Skip to main content Smithsonian Institution

Search Results

Collections Search Center
230 documents - page 1 of 12

Scherzo Form, (painting)

Painter:
MacDonald-Wright, Stanton 1890-1973  Search this
Medium:
Oil on panel
Type:
Paintings
Owner/Location:
Wichita Art Museum 619 Stackman Drive Wichita Kansas 67203
Topic:
Abstract  Search this
Control number:
IAP 16480184
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_438501

Canon Synchromy (Orange), (painting)

Painter:
MacDonald-Wright, Stanton 1890-1973  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
University of Minnesota Frederick R. Weisman Art Museum 333 East River Road Minneapolis Minnesota 55455 Accession Number: 73.19
Date:
Ca. 1919-1920
Topic:
Abstract  Search this
Control number:
IAP 26030212
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_428187

Self-Portrait, (painting)

Painter:
MacDonald-Wright, Stanton 1890-1973  Search this
Subject:
MacDonald-Wright, Santon  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Grand Rapids Art Museum 155 Division North Grand Rapids Michigan 49503 Accession Number: 1934.1.3
Date:
1926-1927
Topic:
Portrait male--Self Portrait  Search this
Portrait male--Head  Search this
Occupation--Art--Painter  Search this
Object--Art Tool--Artist's Brush  Search this
Figure group--Nude  Search this
Landscape--Waterfall  Search this
Control number:
IAP 24470101
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_440377

John Weichsel papers concerning the People's Art Guild

Creator:
Weichsel, John, 1870-1946  Search this
Names:
People's Art Guild  Search this
Beal, Gifford, 1879-1956  Search this
Bellows, George, 1882-1925  Search this
Bluemner, Oscar, 1867-1938  Search this
Davis, Stuart, 1892-1964  Search this
Delaunay, Robert, 1885-1941  Search this
Kroll, Leon, 1884-1974  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Pascin, Jules, 1885-1930  Search this
Sloan, John, 1871-1951  Search this
Van Dine, S. S.  Search this
Weichsel, John, 1938?-  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Date:
1905-1965, bulk 1905-1929
bulk 1905-1929
Summary:
The John Weichsel papers concerning the People's Art Guild measure 0.6 linear feet and date from 1905-1965 with the bulk of the material dating from 1905-1929. The papers consist almost entirely of the records of the People's Art Guild, founded by Weichsel, and include administrative records, correspondence, writings and notes, business and financial records, printed material, and artwork.
Scope and Contents:
The John Weichsel papers concerning the People's Art Guild measure 0.6 linear feet and date from 1905-1965 with the bulk of the material dating from 1905-1929. The papers consist almost entirely of the records of the People's Art Guild, founded by Weichsel, and include administrative records, correspondence, writings and notes, business and financial records, printed material, and artwork.

People's Art Guild records include the constitution, membership lists, and correspondence with Gifford Beal, George Bellows, Oscar Bluemner, Stuart Davis, Robert Delaunay, Leon Kroll, Standon Macdonald-Wright, Jules Pascin, John Sloan, Willard Wright and Marguerite and William Zorach, among others. Writings about the Peoples Art Guild are by Weichsel and his grandson John Weichsel. There are also lists of artists and works of art. Also found are very scattered business and financial records, printed materials, and artwork in the form of sketches for exhibition announcements.
Arrangement:
The collection is arranged as 6 series.

Series 1: Administrative Records, 1915-1917 (2 folders; Box 1)

Series 2: Correspondence, 1905-1922 (0.3 linear feet; Box 1)

Series 3: Writings and Notes, 1915-circa 1919, 1965 (4 folders; Box 1)

Series 4: Business and Financial Records, 1915-1917 (0.1 linear feet; Box 1-2)

Series 5: Printed Material, 1915-circa 1948 (0.2 linear feet; Box 2)

Series 6: Artwork, 1915-1916 (1 folder; Box 2)
Biographical / Historical:
John Weichsel (1870-1946) was an arts administrator and founded the artists' cooperative People's Art Guild of New York City in 1915.

John Weichsel was born in Poland and ultimately settled in New York City. The People's Art Guild was founded by Weichsel as an artist's cooperative focused on improving and expanding knowledge of art and the art world among the general public, believing this would increase art appreciation and patronage.
Provenance:
The collection was donated in 1960 and 1963 by Dr. H. S. Weichsel and John Weichsel, the son and grandson of Dr. John Weichsel. At an unknown later date, grandson John Weichsel donated his 1965 thesis on the Peoples Art Guild.
Restrictions:
Use of original papers requires an appointment.
Rights:
The John Weichsel papers concerning the People's Art Guild 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:
Arts administrators -- New York (State) -- New York  Search this
Art -- Societies, etc. -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Citation:
John Weichsel papers concerning the People's Art Guild, 1905-1965, bulk 1905-1929. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.weicjohn
See more items in:
John Weichsel papers concerning the People's Art Guild
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weicjohn

Interview with Stanton MacDonald-Wright

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Saltman, Molly, 1915-2010  Search this
Subject:
KPAL (Radio station : Palm Springs, California)  Search this
Type:
Sound Recording
Date:
1966-1967
Topic:
Painters  Search this
Record number:
(DSI-AAA)20877
See more items in:
Molly Saltman "Art and Artists" interviews, 1966-1967
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20877

Jules Langsner papers

Creator:
Langsner, Jules, 1911-1967  Search this
Names:
Art Institute of Chicago  Search this
Art in America  Search this
California Watercolor Society  Search this
Ford Foundation  Search this
Graham Foundation for Advanced Studies in the Fine Arts  Search this
International Association of Art Critics  Search this
Los Angeles County Museum of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
New York Times  Search this
Pasadena Art Museum  Search this
Santa Barbara Museum of Art  Search this
Solomon R. Guggenheim Museum  Search this
University of Southern California. -- Faculty  Search this
Adams, Clinton, 1918-2002  Search this
Brice, William, 1921-  Search this
Feitelson, Lorser, 1898-1978  Search this
Feldman, Eddy  Search this
Fogg, Adelaide  Search this
Guston, Musa  Search this
Guston, Philip, 1913-1980  Search this
Harwood, June  Search this
Kadish, Reuben, 1913-1992  Search this
Lebrun, Rico, 1900-1964  Search this
Lundeberg, Helen, 1918-  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Perls, Frank, 1910-1975  Search this
Ray, Julie  Search this
Ray, Man, 1890-1976  Search this
Turnbull, William, 2002  Search this
Extent:
4.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Articles
Sound recordings
Essays
Lectures
Drafts (documents)
Manuscripts
Poems
Date:
circa 1910s-1998
bulk 1950-1967
Summary:
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings normal="1941"> travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.
Scope and Contents note:
The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.

The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as Art News, the New York Times, Meridian Books, Craft Horizons, Art International, and Art in America; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.

Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.

Among the 2.8 linear feet of the writings of Jules Langsner are articles for Art News, Art in America, Art International, Arts & Architecture, Aware, Beverly Hills Times, Craft Horizons, Creative Crafts, Goya Revista De Arte, Los Angeles Times, Yomiuri, and Zodiac. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.

Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).

Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.

Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.

Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.
Arrangement note:
The collection is arranged as 7 series. Photographs are arranged by subject, otherwise each series is generally arranged chronologically.

Series 1: Biographical Materials, 1957-circa 1960s (Box 1; 9 folders)

Series 2: Correspondence, 1948-1998 (Boxes 1-2; 0.9 linear feet)

Series 3: Writings, 1934-circa 1960s (Boxes 2-4; 2.8 linear feet)

Series 4: Exhibition Files, 1919, circa 1958-1966 (Box 4; 4 folders)

Series 5: Printed Materials, circa 1960s (Box 5; 2 folders)

Series 6: Photographs, circa 1910s-1960s (Box 5; 0.25 linear feet)

Series 7: Audio Recordings, 1954-1967 (Boxes 5-6; 0.25 linear feet)
Biographical/Historical note:
Jules Langsner (1911-1967) worked primarily in the Los Angeles area as a contemporary art critic, historian, and curator. He curated several seminal exhibitions of contemporary art, including the 1959-1960 show "Four Abstract Classicists" featuring the work of Southern California artists Lorser Feitelson, Karl Benjamin, Frederick Hammersley, and John McLaughlin.

Born Julius Harold Langsner in New York City on May 5, 1911, his family moved to Ontario, California in 1922. The family lived on a farm and opened the Paradise Health Resort which was run by Langsner's father, chiropractor Isadore Langsner, and was popular in Jewish and intellectual circles. In Ontario, Langsner became friends with three of the Pollack family sons, Jackson, Frank, and Sanford, as well as Philip Guston, Reuben Kadish, Leonard Stark, and Don Brown as a teenager. Guston, Kadish, and Jackson Pollock were later mentored by Lorser Feitelston which helped to foster in Langsner an interest in avant-garde painting.

Langsner went on to study philosophy at the University of California, Los Angeles. In the early 1940s, Langsner married and had a son, Drew Langsner. He divorced in 1946. In 1944, he enlisted in the United States Army and served as a psychiatric social worker and psychologist during World War II in the United States.

Art & Architecture magazine was the first to publish Langsner's art criticism in 1948. Throughout the 1950s and 60s his work was published widely in Art & Architecture as well as Art News, Art in America, Craft Horizons, Los Angeles Times, Zodiac, and others. Langsner wrote extensively about art history in both published and unpublished manuscripts, including Painting in the Modern World which he worked on until his death. Additionally, he taught art history classes at the Chouinard Art Institute, San Fernando State College, and University of Southern California and lectured for a variety of organizations and occasions.

Langsner curated several influential exhibitions in southern California, including the "Four Abstract Classicists" exhibition for the Los Angeles County Museum of Art in 1959 and in whose catalog he and Peter Selz coined the term "Hard-Edge painting." He curated the first full-scale retrospective of Man Ray in the United States at the Los Angeles County Museum of Art in 1966.

Langsner received a grant from the Ford Foundation in 1964 that allowed him to travel throughout Asia, the Middle East, and Europe for a year studying regional art and architecture. He wrote notes on his travels and corresponded frequently with June Harwood, a Hard-Edge painter, whom he married in Italy in 1965.

Jules Langsner died unexpectedly of a heart attack on September 29, 1967, in Los Angeles.
Related Archival Materials note:
The papers of Lorser Feitelson and Helen Lundeberg at the Archives of American Art contain a significant amount of writings by Jules Langsner, including exhibition catalog essays.
Provenance:
The Jules Langsner papers were donated to the Archives of American Art in several installments from 1973-1996, and in 2004 by June Harwood Langsner, widow of Jules Langsner. Notes for a lecture given at the Art Institute of Chicago in 1966 and 39 pieces of correspondence were donated in 1982 by the University of California Art Library, Los Angeles, via Librarian Virginia Steele.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Jules Langsner 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:
Works of art  Search this
Painting, Abstract -- California  Search this
Art -- Study and teaching  Search this
Art criticism  Search this
Art critics -- California -- Los Angeles  Search this
Art historians -- California -- Los Angeles  Search this
Curators -- California -- Los Angeles  Search this
Genre/Form:
Photographs
Articles
Sound recordings
Essays
Lectures
Drafts (documents)
Manuscripts
Poems
Citation:
Jules Langsner papers, circa 1910s-1998, bulk 1950-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.langjule
See more items in:
Jules Langsner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-langjule
Additional Online Media:

Molly Saltman "Art and Artists" interviews

Creator:
Saltman, Molly  Search this
Names:
Art and artists (Radio program)  Search this
Falkenstein, Claire, 1908-1997  Search this
Feitelson, Lorser, 1898-1978  Search this
Hamilton, Richard, 1922-  Search this
Hopper, Dennis, 1936-  Search this
Levine, Jack, 1915-2010  Search this
Lytton, Bart, 1912-1969  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Nyiri, Joseph, 1937-  Search this
Partch, Harry, 1901-1974  Search this
Price, Vincent, 1911-1993  Search this
Secunda, Arthur  Search this
Wayne, June, 1918-2011  Search this
White, Charles, 1918-1979  Search this
Extent:
2.4 Linear feet
Culture:
Art teachers--Interviews  Search this
Type:
Archival materials
Collection descriptions
Interviews
Lectures
Sound recordings
Date:
1966-1967
Summary:
The Molly Saltman "Art and Artists" interviews measure 2.4 linear feet and contain 62 sound recording interviews and lectures with art collectors, teachers, actors, and artists. The interviews were conducted by Molly Saltman from 1966-1967 as part of the "Art and Artists" radio series broadcast on the KPAL radio station in Palm Springs, California. Several of the interviews and lectures consist of more than one reel.
Scope and Contents:
The Molly Saltman "Art and Artists" interviews measure 2.4 linear feet and contain sound recordings of interviews and lectures with art collectors, teachers, actors, and artists. The interviews were conducted by Molly Saltman between 1966-1967 as part of the "Art and Artists" radio series broadcast on the KPAL radio station in Palm Springs, California. Several of the interviews and lectures consist of more than one reel.
Arrangement:
Due to the small size of this collection the sound recordings are arranged as one series.

Series 1: Interviews, 1966-1967 (Box 1-3, 2.4 linear feet)
Biographical / Historical:
The Molly Saltman "Art and Artists" radio program was broadcast on KPAL radio station in Palm Springs, California from November 2, 1966 to March 4, 1967 on Mondays and Wednesdays at 10:30AM. Molly Saltman (1915-2010), the producer and interviewer for this broadcast, was a well-known Palm Springs artist during this time. Specializing in abstract watercolors, her work was featured in a number of local art shows as well as exhibited in the Los Angeles County Museum of Art, the Palm Springs Desert Museum, and the Hartfield Gallery in Los Angeles. She was also closely involved with the Desert Mental Health Association and served as Chairwoman of the Jewish Family Service in Palm Springs, California.
Provenance:
The collection was donated by Molly Saltman in 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Researchers must obtain copyright clearance from interviewees prior to publication or airing.
Occupation:
Artists -- Interviews  Search this
Topic:
Actors  Search this
Art, American  Search this
Art--Collectors and collecting--Interviews  Search this
Genre/Form:
Interviews
Lectures
Sound recordings
Citation:
Molly Saltman "Art and Artists" Interviews, 1966-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saltmoll
See more items in:
Molly Saltman "Art and Artists" interviews
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-saltmoll

Mabel Alvarez papers

Creator:
Alvarez, Mabel, 1891-1985  Search this
Names:
Honolulu Academy of Arts  Search this
Otis Art Institute  Search this
San Joaquin Pioneer Museum  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
2.3 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Diaries
Photographs
Date:
1898-1987
Summary:
The Mabel Alvarez papers measure 2.3 linear feet and date from 1898 to 1987. The papers include scattered biographical information, scattered letters, unpublished prose, printed materials, sketchbooks, expense books, notebooks, diaries and journals, address books, photographs, and scrapbooks documenting the life and career of Los Angeles painter Mabel Alvarez.
Scope and Content Note:
The papers of Mabel Alvarez (1898-1985) measure 2.3 linear feet and date from 1898-1987. The collection documents both her painting career as well as her personal life through correspondence, original writings, sketches, printed material, diaries and journals, financial records, and scrapbooks.
Arrangement:
The collection is arranged into eleven series based primarily on document type and chronological order.

Series 1: Biographical Material, 1907-1970 (Box 1; 3 folders; reel 5672)

Series 2: Letters, 1909-1978 (Box 1; 1 folder; reel 5672)

Series 3: Writings, 1898, 1910-1935, undated (Box 1; 11 folders; reel 5672)

Series 4: Printed Material, 1917-1987, undated (Box 1; 10 folders; reel 5672)

Series 5: Sketchbooks, 1949-1950, undated (Box 1; 2 folders; reel 5672)

Series 6: Expense Books, 1914-1977 (Box 1; 1 folder; reel 5672)

Series 7: Notebooks on Exhibition and Paintings, 1921-1953 (Box 1; 1 folder; reel 5673)

Series 8: Diaries and Journals, 1909-1984 (Box 1-2; 15 folders; reel 5673-5675)

Series 9: Address Books, undated (Box 2; 2 folders; reel 5675)

Series 10: Photographs, 1905-1983, undated (Box 2; 5 folders; reel 5675)

Series 11: Scrapbooks, 1898-1984 (Box 3; 2 scrapbooks; reel 5675)
Biographical Note:
Mabel Alvarez (1891-1985) established her career as a portrait painter in California. Born in Hawaii, she moved to Los Angeles as a child and later studied with Stanton Macdonald Wright. Her early work was characterized by interests in Symbolism and Art Nouveau as well as the influences of Impressionism. Alvarez also studied with William Cahill at the School for Illustration and Painting which Cahill founded with John Hubbard Rich in 1914.

As a young woman, Alvarez was influenced by the philosophical writings of Will Levington Comfort, who espoused the principles of Theosophy and Eastern mysticism. She attended lectures and meditation sessions at Comfort's Highland Park home, experiences which fostered artistic experimentation and departure. Alvarez became part of the "Group of Eight" in 1922, a forward thinking artists collective which veered away from the predictable standards of the California Art Club. The members of the group were Henri de Kruif, Luvena and Edouard Vysekal, Donna Schuster, Roscoe Shrader, Clarence Hinkle and her former teacher, John Hubbard Rich.

Her work took a decisive turn when she met the painter Morgan Russel in 1927. At this time her paintings became more figurative rather than decorative or ambiguous, with delicate choices of color, a skill she mastered by the end of her career. Mabel Alvarez continued to paint through her sixties and seventies, and to exhibit regularly, including with the Women Painters West organization. She is noted for her important role in the emergence of Southern California Modernism and is remembered for her contribution to California Impressionism as well as to figure, still life and portrait painting.

Mabel Alvarez died on March 13, 1985 at the age of 93.
Provenance:
The Mabel Alvarez papers were donated to the Archives of American Art in 1988 by Glenn Basset, art dealer and friend of Mabel Alvarez.
Restrictions:
The collection is open for research. Use of microfilmed material requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Mabel Alvarez papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, Modern -- 20th century -- California  Search this
Works of art  Search this
Painting, Modern -- 20th century -- California  Search this
Portrait painting -- 20th century -- California  Search this
Women painters -- California -- Los Angeles  Search this
Portrait painters -- California -- Los Angeles  Search this
Genre/Form:
Sketchbooks
Diaries
Photographs
Citation:
Mabel Alvarez papers, 1898-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alvamabe
See more items in:
Mabel Alvarez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alvamabe

Alfred Victor Frankenstein papers

Creator:
Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this
Names:
American Arts Alliance  Search this
California Palace of the Legion of Honor  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
San Francisco Chronicle (Firm)  Search this
Copley, John Singleton, 1738-1815  Search this
Decker, Joseph, 1853-1924  Search this
Haberle, John, 1856-1933  Search this
Harnett, William Michael, 1848-1892  Search this
Ives, Charles, 1874-1954  Search this
Jenkins, Paul, 1923-2012  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mount, William Sidney, 1807-1868  Search this
Murdock, Roland P.  Search this
Peto, John Frederick, 1854-1907  Search this
Extent:
19.1 Linear feet
Type:
Archival materials
Collection descriptions
Interviews
Photographs
Sound recordings
Sketches
Scrapbooks
Date:
1875-1985
Summary:
The papers of art critic and historian Alfred Victor Frankenstein measure 19.1 linear feet and date from 1875 to 1985. The bulk of the collection consists of Frankenstein's research and writing files on American painting, particularly artists working in the nineteenth-century. There are extensive files on artists John Haberle, William Michael Harnett, and William Sidney Mount. The collection also includes biographical material, correspondence, general writings and notes, professional activities files, personal business records, printed materials, photographs, and unidentified sound recordings.
Scope and Contents:
The papers of art critic and historian Alfred Victor Frankenstein measure 19.1 linear feet and date from 1875 to 1985. The bulk of the collection consists of Frankenstein's research and writing files on American painting, particularly artists working in the nineteenth-century. There are extensive files on artists John Haberle, William Michael Harnett, and William Sidney Mount. The collection also includes biographical material, correspondence, general writings and notes, professional activities files, personal business records, printed materials, photographs, and unidentified sound recordings.

Biographical materials include awards, museum passes from the 1970s, school records, and a scrapbook documenting Frankenstein's career at the San Francisco Chronicle. Also found is his father's medical school diploma.

Largely professional in nature, Frankenstein's correspondence is with galleries, museums and institutions, colleges and universities, as well as art historians and museum colleagues including Paul Jenkins, Stanton MacDonald-Wright, and Thomas E. Ripley.

General writings are on subjects such as music, art, California, and the Ronald P. Murdock art collection. It is likely that some writings may be drafts for articles that later appeared in the San Francisco Chronicle. Also found are three notebooks, a recorded interview, recorded lectures by Frankenstein and by others.

The bulk of the collection consists of Frankenstein's extensive research files on American sill-life painting in the nineteenth-century. Research topics focus primarily on artists John Haberle (including sketches by Haberle), William Michael Harnett, William Sidney Mount, and John Frederick Peto; however, some files are found for collectors, dealers, and subjects. Files are found both for the research and writing of Frankenstein's books, After the Hunt (1953) and The World of Copley: 1738-1815 (1970). Contents of the research files vary but many contain correspondence, photographs, notes and writings, provenance research, printed materials, and photocopied and original primary documents. Additional research files are also found in Series 5, Exhibition Files.

Files concerning exhibitions curated or organized by Frankenstein include Artist Self-Portraits (1974) at the National Gallery of Art, an exhibition at the California Palace of the Legion of Honor, and the World's Fair Exposition exhibition, Our Land, Our Sky Our Water: an Exhibition of American and Canadian Art (1974). Files contain loan agreements, gallery plans, photographs, writings, correspondence, and printed materials.

Frankenstein's professional activities files include material about his job as a music critic at the San Francisco Chronicle, and records documenting his participation in the American Arts Alliance and the San Francisco Arts Commission. Also found are scattered student writings, lecture notes, and some correspondence from his teaching position at the University of California, Berkeley.

An appraisal for a Joseph Decker work, the estate records of Sylvia Frankenstein, general receipts for purchases and shipping records, and vehicle ownership records comprise Frankenstein's personal business records.

Printed materials include clippings, exhibition announcements and catalogs, magazines, and blank postcards. Also found are eight commercial audio recordings, including a musical piece by Charles Ives on cassette, and six phonograph records that are likely of music. A cassette entitled "Heritage of American Art" may be from an exhibition of the same title held at the Metropolitan Museum of Art in New York City in 1975. Personal photographs include snapshots of Frankenstein with his family and portraits of him, as well as a photocopy of a family photo album. The bulk of the photographs are of artwork.

There are six unidentified sound recordings.
Biographical / Historical:
Alfred Victor Frankenstein (1906-1981) was an art historian, writer, art and music critic, and educator active in San Francisco, California.

Frankenstein was born in 1906 in Chicago, Illinois. He studied at the University of Chicago but moved to San Francisco to take a job as a music critic for the San Francisco Chronicle . Later, the position expanded to include critiques of visual art and art exhibitions. He remained at the San Francisco Chronicle until 1979, concentrating only on art from 1965.

He was an expert on 19th century American still-life and his notable book, After The Hunt (1953), examined the American trompe-l'œil movement in late 19th century and early 20th-century through the work of painters William Harnett and John Frederick Peto. He also authored The World of Copley: 1738-1815 in 1970. Frankenstein curated several major exhibitions, including American Self-Portraits (1974) at the National Portrait Gallery and the 1974 World's Fair Exposition exhibition, Our Land, Our Sky Our Water: an Exhibition of American and Canadian Art..

An educator, Frankenstein was a professor of Art History at the University of California at Berkeley (1940-1974), Stanford University (1973-1981), and at Mills College (1945-1974), where he also taught American music.
Related Materials:
Also found among the holdings of the Archives of American Art are two oral histories with Alfred Frankenstein, one conducted by Mary McChesney on November 9th, 1965 and the other conducted by Paul Karlstrom from 1978 to 1979. Additionally, Frankenstein donated one sketchbook and twelve loose sketches that are cataloged as a separate collection: the William Harnett sketches, 1870.
Provenance:
Alfred Frankenstein donated some of his papers in 1972, and lent materials for microfilming in 1978. His estate, handled by his son John Frankenstein, donated the materials original loaned as well as additional records in 1981.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Alfred Victor Frankenstein papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, American  Search this
Art -- Collectors and collecting  Search this
Art criticism -- United States  Search this
Art critics -- California -- San Francisco  Search this
Art historians -- California -- San Francisco  Search this
Genre/Form:
Interviews
Photographs
Sound recordings
Sketches
Scrapbooks
Citation:
Alfred Victor Frankenstein papers, 1875-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franalfr
See more items in:
Alfred Victor Frankenstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franalfr
Additional Online Media:

Stanton Macdonald-Wright papers, 1907-1973

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Subject:
Summerfield, Anne  Search this
Seuphor, Michel  Search this
Russell, Morgan  Search this
Summerfield, John  Search this
Topic:
Mural painting and decoration, American  Search this
Painters  Search this
Painting, Abstract  Search this
Essays  Search this
Travel diaries  Search this
Synchromism (Art)  Search this
Blueprints  Search this
Diaries  Search this
Color in art  Search this
Record number:
(DSI-AAA_CollID)9461
(DSI-AAA_SIRISBib)211659
AAA_collcode_macdstan
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211659

Oral history interview with Stanton Macdonald-Wright, 1967 May 26

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Marshall, Jeanne M.  Search this
Topic:
Sound recordings  Search this
Art  Search this
Painters  Search this
Interviews  Search this
Painting, American  Search this
Record number:
(DSI-AAA_CollID)6263
(DSI-AAA_SIRISBib)216602
AAA_collcode_macdstan3
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216602

Oral history interview with Stanton Macdonald-Wright, 1964 Apr. 13-Sept. 16

Interviewee:
Macdonald-Wright, Stanton, 1890-1973  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Topic:
Painting, American  Search this
Federal aid to the arts  Search this
Painters  Search this
Sound recordings  Search this
Interviews  Search this
Record number:
(DSI-AAA_CollID)11673
(DSI-AAA_SIRISBib)213786
AAA_collcode_macdon64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213786

Stanton Macdonald-Wright collection, 1940-1950

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Subject:
Ettleson, Ben  Search this
Topic:
Painters  Search this
Painting, American  Search this
Photographs  Search this
Record number:
(DSI-AAA_CollID)9031
(DSI-AAA_SIRISBib)211220
AAA_collcode_macdstan4
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211220

Stanton Macdonald-Wright letters to Morgan Russell, 1913-1938

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Subject:
Macdonald-Wright, Stanton  Search this
Russell, Morgan  Search this
Topic:
Art, Modern  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)10346
(DSI-AAA_SIRISBib)213559
AAA_collcode_macdstan5
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213559

Stanton Macdonald-Wright letters to Alan and Fanny Leslie, 1968-1976

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Subject:
Macdonald-Wright, Stanton  Search this
Leslie, Alan  Search this
Russell, Morgan  Search this
Leslie, Fannie  Search this
Topic:
Art  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)6174
(DSI-AAA_SIRISBib)216408
AAA_collcode_macdstan2
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216408

Rose Fried Gallery Records

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

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

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

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

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

Jean Gabriel Lemoine papers relating to Morgan Russell

Creator:
Lemoine, Jean Gabriel, b. 1891  Search this
Names:
Macdonald-Wright, Stanton, 1890-1973  Search this
Russell, Morgan, 1886-1953  Search this
Senghor, Michael  Search this
Extent:
0.2 Linear feet
Type:
Archival materials
Collection descriptions
Date:
1921-1923, 1964
Summary:
The Jean Gabriel Lemoine papers relating to Morgan Russell measure 0.2 linear feet and are comprised of 20 items that date from 1921-1923 and 1964. The item dating from 1964 is a typescript of a letter fragment. Included are 17 letters and letter fragments written by Morgan Russell in 1923 to Jean Gabriel Lemoine, art critic for L'Echo de Paris. In these letters Russell explains his art and the Synchromism style that he developed with Stanton MacDonald-Wright. Also found are a one page list naming ten paintings in his studio, an article by Lemoine about Russell, and a typed extract about Russell from La Peinture Abstraite by Michel Senghor.
Scope and Content Note:
The Jean Gabriel Lemoine papers relating to Morgan Russell measure 0.2 linear feet and are comprised of 20 items that date from 1921-1923 and 1964. Included are 17 letters and letter fragments written by Morgan Russell in 1923 to Jean Gabriel Lemoine, art critic for L'Echo de Paris. One item dates from 1964 and is a typescript of a letter fragment. In these letters Russell explains his art and the Synchromism style that he developed with Stanton MacDonald-Wright. Also found are a one page list naming ten paintings in his studio, written in 1921 in Morgan Russell's hand, a news clipping of article by Lemoine about Russell, and a typed extract about Russell from La Peinture Abstraite by Michel Senghor. All of the items in the collection are in French. The collection also includes a few notes about the items in each folder, probably written by Lemoine.
Arrangement:
Due to the small size of this collection, items are arranged into one series.

Series 1: Jean Gabriel Lemoine papers relating to Morgan Russell, 1921-1923, 1964 (Box 1; 5 folders)
Biographical Note:
Jean Gabriel Lemoine was an art critic for L'Echo de Paris at the time that he corresponded with abstract painter Morgan Russell (1886-1953). Lemoine also wrote for Gazette des Beaux-Arts, Revue Belge d'Archeologie et d'histoire de l'Art and Beaux Arts Magazine. Morgan Russell studied at the Art Students League in New York with James Earle Fraser and Robert Henri from 1906 to 1907. His first trip to Europe in 1906 was sponsored by Gertrude Vanderbilt Whitney, and he returned to Paris in 1908 and joined the Academie Matisse. He settled in Paris and did not return to the United States until 1946. In 1911 he studied with Canadian color theorist Ernest Tudor-Hart. Also at this time he met fellow artist Stanton Macdonald-Wright with whom he developed the theories of Synchromism. In 1913 he and Macdonald-Wright exhibited together as Synchromists at the Bernheim-Jeune gallery, Paris, where they attracted the attention of French critics, including Lemoine. Russell continued to paint abstract works until 1930 when he began painting large-scale religious works.
Related Material:
Also available at the Archives of American Art are the Stanton Macdonald-Wright letters to Morgan Russell, 1913-1938, found on microfilm reel 1266. Microfilm reels 4524-4542 contain Morgan Russell papers that were loaned for filming by the Montclair Art Museum in 1991.
Separated Material:
One annotated exhibition catalog, Les Synchromistes: Morgan Russell et S. Macdonald-Wright, from 1913, and four photographs of Russell's artwork were kept by the Smithsonian American Art Museum and Portrait Gallery Library when they transferred the collection to the Archives of American Art. These items are also available on microfilm reel 1190 at the Archives of American Art.
Provenance:
The papers were transferred to the Archives from the National Collection of Fine Arts (now the Smithsonian American Art Museum) in 1976. NCFA acquired them as part of a purchase in 1972 of Russell's artwork from Lucien Goldschmidt, Inc.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Jean Gabriel Lemoine papers relating to Morgan Russell are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art critics -- France -- Paris  Search this
Synchromism (Art)  Search this
Citation:
Jean Gabriel Lemoine papers relating to Morgan Russell, 1921-1923, 1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lemojean
See more items in:
Jean Gabriel Lemoine papers relating to Morgan Russell
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lemojean
Additional Online Media:

Stanton Macdonald-Wright papers

Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Names:
Russell, Morgan, 1886-1953  Search this
Seuphor, Michel, 1901-1999  Search this
Summerfield, Anne, 1917-  Search this
Summerfield, John, 1917-  Search this
Extent:
3.2 Linear feet
Type:
Archival materials
Collection descriptions
Blueprints
Diaries
Essays
Travel diaries
Place:
Italy -- description and travel
Hawaii -- description and travel
Japan -- Description and Travel
Date:
1907-1973
Summary:
The papers of Southern California painter Stanton Macdonald-Wright measure 3.2 linear feet and date from 1907 to 1973. The collection contains correspondence with family, friends, and artists, including Morgan Russell, and his wife Suzanne Binon, Michel and Suzanne Seuplor, Ann and John Summerfield, and Bethany Wilson. Also found are writings, six diaries, travel journals, printed materials, and artwork.
Scope and Contents:
The papers of Southern California painter Stanton Macdonald-Wright measure 3.2 linear feet and date from 1907 to 1973. The collection contains correspondence with family, friends, and artists, including Morgan Russell, and his wife Suzanne Binon, Michel and Suzanne Seuphor, Ann and John Summerfield, and Bethany Wilson. Also found are writings, six diaries, travel diaries, printed materials, and artwork.

Writings consist of drafts of essays, plays, and book manuscripts. There are drafts of A Treatise on Color with palettes and color wheels, The Basis of Culture, and Macdonald-Wright's autobiography Bittersweet: An Artist's Life.

There are six diaries and numerous travel journals. One diary was written in Paris in 1909 in which Macdonald-Wright muses over the aesthetics of art and his color theories. Five additional disbound diaries cover his life from 1939-1973. Travel diaries date from 1959-1972 and cover trips to Italy, Japan, and Hawaii.

Printed material includes a copy of Les Synchromistes exhibition catalog, a newspaper clipping, and The Future of Painting by Willard Wright. Artwork consists of blueprints for Macdonald-Wright's Synchrome Kineidoscope, a color and light projecting machine first envisioned by Macdonald-Wright and Morgan Russell as early as 1913 and finally completed in the late 1950s.
Arrangement:
The collection is arranged as 5 series.

Series 1: Correspondence, circa 1907-circa 1972 (0.5 linear feet; Box 1)

Series 2: Writings, 1920-circa 1970 (0.9 linear feet; Box 1-2)

Series 3: Diaries, 1909-1973 (1.3 linear feet; Box 2-3)

Series 4: Printed Material, 1913-1967 (0.3 linear feet; Box 3, OV 4)

Series 5: Artwork, 1969 (0.1 linear feet; Box 3, OV 4)
Biographical / Historical:
Stanton Macdonald-Wright (1890-1973) was the creator of a modernist style of painting based on pure spectral color known as chromatic abstraction or "Synchromism." He worked in New York and later primarily in Los Angeles.

Stanton Macdonald-Wright was born in 1890 in Charlottesville, Virginia. In 1900 the family moved to Santa Monica, California where they ran a seaside hotel. A few years later he took courses at the Art Students League in Los Angeles, studying under Warren T. Huges. His older brother was Willard Huntington Wright, a respected art critic who wrote Modern Painting: Its Tendency and Meaning (1915), upon which he collaborated with his younger brother Stanton, and The Future of Painting (1923), and later became a detective novelist under the name S. S. Van Dine.

At the age of seventeen, Stanton Macdonald-Wright married his first wife and moved to Paris where he immersed himself in European art and studied at the Sorbonne, the Académie Julian, the École des Beaux-Arts, and the Académie Colarossi. While in Europe he also befriended fellow American painter Morgan Russell and the two artists began working closely together. They studied with Canadian painter Percyval Tudor-Hart between 1911 and 1913 and were deeply influenced by their teacher's color theory, which connected the qualities of color to those of music. Together Macdonald-Wright and Russell developed a style of painting based on color and named it "Synchromism." They introduced their work in 1913 at the Der Neue Kuntsalon in Munich and in Paris at the Galerie Bernheim-Jeune. These exhibitions helped to establish Synchromism as an major influence in modern art well into the 1920s.

Stanton Macdonald-Wright and Morgan Russell returned to the United States eager to promote their work and theory. It was not long before the two separated, but both continued to work in the Synchromist style. Together, they held one more Synchromist exhibition in New York in 1916 which received significant critical support. Macdonald-Wright also participated in the prestigious 1916 "Forum Exhibition of Modern American Painters" in New York and exhibited his work at Alfred Stieglitz's famed 291 gallery in New York in 1917. Yet, financial success evaded him.

Macdonald-Wright moved to Santa Monica in 1918, where he taught and served as director of the Los Angeles Art Students League. In 1924 he published his instructive Treatise on Color. In 1927 he organized another joint exhibition with Morgan Russell at the Los Angeles County Museum of Art, where he also exhibited five years later. He exhibited at the Oakland Art Gallery, the California Palace of the Legion of Honor in San Francisco, Alfred Stieglitz's An American Place gallery in New York, and the Stendahl Galleries in Los Angeles. From 1935 to 1942 Macdonald-Wright served as director of the Works Progress Administration's Federal Art Project for Southern California, followed by a faculty position at the University of Southern California at Los Angeles where he taught for sixteen years.

In the late 1950s, Macdonald-Wright completed the Synchome Kineidoscope, a color and light projecting machine first envisioned by Macdonald-Wright and Morgan Russell as early as 1913.

Macdonald-Wright traveled extensively throughout the 1960s and early 1970s, spending time in Hawaii, Italy, and Japan. Macdonald-Wright married three times and died in California in 1973, at the age of 83.

This biographical note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
The Archives of American Art holds several collections related to the Stanton Macdonald-Wright papers. There is an oral interview of Stanton Macdonald-Wright conducted 1964 Apr. 13-Sept. 16, by Betty Hoag. There are also Stanton Macdonald-Wright Letters to Alan and Fanny Leslie, the Stanton Macdonald-Wright Collection of photographs, Stanton Macdonald-Wright Letters to Morgan Russell, Walter Houk Letters from Stanton Macdonald-Wright, and an Oral History of Stanton Macdonald-Wright by Jeanne M. Marshall for the Voice of America Conducted in 1967.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 1 and LA 5) including a brochure on the Santa Monica Library murals and six photographs of the panels while in Macdonald-Wright's studio. There is also a 1939 exhibition catalog for "Southern California Art Project" a master's thesis on Macdonald-Wright by Dori Jean Watson (1957), and one scrapbook of photographs, clippings, and other printed materials dating from circa 1910-1964. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Stanton Macdonald-Wright first loaned materials to the Archives of American Art for microfilming in 1964. David Nellis, a gallery owner, gave the Archives the artist's unpublished autobiography in 1978. His widow, Jean Macdonald-Wright, donated additional papers in 1995 in two seperate installments.
Restrictions:
ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.
Rights:
The Stanton Macdonald-Wright 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:
Painters -- California -- Los Angeles  Search this
Mural painting and decoration, American -- California -- Santa Monica  Search this
Synchromism (Art)  Search this
Painting, Abstract  Search this
Color in art  Search this
Genre/Form:
Blueprints
Diaries
Essays
Travel diaries
Citation:
Stanton Macdonald-Wright papers, 1907-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macdstan
See more items in:
Stanton Macdonald-Wright papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macdstan

John McLaughlin papers

Creator:
McLaughlin, John, 1898-  Search this
Names:
André Emmerich Gallery  Search this
Corcoran Gallery of Art  Search this
Pasadena Art Museum  Search this
Tamarind Lithography Workshop  Search this
Anderson, Eugene Newton  Search this
Benjamin, Karl  Search this
Felix Landau Gallery  Search this
Hammersley, Frederick, 1919-2009  Search this
Langsner, Jules, 1911-1967  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
McLaughlin, John, 1898- -- Photographs  Search this
Reinhardt, Ad, 1913-1967  Search this
Salz, Peter  Search this
Extent:
3.3 Linear feet
Type:
Archival materials
Collection descriptions
Paintings
Sketches
Collages
Photographs
Date:
1922-1979
bulk 1936-1976
Summary:
The papers of Southern California art dealer and abstract painter John McLaughlin measure 3.3 linear feet and date from 1922 to 1979. The collection documents John McLaughlin's personal life and career through biographical material, correspondence, writings, Tamarind Lithography fellowship files, scattered personal business records, printed materials, artwork, and photographic material.
Scope and Contents:
The papers of Southern California art dealer and abstract painter John McLaughlin measure 3.3 linear feet and date from 1922 to 1979. The collection documents John McLaughlin's personal life and career through biographical material, correspondence, writings, Tamarind Lithography fellowship files, scattered personal business records, printed materials, artwork, and photographic material.

Biographical material includes McLaughlin's military service records, art awards, and resumes. Correspondence is with friends, artists, museums, and galleries. Notable correspondents include Eugene Anderson, Karl Benjamin, Frederick Hammersley, Jules Langsner, Stanton Macdonald-Wright, Ad Reinhardt, and others. Writings and notes include several artist statements, lectures, notes, and lists and descriptions of paintings, some in the form of hand drawn sketches. Users will find McLaughlin's ideas about his work and aesthetics are referenced in much of the correspondence and writings. Some of the letters also document the evolution of the 1959 "Four Abstract Classicists" exhibition, particularly correspondence with Karl Benjamin, Peter Selz, and Jules Langsner. There are also writings about McLaughlin by others, including Jules Langsner. The Tamarind Lithography fellowship files consists of the letter of appointment, printed material, and profiles for fellow artists at the workshop.

Personal business records include assorted legal and financial papers, such as contracts with galleries, art loan agreements, consignment records, and art shipment expenses. There are business papers about McLaughlin's Japanese print gallery, The Tokaido, Inc. Printed material consists of exhibition catalogs for McLaughlin's shows at the Andre Emmerich Gallery, Felix Landau Gallery, a retrospective at the Corcoran Gallery of Art in 1968, and the seminal 1959 "Four Abstract Classicists" in Los Angeles, among others. Also found are exhibition announcements, news clippings, and press releases. Artwork includes a few paintings and collages. Photographs, negatives, and slides are of McLaughlin, including one portrait by John Waggaman), artwork, and exhibition installations. There is one album of photographs from a 1963 retrospective exhibition at the Pasadena Art Museum.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1942-circa 1969 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1936-1976 (0.7 linear feet; Box 1)

Series 3: Writings and Notes, circa 1934-1976 (0.7 linear feet; Box 1-2)

Series 4: Tamarind Lithography Fellowship Files, 1958-1970 (0.2 linear feet; Box 2)

Series 5: Personal Business Records, circa 1938-1974 (0.2 linear feet; Box 2)

Series 6: Printed Material, 1932-1979 (1.5 linear feet; Box 2-4)

Series 7: Artwork, circa 1958 (0.1 linear feet; Box 3-4)

Series 8: Photographic Material, 1922-1979 (0.2 linear feet; Box 3)
Biographical / Historical:
John Dwyer McLaughlin (1898-1976) was best known as one of the leading Los Angeles "hard-edge" geometric abstractionist painters and one of the artists featured in the seminal 1959 exhibition "Four Abstract Classicists" curated by Jules Langsner. McLaughlin was also a dealer of Japanese art prints.

McLaughlin was born and educated in Massachusetts. He served in the United States Navy during World War I from 1917-1921 and married Florence Emerson in 1928. McLaughlin began painting around 1932 with no formal training. In 1935, the couple moved to Japan and lived for several years before moving back to Boston, where they opened The Tokaido, Inc., a Japanese art print gallery. From this time up to the beginning of World War II, McLaughlin worked primarily as a print dealer, without huge success. During World War II, he served as a language intelligence officer in the Marines, primarily because of his knowledge of Japanese.

After the war, McLaughlin and his wife settled in Dana Point, California, where he began painting in earnest, gaining some early local successes. His painting, Hope Deferred was awarded first prize for oil painting in the 1948 San Diego Art Guild Annual. He became associated with the Felix Landau Gallery in Los Angeles and was one of four painters included in the historic 1959 "Four Abstract Classicists" exhibition at the Los Angeles County Museum of Art organized by critic Jules Langsner which also featured the work of Frederick Hammersley, Lorser Feitelson, and Karl Benjamin. The phrase "hard-edge painting" was first used in association with this exhibition as a description of a unique California style of geometric abstractionist painting.

Throughout the 1960s and 1970s McLaughlin exhibited widely and became a mentor for many younger Los Angeles area reductive painters. He was widely admired for his integrity and independent position regarding the art market. John McLaughlin died in Dana Point, California in 1976 at the age of 77.
Related Materials:
The Archives of American Art also holds an oral history interview of John D. McLaughlin conducted July 23, 1974, by Paul J. Karlstrom.
Provenance:
The John McLaughlin papers were donated to the Archives of American Art in multiple installments. John McLaughlin donated material in 1973 and his widow Florence McLaughlin donated material in 1976. Additional papers were donated by the artist's nephew John McLaughlin in 1998 and 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The John McLaughlin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art dealers -- California  Search this
Topic:
Art, Modern -- California -- Los Angeles  Search this
Painting, Abstract -- California -- Exhibitions  Search this
Painters -- California  Search this
Prints, Japanese  Search this
Genre/Form:
Paintings
Sketches
Collages
Photographs
Citation:
John McLaughlin papers, 1922-1979, bulk 1936-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mclajohn
See more items in:
John McLaughlin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mclajohn

Printed Material

Collection Creator:
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
0.3 Linear feet (Box 3, OV 4)
Type:
Archival materials
Date:
1913-1967
Scope and Contents:
Printed material consists of one complete copy and one partial copy of the exhibition catalog Les Synchromistes: Morgan Russell et Stanton Macdonald-Wright Exposition, 1913, a photocopy of a newspaper clipping, and a hardbound book The Future of Painting by Willard Wright.
Arrangement:
This series is organized chronologically.
Collection Restrictions:
ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.
Collection Rights:
The Stanton Macdonald-Wright papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Stanton Macdonald-Wright papers, 1907-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macdstan, Series 4
See more items in:
Stanton Macdonald-Wright papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macdstan-ref124

Modify Your Search






or


Narrow By