The Carl Holty papers are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and contain correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.
Scope and Content Note:
The papers of Carl Holty are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and consist of correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.
Correspondence with Romare Bearden, Charles Byrne and Hilaire Hiler concerns art, exhibitions and reviews, education, and news of mutual friends. Holty's writings include articles, autobiographical writings, unpublished manuscripts of a monograph, Art In America, and an untitled novel. Also found among his writings is a journal which contains his reminiscences of artist friends and acquaintances, and reflections on art, art history, and his life, personal plans and aspirations.
Printed material consists mainly of clippings about or mentioning Holty, and reviews and publicity relating to The Painter's Mind, a book Holty wrote with Romare Bearden. Miscellaneous records consist of a transcript of an interview with Carl Holty and an identification card issued to his father.
Photographs are of artwork, people and places. Also included are 6 photograph albums of Holty's artwork, and a small number of negatives. The people pictured are mainly Holty, friends and family. There is also a group photograph that includes Joan Miró.
The collection is arranged as 5 series:
Series 1: Correspondence, 1940-1972 (Box 1; 5 folders)
Series 2: Writings, 1944-1967 (Box 1; 0.6 linear ft.)
Series 3: Printed Material, 1931-1972 (Box 1; 5 folders)
Series 4: Miscellaneous Records, 1900, 1966 (Box 1; 2 folders)
Series 5: Photographs, circa 1860s-1972 (Boxes 1-3; 0.9 linear ft.)
Carl Holty was born in 1900 to American parents in Freiburg, Germany, where his father was studying medicine. Carl was still an infant when the family returned to Milwaukee, Wisconsin, where they lived with his grandparents in a traditional German neighborhood. It was Carl's grandfather who first introduced him to art through visits to a small local commercial gallery.
After showing an interest in being an artist at around age 12, Holty began taking lessons with a local painter. As a teenager he began drawing cartoons and soon set his sights on becoming a poster artist. With that in mind, Holty enrolled at the Art Institute of Chicago in 1919. He soon headed to New York and took courses at the Parsons School of Design and then at the National Academy of Design. In 1923 he returned to Milwaukee and opened a portrait painting studio.
Holty married in 1925 and took his bride to Europe, remaining abroad for the next decade. He entered Hans Hofmann's school in Munich in 1926, and exposure to Hofmann's ideas about color, space, and form greatly influenced and transformed his work. In 1927, the Holtys relocated to Switzerland in search of treatment for Mrs. Holty's tuberculosis. Holty and Hofmann remained in touch, and while in Switzerland, Holty increasingly incorporated Hofmann's teachings into his paintings as they grew more abstract in style.
After his wife's death in 1930, Holty moved to Paris for five years where he participated in several exhibitions and his work was well-received. Robert Delaunay invited him to join Abstration-Création, and the group published some of Holty's work in its magazine.
Upon returning to the United States in 1935, Holty settled in New York City where he eventually remarried and had a daughter. He renewed friendships with Hans Hofmann, Vaclav Vytlacil, and Stuart Davis, whom he had known in Paris. A figure in vanguard art circles, Holty was involved in meetings that resulted in the formation of the American Abstract Artists, and in 1938 he served as the group's chairman.
Holty taught drawing and paining at Brooklyn College from 1950 until his retirement in 1970, when he was designated Professor Emeritus. His years at Brooklyn College were punctuated by brief stints as a visiting instructor at the Art Students League, Washington University (St. Louis), and University of Louisville; he served as artist-in-residence at the universities of Georgia, Florida, California (Berkeley), and Wisconsin, and the Corcoran School of Art.
He exhibited widely at major museums throughout the United States including: the San Francisco Art Museum, Seattle Art Museum, Whitney Museum of American Art, Carnegie Institute, Metropolitan Museum of Art, Museum of Modern Art, and the Solomon R. Guggenheim Museum. Holty's work was shown at major New York galleries such as J. B. Neumann, Samuel Kootz Gallery, and Graham Gallery, and is in the permanent collections of many museums including: Addison Gallery of American Art, Brooklyn Museum, Butler Institute of Art, Carnegie Institute, Smithsonian American Art Museum, and the Solomon R. Guggenheim Museum.
Carl Holty died March 22, 1973 in New York City, after a short illness.
Related Archival Materials note:
Six interviews with Carl Holty (in addition to the one described in this finding aid) are available at the Archives of American Art. Three are oral histories conducted by the Archives of American Art, 1964-1968. The others are parts of interview collections accessioned by the Archives: Interviews relating to American Abstract Artists (Ruth Bowman), Anne Bowen Parsons collection of Interviews on Art, and Collette Roberts Interviews with Artists.
In addition, substantial correspondence with Carl Holty is included among the Hilaire Hiler papers and Romare Bearden papers owned by the Archives of American Art.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reels N68-93 and N68-105), much of which was subsequently donated. Loaned material that was not later donated includes Holty's letters to his wife, Elizabeth, and daughter, Antonia, letters to Zoe Dusanne, letters from Ulfert Wilkie and Erwin Breithaupt, a small amount of general correspondence, and a typescript copy of Holty's journal. This material remains with the lender and is not described in the collection container inventory.
The Carl Holty papers were donated in increments between 1972 and 2006. The bulk of the papers were originally loaned in 1968, and later donated by Holty in 1972. Charles Byrne, a friend of Holty, donated a small amount of correspondence, printed material, and photographs in 1976-1977; family photographs were given by Holty's biographer, Virginia Liles, in 2006.
The collection is open for research. Use requires an appointment.
The Carl Holty 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.
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.
Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.
Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.
Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.
Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.
Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)
Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)
Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)
Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)
Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)
Series 6: Writings, 1963-1992, undated (box 5, 14 folders)
Series 7: Artwork, 1981-1992, undated (box 5, sol 10, 8 folders)
Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)
Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)
Series 10: Artifacts, undated (box 9, 1 folder)
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.
In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.
During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.
In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.
From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.
In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.
After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
The Reuben Kadish 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.
Sculptors -- New York (State) -- New York -- Interviews Search this