Picasso, Pablo, 1881-1973  Search this
Pidgeon, Walter, 1897-  Search this
Prohias, Antonio  Search this
Rebajes, Pauline  Search this
Reed, Alma M. -- Photographs  Search this
Russell, Rosalind -- Photographs  Search this
Salinas, Baruj  Search this
Sicre, Juan José -- Photographs  Search this
Siqueiros, David Alfaro -- Photographs  Search this
Tamayo, Rufino, 1899- -- Photographs  Search this
Waguermert, Luis Gomez -- Photographs  Search this
Yunkers, Adja, 1900-  Search this
Extent:
3.3 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Date:
1918-1990s
Summary:
The papers of Enrique Riverón measure 3.3 linear feet and date from 1918-1990s. The collection contains correspondence, writings, diary entries, scrapbooks, printed material, and photographs documenting Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, Riverón's teaching career at Wichita University in Kansas.
Scope and Content Note:
The Enrique Riverón papers measure 3.3 linear feet, date from 1918-1990s and document Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, his teaching career at Wichita University in Kansas. The collection includes correspondence, the majority of which concerns Riverón's exhibitions; writings, primarily Riverón's recollections of his trips to Paris and Madrid and his memories of people he met in Latin America, Europe, and the United States; printed material documenting exhibitions and Riverón's work for magazines such as Cine-Mudial and Bally-Hoo; and photographs.
Arrangement:
The collection is organized into eight series.

Series 1: Biographical Material, circa 1929-1960 (Box 1; 2 folders)

Series 2: Correspondence, 1918-1991 (box 1, 0.6 ft.)

Series 3: Writings, 1923-1980s, undated (box 1, 0.2 ft.)

Series 4: Scrapbooks, 1920s-1990s, undated (boxes 1, 3, and 4, 0.7 ft.)

Series 5: Artwork, 1958-1983, undated (boxes 1 and 5, 0.4 ft.)

Series 6: Printed Material, circa 1930-1992 (boxes 2 and 5, 0.7 ft.)

Series 7: Photographs, 1918-1992, undated (boxes 2, 5 and 6, 0.6 ft.)

Series 8: Miscellany, 1927-1989, undated (box 6, 7 folders)
Biographical Note:
Painter, sculptor, cartoonist, and illustrator Enrique Riverón was born in 1902 in Cienfuegos, Cuba and belonged to the first generation of Cuban modernists, experimenting with Cubism and pursuing abstraction from very early on in his career. During his early twenties Riverón traveled to France, Italy, Belgium, and Spain to study under scholarships and attend the Academia de San Fernando in Madrid. In 1926 Riverón's first major one-man exhibition took place at the Association Paris Amerique Latine where the catalog introduction was written by noted Mexican writer Alfonso Reyes.

In 1927 Riverón returned to Havana and had a one-man show of his European work at the Asociación de Pintores y Escultores, as well as several other shows in Havana and New York. He moved to the United States in 1930 and became a United States citizen in 1943.

In addition to being known for his naturalistic drawings of street life in Paris and Cuba, Riverón began working with collage in the 1930s and was, for a number of years, a cartoonist for newspapers in Havana and other publications such as The New Yorker and Cine Mundial which was published in New York and widely circulated in Latin America. He also worked in Hollywood for a time as an illustrator for Walt Disney Pictures.

From 1940 on, Riverón focused on painting and sculpture. He moved to Miami from Wichita, Kansas, in 1964. Enrique Riverón died in 1998.
Related Material:
The Archives of American Art also has a collection of Enrique Riverón letters to Mario Carreño, 1981-1990, in which Riverón writes of their mutual friends, his memories of Cuba, health issues, politics, pricing paintings, collages, and his longings for Paris and New York.
Provenance:
The Enrique Riverón papers were donated to the Archives of American Art by Patricia Riverón Lee, daughter of Riverón, in 1996.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Enrique Riverón papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists -- Florida -- Miami  Search this
Illustrators  Search this
Cuban American art  Search this
Artists -- Cuba  Search this
Expatriate artists -- Florida -- Miami  Search this
Cuban American artists  Search this
Magazine illustration  Search this
Caricatures and cartoons  Search this
Cartoonists  Search this
Sculptors -- Florida -- Miami  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Enrique Riverón papers, 1918-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.riveenri
See more items in:
Enrique Riverón papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-riveenri

Pintura cubana de hoy = Cuban painting of today ; introducción y textos por José Gómez Sicre; versión inglesa por Harold T. Riddle

Title:
Cuban painting of today
Author:
Gómez Sicre, José  Search this
Translator:
Riddle, Harold T.  Search this
Publisher:
Gómez Mena, María Luisa  Search this
Printer:
Úcar, García y Cía.  Search this
Physical description:
5 preliminary leaves, 13-205 pages, 1 leaf including illustrations, plates (some color) portraits (some color) 27 cm
Type:
Books
Place:
Cuba
Date:
1944
20th century
Topic:
Painting  Search this
Painters  Search this
Painting, Modern  Search this
Call number:
ND303 .G6X 1944
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1087927

Tiempo y color : 16 pintores de Panama vistos / por José Gómez Sicre ; directora y coordinatora Maricel Pascual

Author:
Pascual, Maricel  Search this
Gómez Sicre, José  Search this
Physical description:
216 p. : ill. (some col.), ports. ; 31 cm
Type:
Books
Place:
Panama
Date:
1991
20th century
Topic:
Art, Panamanian  Search this
Artists--Biography  Search this
Painting, Panamanian  Search this
Call number:
N6585 .T54
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_636303

A backward glance at Cuevas : [exhibition] June 5 - July 30, 1978, Museum of Modern Art of Latin America; [introduction by] José Gómez-Sicre

Author:
Cuevas, José Luis 1934-  Search this
Gómez Sicre, José  Search this
Museum of Modern Art of Latin America  Search this
Physical description:
[48] p. : ill., ports. ; 22 cm
Type:
Books
Date:
1978
Call number:
NC146.C8 A4 1978a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_640637

20th century Latin American naive art : March 15 through April 22, 1964

Title:
Twentieth century Latin American naive art
Author:
Gómez Sicre, José  Search this
Art Center in La Jolla  Search this
Physical description:
[23] p. : ill. ; 18 cm
Type:
Exhibitions
Place:
Latin America
Date:
1964
1964]
Topic:
Art, Latin American  Search this
Outsider art  Search this
Folk art  Search this
Primitivism in art  Search this
Call number:
N6502 .T86 1964
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_672893

Recent developments in Latin American drawing : [exhibition] the Art Institute of Chicago, July 18 to September 27 [1987] / catalogue text, Astrid Ruiz-Ramón, with assistance from writers and editors of Hispanic image magazine ; [guest curator, José Gómez Sicre.]

Title:
Latin American drawing
Author:
Gómez Sicre, José  Search this
Ruiz-Ramón, Astrid  Search this
Art Institute of Chicago  Search this
Hispanic Image Foundation  Search this
Type:
Books
Place:
Latin America
Date:
1987
C1987
20th century
Topic:
Drawing, Latin American--Exhibitions  Search this
Drawing--Exhibitions  Search this
Call number:
NC102 .R43 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_505333

José Luis Cuevas, self-portrait with model / introduction, José Gómez-Sicre ; letters, José Luis Cuevas ; [translation by Kenneth Lyons]

Title:
Self portrait with model
Author:
Cuevas, José Luis 1934-  Search this
Gómez Sicre, José  Search this
Subject:
Cuevas, José Luis 1934-  Search this
Physical description:
162 p. : ill. (some col.) ; 25 cm
Type:
Books
Date:
1983
Call number:
N40.1.C96x G66 1983
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_517135

4 artists of the Americas; Roberto Burle-Marx, Alexander Calder, Amelia Peláez, Rufino Tamayo. [Translated by George C. Compton]

Author:
Gómez Sicre, José  Search this
Physical description:
98 p. illus., ports. 19 cm
Type:
Books
Date:
1957
Call number:
N6502.G63 E1957
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_103261

Easter Island; an exhibition of photographs and objects / prepared by the Pan American Union and circulated by the Smithsonian Institution

Author:
Pan American Union  Search this
Gómez Sicre, José  Search this
Osuna, Ramòn 1937-  Search this
Smithsonian Institution  Search this
Physical description:
[16] p. : ill. ; 21 cm
Type:
Books
Place:
Easter Island
Date:
1968
[1968]
Call number:
F3169.P18
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_104611

Gulf-Caribbean art exhibition shown at the Museum of Fine Arts of Houston April 4 through May 6, 1956

Author:
Museum of Fine Arts, Houston  Search this
Gómez Sicre, José  Search this
Physical description:
1 v. (chiefly illus.) 27 cm
Type:
Exhibitions
Place:
Gulf states
Date:
1956
1956]
Topic:
Art, Latin American  Search this
Art--Exhibitions  Search this
Art, Caribbean--Exhibitions  Search this
Call number:
N6502 .H84
N6502.H84
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_19019

South American art today. [Exhibition] October 10-November 29, 1959

Author:
Dallas Museum of Fine Arts  Search this
Gómez Sicre, José  Search this
Physical description:
1 v. (unpaged) illus., ports. 26 cm
Type:
Exhibitions
Date:
1959
1959]
Topic:
Art, South American  Search this
Call number:
N6620 .D14
N6620.D14
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_46597

New names in Latin American art. Paintings, sculpture, drawings and prints selected by José Gómez-Sicre [and] circulated by the Smithsonian Institution Traveling Exhibition Service

Author:
Gómez Sicre, José  Search this
Smithsonian Institution Traveling Exhibition Service  Search this
Physical description:
[16] p. illus. 16 cm
Type:
Books
Date:
1966
Topic:
Art, Latin American  Search this
Call number:
N6620 .G63
N6620.G63
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_79167

Guía de las colecciones públicas de arte en la América Latina

Author:
Pan American Union Visual Arts Section  Search this
Gómez Sicre, José  Search this
Physical description:
v. illus. 24 cm
Type:
Books
Place:
Latin America
Date:
1956
1956-
Topic:
Art museums  Search this
Art  Search this
Call number:
N6502 .P18
N6502.P18
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_81538

Leonardo Nierman. Texto por José Gómez Sicre. English translation by Ralph E. Dimmick

Author:
Nierman, Leonardo 1932-  Search this
Gómez Sicre, José  Search this
Physical description:
1 v. (chiefly illus., col. plates) 34 cm
Type:
Books
Date:
1971
Call number:
N40.1.N66 G6
N40.1.N66G6
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_89041

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