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Poets and painters in the theatre : a critical study of the New York Artists Theatre / by Brenda S. Gross

Author:
Gross, Brenda S  Search this
Subject:
Myers, John Bernard  Search this
Artists' Theatre (New York, N.Y.)  Search this
Physical description:
v, 227 leaves : ill
Type:
Manuscripts
Place:
New York (State)
New York
New York (N.Y.)
Date:
1989
20th century
Topic:
American drama--History and criticism  Search this
Experimental theater--History  Search this
Art and literature--History  Search this
Poets, American  Search this
Art, American  Search this
Intellectual life  Search this
Call number:
PN2297.A7 G76 1989a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_549731

Fairfield Porter papers

Creator:
Porter, Fairfield  Search this
Names:
Hirschl & Adler Galleries  Search this
Tibor de Nagy Gallery  Search this
Brainard, Joe, 1942-  Search this
Burkhardt, Rudy  Search this
Button, John, 1929-1982  Search this
Day, Lucien B., 1916-  Search this
Downes, Rackstraw  Search this
Elmslie, Kenward  Search this
Evergood, Philip, 1901-1973  Search this
Frielicher, Jane  Search this
Giardelli, Arthur  Search this
Guest, Barbara  Search this
Hartl, Léon, 1889-  Search this
Hess, Thomas B.  Search this
Katz, Alex, 1927-  Search this
Koch, Kenneth, 1925-  Search this
Laning, Edward  Search this
Lichtenstein, Roy, 1923-1997  Search this
Morse, Carl  Search this
Myers, John Bernard  Search this
O'Hara, Frank, 1926-1966  Search this
Padgett, Ron  Search this
Porter, Ruth W., 1875-1942  Search this
Rivers, Larry, 1925-  Search this
Schloss, Edith  Search this
Schuyler, James  Search this
Shapiro, David, 1947-  Search this
Stankiewicz, Richard, 1922-  Search this
Vasilieff, Nicholas  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Sketches
Sketchbooks
Photographs
Date:
1888-2001
bulk 1924-1975
Summary:
The papers of New York-based painter, lithographer, art critic, and poet Fairfield Porter measure 9.3 linear feet and date from 1888 to 2001, with the bulk of material dating from 1924 to 1975. Papers document Porter's life and career through correspondence, writings, business records, printed materials, photographs, and artwork.
Scope and Content Note:
The papers of New York-based painter, lithographer, art critic, and poet Fairfield Porter measure 9.3 linear feet and date from 1888 to 2001, with the bulk of material dating from 1924 to 1975. The collection includes a biographical chronology; certificates, awards, and diplomas; letters to Fairfield and Anne Porter; scattered outgoing correspondence; and reviews, essays, notes, poems, and translations written by Porter and others. Among the writings are poetry manuscripts written by several New York School Poets including Frank O'Hara, James Schuyler, and Kenneth Koch. Also found are gallery records, inventories and appraisals, financial records, exhibition catalogs, clippings, posters, and records of Anne Porter's efforts to place his collection and document and publish his work after his death. Photographs of Porter, his homes, and his family are also present, as well as sketchbooks, loose sketches, and drawings spanning his entire career.

Significant correspondence is present from the Porters' many poet friends, including Kenneth Koch, James Schuyler, Ron Padgett, Kenward Elmslie, Barbara Guest, Carl Morse, David Shapiro, and others. Among the letters are poetry manuscripts by Koch, Morse, Schuyler, Padgett, and Shapiro. Some letters are actually written in verse, especially those from Kenneth Koch.

Artists with letters in the collection include Joe Brainard, Rudy Burkhardt, John Button, Lucien Day, Rackstraw Downes, Philip Evergood, Jane Frielicher, Arthur Giardelli, Leon Hartl, Alex Katz, Edward Laning, Roy Lichtenstein, Larry Rivers, Richard Stankiewicz, Nicolas Vasilieff, among others. Other art world figures represented include John Bernard Myers, curator at the Tibor de Nagy gallery (New York), and Tom Hess, editor of ArtNews. Artwork found within the correspondence includes an illustrated letter from Ron Padgett and an original print on a holiday card by Edith Schloss.
Arrangement:
The collection is arranged into the following nine series. See the series descriptions below for more information about the content of each series.

Series 1: Biographical Materials, 1916-1975 (Box 1 and 11; 0.2 linear feet)

Series 2: Correspondence, 1918-1996 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings by Fairfield Porter, 1924-1975 (Box 2; 0.6)

Series 4: Writings by Others, 1888-1992 (Boxes 2-3; 0.7 linear feet)

Series 5: Personal Business Records, 1944-1996 (Boxes 3-4; 1 linear foot)

Series 6: Anne Porter's Posthumous Projects, 1980-1988 (Box 4; 0.2 linear feet)

Series 7: Printed Materials, 1934-2001 (Boxes 4-6 and 11; 1.5 linear feet)

Series 8: Photographs, circa 1880-1990 (Boxes 6 and 11; 0.6 linear feet)

Series 9: Artwork, 1918-1975 (Boxes 7-10 and 12-17; 2.2 linear feet)
Biographical Note:
Fairfield Porter was born near Chicago in 1907, the fourth of five children of James and Ruth Furness Porter. His father was an architect, his mother a poet from a literary family, and Porter grew up in an environment where art and literature were highly valued. His father designed the family homes in Winnetka, Illinois and on Great Spruce Head Island, an island in Maine that he purchased for the family in 1912. Fairfield Porter spent summers there from the age of six, and views of the island, its structures, and neighboring towns were the subjects of many paintings.

Porter attended Harvard from 1924 to 1928, studying fine art with Arthur Pope and philosophy with Alfred North Whitehead. After graduating from Harvard, Porter moved to New York City and took studio classes at the Art Students League from 1928 until 1930, studying with Boardman Robinson and Thomas Hart Benton, and immersing himself in the art and radical politics of Greenwich Village. In the 1940s, he studied at Parson's School of Design with art restorer Jacques Maroger, adopting the Maroger recipe for an oil medium in his own painting.

To further his education as an artist, Porter traveled to Europe in 1931, where he spent time with expatriate art theorist Bernard Berenson and his circle. When he returned to New York, he allied himself with progressive, socialist organizations, and like many of his contemporaries, worked at creating socially relevant art. He did artwork for the John Reed Club, a communist group; taught drawing classes for Rebel Arts, a socialist arts organization; wrote for their magazine, Arise!; and created a mural for the Queens branch of the Socialist Party. Living in the Chicago area for several years in the 1930s, he illustrated chapbooks for the socialist poet John Wheelwright's Poems for a Dime and Poems for Two Bits series. Porter's financial contributions to the radical Chicago publication Living Marxism kept it afloat for several years.

In 1932, Porter married Anne Channing, a poet from Boston, and they settled in New York. The Porters had five children, and their first son, born in 1934, suffered from a severe form of autism. In the next decade, they had two more sons, and spent three years in Porter's hometown of Winnetka, where he had his first solo exhibition of paintings. When they returned to New York in 1939, the Porters became friends with Edwin Denby, Rudy Burkhardt, and Elaine and Willem de Kooning. Porter became an earnest admirer of Willem de Kooning's artwork and was among the first to review and purchase it.

In 1949, the Porters moved to the small, seaside town of Southampton, New York. Their two daughters were born in 1950 and 1956. Like the family home on Great Spruce Head Island, Southampton became the setting of many of Porter's paintings. In fact, almost all of his mature paintings depict family homes, surrounding landscapes, family members, and friends. Porter was an individualistic painter who embraced figurative art in the late 1940s and 1950s, when abstract expressionism was the prevailing aesthetic trend. Porter once made a comment that his commitment to figurative painting was made just to spite art critic Clement Greenberg, a respected critic and ideologue who had championed abstract expressionism and denigrated realism as passé.

Porter established his reputation as a painter and as a writer in the 1950s. John Bernard Myers of the vanguard Tibor de Nagy gallery gave Porter his first New York exhibition in 1951 and represented him for the next twenty years. That same year Tom Hess, editor of ArtNews, hired Porter to write art features and reviews. Porter went on to contribute to ArtNews until 1967 and also became art editor for The Nation beginning in 1959, the same year his article on Willem de Kooning won the Longview Foundation Award in art criticism. As a critic, Porter visited countless galleries and studios, and he gained a reputation for writing about art with the understanding and vested interest of an artist, and with the same independence from fashionable ideas that he demonstrated in his artwork.

The 1950s and 1960s were prolific years for Porter's writing and art, and saw the development of his critical ideas and the maturation of his painting. Porter enjoyed an elder status among a circle of younger artists such as Jane Freilicher, Larry Rivers, and Alex Katz, and their many poet friends, now known as the New York School of Poetry: Frank O'Hara, John Ashbery, James Schuyler, Kenneth Koch, Barbara Guest, and others. Porter himself wrote poetry and was published in the 1950s, sometimes alongside poems by his wife, who had been publishing poetry since the 1930s (twice in the vanguard Chicago journal, Poetry). The Porters' correspondence is laced with poems they and their friends sent back and forth, often about and dedicated to each other.

Besides his annual exhibitions at Tibor de Nagy and later Hirschl and Adler Galleries, Porter exhibited regularly at the Whitney, and had one-man exhibitions at many museums including the Rhode Island School of Design (1959), The University of Alabama (1963), Cleveland Museum of Art (his first retrospective, 1966), Trinity College (1967), the Parrish Art Museum (1971), the Maryland Institute of Art (1973), and the 1968 Venice Biennale. He also had residencies at the Skowhegan School of Painting and Sculpture (1964) and Amherst College (1969). Porter died in 1975 at age 68. A full-scale retrospective of his artwork was held at the Boston Museum of Fine Art, Boston in 1983, and a study center and permanent home for his artwork was established at the Parrish Art Museum in Southampton through a donation made by Anne Porter. A posthumous collection of his poems was published by Tibor de Nagy Editions in 1985, and a catalogue raisonnée, edited by Joan Ludman, was published in 2001.

This biography relies heavily on information found in Justin Spring's biography of Porter, Fairfield Porter: A Life in Art (Yale University Press, 2000).
Related Material:
The Archives of American Art holds an oral history of Fairfield Porter conducted by Paul Cummings in 1968.
Provenance:
The papers of Fairfield Porter were given to the Archives of American Art by the artist's wife, Anne Porter, in five separate accessions between 1977 and 1997.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Fairfield Porter 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
Painters -- New York (State) -- Southampton  Search this
Art critics -- New York (State) -- Southampton  Search this
Painting, Modern -- 20th century  Search this
Poets  Search this
Lithographers -- New York (State)  Search this
Genre/Form:
Travel diaries
Sketches
Sketchbooks
Photographs
Citation:
Fairfield Porter papers, 1888-2001 (bulk 1924-1975). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.portfair
See more items in:
Fairfield Porter papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-portfair
Additional Online Media:

Interview with John Myers

Creator:
Myers, John Bernard, 1920-1987  Search this
Rose, Barbara, 1938-  Search this
Type:
Sound Recording
Date:
circa 1969
Record number:
(DSI-AAA)16141
See more items in:
Barbara Rose papers, 1962-circa 1969
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16141

John Bernard Myers

Subject:
Myers, John Bernard  Search this
Type:
Photographs
Date:
197-?
Record number:
(DSI-AAA)11891
See more items in:
John Bernard Myers papers, [circa 1940s]-1987, (bulk 1970-1987)
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11891
Additional Online Media:

John Bernard Myers with a puppet on his hand

Photographer:
Beadle, Ernst  Search this
Subject:
Myers, John Bernard  Search this
Type:
Photographs
Date:
195-?
Topic:
Puppets  Search this
Record number:
(DSI-AAA)11892
See more items in:
John Bernard Myers papers, [circa 1940s]-1987, (bulk 1970-1987)
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11892
Additional Online Media:

John Bernard Myers

Subject:
Myers, John Bernard  Search this
Type:
Photographs
Date:
ca. 1940's
Record number:
(DSI-AAA)17407
See more items in:
John Bernard Myers papers, [circa 1940s]-1987, (bulk 1970-1987)
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_17407
Additional Online Media:

Myers, John Bernard

Collection Creator:
Porter, Fairfield  Search this
Container:
Box 1, Folder 71
Type:
Archival materials
Date:
undated
Collection Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Fairfield Porter 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:
Fairfield Porter papers, 1888-2001 (bulk 1924-1975). Archives of American Art, Smithsonian Institution.
See more items in:
Fairfield Porter papers
Fairfield Porter papers / Series 2: Correspondence / Incoming Letters to Anne and Fairfield Porter from:
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-portfair-ref97

Fairfield Porter papers, 1888-2001, bulk 1924-1975

Creator:
Porter, Fairfield, 1907-1975  Search this
Subject:
Koch, Kenneth  Search this
Rivers, Larry  Search this
Shapiro, David  Search this
Day, Lucien B.  Search this
Guest, Barbara  Search this
Giardelli, Arthur  Search this
Frielicher, Jane  Search this
Padgett, Ron  Search this
Stankiewicz, Richard  Search this
Lichtenstein, Roy  Search this
Hartl, Léon  Search this
Morse, Carl  Search this
Vasilieff, Nicholas  Search this
Burckhardt, Rudy  Search this
Laning, Edward  Search this
O'Hara, Frank  Search this
Myers, John Bernard  Search this
Schuyler, James  Search this
Schloss, Edith  Search this
Brainard, Joe  Search this
Downes, Rackstraw  Search this
Katz, Alex  Search this
Hess, Thomas B.  Search this
Evergood, Philip Howard  Search this
Elmslie, Kenward  Search this
Button, John  Search this
Hirschl & Adler Galleries  Search this
Tibor de Nagy Gallery  Search this
Topic:
Sketches  Search this
Painters  Search this
Travel diaries  Search this
Poets  Search this
Painting, Modern  Search this
Photographs  Search this
Art critics  Search this
Works of art  Search this
Sketchbooks  Search this
Lithographers  Search this
Record number:
(DSI-AAA_CollID)8946
(DSI-AAA_SIRISBib)211133
AAA_collcode_portfair
Theme:
Diaries
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211133
Additional Online Media:

Barbara Rose papers, 1962-circa 1969

Creator:
Rose, Barbara, 1938-  Search this
Subject:
McShine, Kynaston  Search this
Bellamy, Richard  Search this
Oldenburg, Claes  Search this
Davis, Jim  Search this
Wesselmann, Tom  Search this
Bowles, John  Search this
Taylor, Edward Silverstone  Search this
McCracken, John  Search this
Castelli, Leo  Search this
Geldzahler, Henry  Search this
Myers, John Bernard  Search this
Kauffman, Craig  Search this
Motherwell, Robert Burns  Search this
Morris, Robert  Search this
Hopps, Walter  Search this
Padovano, Anthony  Search this
Andre, Carl  Search this
Bladen, Ronald  Search this
Rauschenberg, Robert  Search this
Stella, Frank  Search this
Hare, David  Search this
Adams, Ansel Easton  Search this
Lye, Len  Search this
Meier, Richard  Search this
Rose, Barbara  Search this
Wasserman, Tamara E.  Search this
Rexroth, Kenneth  Search this
Bierman, A. K. (Arthur Kalmer),  Search this
Bannard, Walter Darby  Search this
Rudolph, Paul  Search this
Karp, Ivan C.  Search this
Di Suvero, Mark  Search this
Mundt, Ernest Karl  Search this
LeWitt, Sol  Search this
Judd, Donald C. (Donald Clarence)  Search this
Sandler, Irving  Search this
De Forest, Roy  Search this
Frazier, Charles  Search this
Dzubas, Friedel  Search this
Murray, Robert  Search this
Mack, Heinz  Search this
Poons, Larry  Search this
Krasner, Lee  Search this
Davis, Ronald  Search this
Lichtenstein, Roy  Search this
Lefebre, John  Search this
Piene, Otto  Search this
Segal, George  Search this
Flavin, Dan  Search this
Locks, Seymour  Search this
Topic:
Interviews  Search this
Art critics  Search this
Art, American  Search this
Art historians  Search this
Sound recordings  Search this
Transcripts  Search this
Lectures  Search this
Record number:
(DSI-AAA_CollID)9961
(DSI-AAA_SIRISBib)212633
AAA_collcode_rosebarb
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212633
Additional Online Media:

John Bernard Myers papers, [circa 1940s]-1987, (bulk 1970-1987)

Creator:
Myers, John Bernard, 1920-1987  Search this
Subject:
Davenport, Guy  Search this
Spivy-Anderson, C. Alexandra  Search this
Rothko, Mark  Search this
Marisol  Search this
Grooms, Red  Search this
Cady, Arthur  Search this
Canaday, John Edwin  Search this
Sturdevant, Alfred  Search this
Tibor de Nagy Gallery  Search this
Ingram Merrill Foundation  Search this
Southampton Artists' Theatre Festival  Search this
Topic:
Puppet making  Search this
Photographs  Search this
Puppets  Search this
Art critics  Search this
Color transparencies  Search this
Diaries  Search this
Works of art  Search this
Art criticism  Search this
Color slides  Search this
Record number:
(DSI-AAA_CollID)10986
(DSI-AAA_SIRISBib)214857
AAA_collcode_myerjohn
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214857
Additional Online Media:

Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978

Creator:
Catherine Viviano Gallery.  Search this
Subject:
Hirshhorn, Joseph H.  Search this
Ludgin, Earle  Search this
Dorazio, Piero  Search this
McCray, Porter A.  Search this
Wakabayashi, Kazuo  Search this
Ossorio, Alfonso A.  Search this
Seeger, Stanley J.  Search this
Fleischman, Lawrence Arthur  Search this
Van Veen, Stuyvesant  Search this
Manrique, César  Search this
Glasco, Joseph  Search this
Myers, John Bernard  Search this
Mabe, Manabu  Search this
Broderson, Robert M  Search this
Rathbone, Perry Townsend  Search this
Dudensing, F. Valentine  Search this
Miró, Joan  Search this
Stout, George L. (George Leslie)  Search this
Birolli, Renato  Search this
Callery, Mary  Search this
Yunkers, Adja  Search this
Barker, Walter  Search this
Tanning, Dorothea  Search this
Fleischman, Barbara G.  Search this
Pulitzer, Joseph  Search this
Moyens, H. Marc  Search this
Rosenthal, Bernard M.  Search this
Gopel, Erhard  Search this
Afro  Search this
Valentin, Curt  Search this
Faison, S. Lane (Samson Lane)  Search this
Sage, Kay  Search this
Rockefeller, Nelson A. (Nelson Aldrich)  Search this
Bareiss, Walter  Search this
Goodhue, Bertram Grosvenor  Search this
Dubuffet, Jean  Search this
Cox, Jan  Search this
Viviano, Catherine  Search this
Eisendrath, William N.  Search this
Shapiro, Meyer  Search this
Guerrero, José  Search this
Lerner, Abe  Search this
Krasne, Belle  Search this
Bishop, Elizabeth  Search this
Ernst, Dallas  Search this
Morlotti, Ennio  Search this
Perlin, Bernard  Search this
Giacometti, Alberto  Search this
Gopel, Barbara  Search this
Baker, Richard Brown  Search this
Dorazio, Virginia Dortch  Search this
Minguzzi, Luciano  Search this
Price, Vincent  Search this
Meltzer, Doris  Search this
Genauer, Emily  Search this
Graves, Morris  Search this
Menil, Dominique de  Search this
Chaet, Bernard  Search this
Miller, Stephen Robeson  Search this
Ashton, Dore  Search this
Art Institute of Chicago  Search this
Detroit Institute of Arts  Search this
American Federation of Arts  Search this
Hirshhorn Museum and Sculpture Garden.  Search this
American Academy of Arts and Letters  Search this
Harvard University. Germanic Museum  Search this
Los Angeles County Museum  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Museum of Fine Arts, Boston  Search this
Brooklyn Museum  Search this
Fogg Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Colorado Springs Fine Arts Center  Search this
Dallas Museum of Fine Arts  Search this
Pennsylvania Academy of the Fine Arts  Search this
Museum of Fine Arts, Houston  Search this
Wadsworth Atheneum  Search this
World House Galleries  Search this
Barnes Foundation  Search this
Carnegie Institute  Search this
City Art Museum of St. Louis  Search this
Massachusetts Institute of Technology  Search this
Philadelphia Art Alliance  Search this
Walker Art Center  Search this
Santa Barbara Museum of Art  Search this
University of Virginia  Search this
Art Club of Chicago  Search this
Des Moines Art Center  Search this
Mary Washington College  Search this
William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts  Search this
Yale University.Art & Architecture Library  Search this
Topic:
Photographs  Search this
Sculpture  Search this
Art galleries, Commercial  Search this
Art dealers  Search this
Art  Search this
Painting  Search this
Record number:
(DSI-AAA_CollID)11096
(DSI-AAA_SIRISBib)243136
AAA_collcode_cathvivi
Theme:
The Art Market
Lives of American Artists
Women
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_243136
Additional Online Media:

Oral history interview with Tibor de Nagy, 1976 March 29

Interviewee:
De Nagy, Tibor, 1908-1993  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Subject:
Hess, Thomas B.  Search this
Andre, Carl  Search this
Myers, John Bernard  Search this
O'Hara, Frank  Search this
Castelli, Leo  Search this
Frankenthaler, Helen  Search this
Rivers, Larry  Search this
Hartigan, Grace  Search this
Bates, Alex  Search this
Nivola, Costantino  Search this
Freilicher, Jane  Search this
Tibor de Nagy Gallery  Search this
Topic:
Interviews  Search this
Art galleries, Commercial  Search this
Art dealers  Search this
Sound recordings  Search this
Record number:
(DSI-AAA_CollID)12568
(DSI-AAA_SIRISBib)212028
AAA_collcode_denagy76
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212028

Oral history interview with Larry Aldrich, 1972 April 25-June 10

Interviewee:
Aldrich, Larry, 1906-2001  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Subject:
Smithson, Robert  Search this
Myers, John Bernard  Search this
Barr, Alfred H.  Search this
Rauschenberg, Robert  Search this
Castelli, Leo  Search this
Hopkins, Budd  Search this
Hartigan, Grace  Search this
Johns, Jasper  Search this
Antonakos, Stephen  Search this
Miller, Dorothy Canning  Search this
Stella, Frank  Search this
Indiana, Robert  Search this
Lieberman, William Slattery  Search this
Baker, Richard Brown  Search this
Virginia Museum of Fine Arts  Search this
Topic:
Interviews  Search this
Art  Search this
Sound recordings  Search this
Record number:
(DSI-AAA_CollID)12596
(DSI-AAA_SIRISBib)216586
AAA_collcode_aldric72
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216586

Catherine Viviano Gallery records

Creator:
Catherine Viviano  Search this
Names:
American Academy of Arts and Letters  Search this
American Federation of Arts  Search this
Art Club of Chicago  Search this
Art Institute of Chicago  Search this
Barnes Foundation  Search this
Brooklyn Museum  Search this
Carnegie Institute  Search this
City Art Museum of St. Louis  Search this
Colorado Springs Fine Arts Center  Search this
Dallas Museum of Fine Arts  Search this
Des Moines Art Center  Search this
Detroit Institute of Arts  Search this
Fogg Art Museum  Search this
Harvard University  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Los Angeles County Museum  Search this
Mary Washington College  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Fine Arts, Houston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Art Alliance  Search this
Santa Barbara Museum of Art  Search this
University of Virginia  Search this
Wadsworth Atheneum  Search this
Walker Art Center  Search this
William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts  Search this
World House Galleries  Search this
Yale University. Art & Architecture Library  Search this
Afro, 1912-1976  Search this
Ashton, Dore  Search this
Baker, Richard Brown  Search this
Bareiss, Walter  Search this
Barker, Walter  Search this
Birolli, Renato, 1905?-1959  Search this
Bishop, Elizabeth, 1911-1979  Search this
Broderson, Robert M, 1920-  Search this
Callery, Mary, 1903-1977  Search this
Chaet, Bernard  Search this
Cox, Jan, 1919-1980  Search this
Dorazio, Piero, 1927-  Search this
Dorazio, Virginia Dortch  Search this
Dubuffet, Jean, 1901-  Search this
Dudensing, F. Valentine, 1892-1967  Search this
Eisendrath, William N., 1903-  Search this
Ernst, Dallas  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Fleischman, Barbara  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Genauer, Emily, 1910-2002  Search this
Giacometti, Alberto, 1901-1966  Search this
Glasco, Joseph, 1925-  Search this
Goodhue, Bertram Grosvenor, 1869-1924  Search this
Graves, Morris, 1910-  Search this
Guerrero, José, 1914-  Search this
Göpel, Barbara  Search this
Göpel, Erhard  Search this
Hirschhorn, Joseph  Search this
Lerner, Abe, 1908-  Search this
Ludgin, Earle, 1898-1981  Search this
Mabe, Manabu  Search this
Manrique, César, 1920-  Search this
McCray, Porter A., 1908-2000  Search this
Meltzer, Doris, 1908-1977  Search this
Menil, Dominique de  Search this
Miller, Stephen Robeson  Search this
Minguzzi, Luciano, 1911-  Search this
Miró, Joan, 1893-  Search this
Morlotti, Ennio, 1910-1992  Search this
Moyens, H. Marc  Search this
Myers, John Bernard  Search this
Ossorio, Alfonso, 1916-1990  Search this
Perlin, Bernard, 1918-  Search this
Price, Vincent, 1911-1993  Search this
Pulitzer, Joseph, 1913-1993  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Ribicoff, Belle Krasne, 1924-  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rosenthal, Bernard M.  Search this
Sage, Kay  Search this
Seeger, Stanley J.  Search this
Shapiro, Meyer  Search this
Stout, George L. (George Leslie)  Search this
Tanning, Dorothea, 1910-2012  Search this
Valentin, Curt, 1902-1954  Search this
Van Veen, Stuyvesant  Search this
Viviano, Catherine.  Search this
Wakabayashi, Kazuo  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
11.6 Linear feet
Type:
Archival materials
Collection descriptions
Notes
Photographs
Date:
1930-1990
bulk 1949-1978
Summary:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.

Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.

Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.

General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.

Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.

Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.

Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.

Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically

The collection is arranged as 5 series:

Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)

Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)

Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)

Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)

Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.

Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.

In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Catherine Viviano Gallery records 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 dealers  Search this
Sculpture  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Painting  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Notes
Photographs
Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cathvivi
See more items in:
Catherine Viviano Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cathvivi
Additional Online Media:

Barbara Rose papers

Creator:
Rose, Barbara  Search this
Names:
Adams, Ansel, 1902-1984  Search this
Andre, Carl, 1935-  Search this
Bannard, Walter Darby, 1934-  Search this
Bellamy, Richard  Search this
Bierman, A. K., 1923- (Arthur Kalme)  Search this
Bladen, Ronald, 1918-1988  Search this
Bowles, John  Search this
Castelli, Leo  Search this
Davis, Jim, 1901-1974  Search this
Davis, Ron, 1937-  Search this
De Forest, Roy, 1930-2007  Search this
Di Suvero, Mark, 1933-  Search this
Dzubas, Friedel, 1915-  Search this
Flavin, Dan, 1933-  Search this
Frazier, Charles  Search this
Geldzahler, Henry  Search this
Hare, David, 1917-1992  Search this
Hopps, Walter  Search this
Judd, Donald, 1928-  Search this
Karp, Ivan C., 1926-2012  Search this
Kauffman, Craig, 1932-  Search this
Krasner, Lee, 1908-1984  Search this
LeWitt, Sol, 1928-2007  Search this
Lefebre, John  Search this
Lichtenstein, Roy, 1923-1997  Search this
Locks, Seymour, 1919-  Search this
Lye, Len, 1901-1980  Search this
Mack, Heinz, 1931-  Search this
McCracken, John, 1934-2011  Search this
McShine, Kynaston  Search this
Meier, Richard, 1934-  Search this
Morris, Robert, 1931-  Search this
Motherwell, Robert  Search this
Mundt, Ernest Karl, 1905-  Search this
Murray, Robert, 1936-  Search this
Myers, John Bernard  Search this
Oldenburg, Claes, 1929-  Search this
Padovano, Anthony  Search this
Piene, Otto, 1928-  Search this
Poons, Larry  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rexroth, Kenneth, 1905-1982  Search this
Rose, Barbara  Search this
Rudolph, Paul, 1918-  Search this
Sandler, Irving, 1925-  Search this
Segal, George, 1924-2000  Search this
Stella, Frank  Search this
Taylor, Edward Silverstone  Search this
Wasserman, Tamara E.  Search this
Wesselmann, Tom, 1931-2004  Search this
Extent:
1.4 Linear feet
Type:
Archival materials
Collection descriptions
Interviews
Transcripts
Sound recordings
Lectures
Date:
1962-circa 1969
Summary:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, writings, printed material, interviews with artists, panel discussions, and lectures relating to Barbara Rose's research as an art historian.
Scope and Contents:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, interviews with artists, panel discussions, lectures, writings, and printed material relating to Barbara Rose's work as an art historian and critic.

Letters consist of responses to queries and questionnaires Rose and Irving Sandler sent to contemporary artists as research for writing projects. Questionnaires were sesnt in preparation for an article in Art in America on artists' sensibility of the 1960s, with responses from Robert Motherwell, Robert Craig Kauffman, Len Lye, Robert Morris, George Segal, David Hare, and others. A separate query asked sculptors for their assessment of contemporary sculptor's needs and the potential for patronage, and responses are found from Carl Andre, Charles Frazier, Robert Murray, Anthony Padovano, Ron Bladen, Roy Lichtenstein, Len Lye, Sol LeWitt, Heinz Mack, Otto Peine, Dan Flavin, and Donald Judd.

Interviews conducted by Rose between 1965 and circa 1969 are found with Richard Bellamy, Leo Castelli, James E. Davis, Henry Geldzahler, Ivan Karp, Lee Krasner, John Lefebre, John Myers, Donald Judd with Frank Stella, and Tom Wesselmann. All interviews include original sound recordings, and the Judd and Stella, Krasner, and Myers interviews include transcripts. Panel discussions and lectures include sound recordings and transcripts of seven events on a variety of contemporary art and architecture subjects held between 1962 and 1968. Sound recordings are present for five of the events on 10 sound tape reels, and transcripts are present for all events. Participants in the panel discussions and lectures include Barbara Rose, Ronald Davis, Dan Flavin, Robert Kauffman, John Harvey McCracken, Friedel Dzubas, Ansel Adams, Arthur Bierman, Kenneth Rexroth, Edward Taylor, Ernst Karl Mundt, John Bowles, Roy Dean De Forest, Seymour Locks, Walter Hopps, Mark Di Suvero, Donald Judd, Robert Morris, Kynaston McShine, Walter Darby Bannard, Donald Judd, Larry Poons, Robert Rauschenberg, Richard Meier, Paul Rudolph, Claes Oldenburg, and Robert Murray.

Writings include photocopied typescripts of "Myth, Symbol, or Me," by Emily Wasserman and "Excerpts from a Work Journal on Flying Sculpture," by Charles Frazier. Printed material consists of two copies of the premiere issue of the 57th Street Review, from Nov. 15, 1966.
Arrangement:
This collection is arranged as 4 series.

Series 1: Letters (0.2 linear feet; Box 1)

Series 2: Interviews (0.6 linear feet; Box 1)

Series 3: Panel Discussions and Lectures (0.5 linear feet; Boxes 1-2)

Series 4: Writings and Printed Material (0.1 linear feet; Box 2)
Biographical / Historical:
Barbara Rose is an American art historian and critic who has published widely in the field of modern American art. Born in 1938 in Washington, DC, Rose studied at the Sorbonne, Smith College, Barnard, and finally, Columbia University under Meyer Shapiro. Rose became immersed in the New York-based circle of modernist artists and curators in the late 1950s and early 1960s, and made her substantial contribution to the discourse on contemporary art with the insider's perspective this afforded her. In 1961, she married the painter Frank Stella and they had two children before their divorce in 1969.

Rose taught at Yale University, Sarah Lawrence, University of California at Irvine and San Diego, and the American University Art in Italy program, and was senior curator at the Museum of Fine Arts, Houston, from 1981-1985. A prolific writer, Rose is the author of American Art Since 1900 (1967), The Golden Age of Dutch Painting (1969), American Painting: The 20th Century (Skira, 1969), and monographs on the artists Magdalena Abankawicz, Helen Frankenthaler, Robert Rauschenberg, Alexander Liberman, Larry Rivers, and others, as well as dozens of exhibition catalog essays. She held editorial positions at Art in America, Vogue, Artforum, Partisan Review, and Journal of Art, and her writing has also appeared in Art International, Studio International, Arts Magazine, and ARTnews, among many others.
Separated Materials:
Additional papers of Barbara Rose are held by The Getty Research Institute.
Provenance:
Donated 1971-1977 by Barbara Rose.
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 Barbara Rose papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- New York (State) -- New York  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Transcripts
Sound recordings
Lectures
Citation:
Barbara Rose papers, 1962-circa 1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosebarb
See more items in:
Barbara Rose papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosebarb

John Bernard Myers papers

Creator:
Myers, John Bernard  Search this
Names:
Ingram Merrill Foundation  Search this
Southampton Artists' Theatre Festival  Search this
Tibor de Nagy Gallery  Search this
Cady, Arthur  Search this
Canaday, John, 1907-1985  Search this
Davenport, Guy  Search this
Grooms, Red  Search this
Marisol, 1930-  Search this
Rothko, Mark, 1903-1970  Search this
Interviewee:
Spivy-Anderson, C. Alexandra, 1942-  Search this
Interviewer:
Sturdevant, Alfred  Search this
Extent:
2 Linear Feet
Type:
Archival materials
Collection descriptions
Color slides
Photographs
Diaries
Color transparencies
Date:
circa 1940s-1987
bulk 1970-1987
Summary:
The John Bernard Myers papers span the period circa 1940s to 1987, bulk 1970-1987. The collection measures 2.0 linear feet and documents Myers's work as a writer, editor, and gallery director, and includes correspondence, writings, printed material, and photographs.
Scope and Content Note:
The John Bernard Myers papers, which measure 2.0 linear feet, date from circa 1940s to 1987, bulk 1970-1987, and document his work as a writer, editor, and gallery director.

Personal and professional correspondence consist mainly of incoming letters from colleagues, friends, and admirers. Among the correspondence is business and fan mail concerning Tracking the Marvelous and Parenthése, letters from writer and English professor Guy Davenport, and invitations to speak and teach. Also included are letters to The New York Times and Art In America complaining about critic John Canaday's behavior and comments during a visit to the Tibor de Nagy Gallery.

Myers' published and unpublished writings are the collection's most significant series. These consist of manuscripts for his autobiography, Tracking the Marvelous, published in 1984 ; Forward and Backward: A Chronicle, circa 1976, about Mark Rothko's suicide and the subsequent lawsuit brought by his daughter against Marlborough Galleries (a revised version was published later as part three of Myers' autobiography); and Knowing What I Like, 1985, an unpublished collection of his own essays and criticism compiled and edited by Myers. Among his other writings are articles, essays, and reviews. Also included are his diariess dated 1969 and 1974-1983. Entries record daily activities and reactions to his experiences, news of friends, and reflections on his life and relationships. Excerpts from much earlier diaries (not part of the John Bernard Myers Papers) are quoted extensively in Tracking the Marvelous.

Printed Matter consists of writings by Myers - Tracking the Marvelous: A Life in the New York Art World; a selection of articles, essays, and criticism published mainly in art periodicals; and exhibition catalogs. Also included are a few articles about Myers and issues of publications he edited. Other printed matter consists of clippings on art subjects, exhibition catalogs, and miscellaneous publications.

Miscellaneous items are artwork, biographical information, minutes and memoranda of the Ingram Merrill Foundation, and transcripts of interviews conducted by and with Myers. Also included are records of the Southampton Artists' Theatre Festival, produced by John Bernard Myers, consisting of director's notes and notes and music for "Gertrude Stein's 'First Reader.'"

Photographs are of Myers and unidentified friends, interior views of his home in Brewster, N.Y. and one of the back yard. Also included are many photographs of puppets.
Arrangement:
The collection is arranged into 5 series:

Series 1: Correspondence, 1960-1986, undated (box 1, 6 folders)

Series 2: Writings, 1959-1987, undated (boxes 1-2, 1.0 linear ft.)

Series 3: Printed Matter, 1951-1987, undated (box 2, 0.5 linear ft.)

Series 4: Miscellaneous, circa 1962-1987, undated (box 2, 0.25 linear ft.)

Series 5: Photographs, circa 1940s-1985, undated (box 2, 6 folders)
Biographical Note:
During his youth in Buffalo, New York, John Bernard Myers developed life-long interests in poetry, puppets, and painting. As a teenager, he wrote poetry and established his own marionette theater. He first learned about modern art and became especially interested in Surrealism through reading European magazines and exhibition catalogs in the library of the Albright-Knox Art Gallery. Through helping to edit Upstate, an avant garde literary magazine, he met many like-minded friends. Myers was deemed unqualified for military service due to ruptured eardrums, so instead went to work in an airplane factory. But his membership in the Young Communist League and participation in efforts led by a Socialist Workers party colleague to upgrade job assignments and pay for qualified minorities created problems and Myers soon departed. His final two years in Buffalo were spent working in a bookstore.

In 1944, Myers sent issues of Upstate to Parker Tyler, editor of View, whom he had met a few years earlier through mutual friends involved with the Communist party. A few months later Tyler offered him the position of managing editor of View, a magazine devoted to the Neo-Romantics and Surrealists in exile. Myers moved to New York City and remained with the magazine until it ceased publication in 1947. A large portion of his time at View was spent selling advertising space. Since this involved calling on gallery owners each month, he came to know many dealers, had the opportunity to study the exhibitions and meet many of the artists. During this period he began attending art history courses taught by Meyer Schapiro at the New School. His responsibilities at View also included assisting with editing and layout, and he became well-acquainted with Marcel Duchamp and André Breton when special issues devoted to them were published. His association with the magazine resulted in many invitations; Myers enthusiastically attended parties practically every night of the week, enlarging his already impressive circle of friends and acquaintance in the art and literary worlds.

Puppets were another of Myers' special interests. After View ceased publication in1947, he edited poetry and art publications, but to earn his living he resumed puppeteering. Around 1948 Myers met Tibor de Nagy, a cultured Hungarian immigrant with a background in banking and finance, who, for immigration purposes, needed a business that bore his name. The Tibor de Nagy Marionette Company gave performances at schools in and around New York City and staged elaborate productions for both children and adults at fine hotels. After several years of physically exhausting work with the marionette company and falling profits, the two decided to try another business venture.

Over the years, several of Myers' friends and acquaintances had suggested he open an art gallery. Myers was interested and had many appropriate contacts, but lacked sufficient capital and had no business experience. An old friend, Dwight Ripley, offered to back a gallery and in 1951 the Tibor de Nagy Gallery opened at 219 East 53rd Street with John Bernard Myers as the gallery director. Tibor de Nagy was the gallery's business manager, and at the same time pursued a full-time career in banking. Following the good advice of his friends Jackson Pollock,Lee Krasner, and Clement Greenberg, Myers decided to seek out and promote the artists of his own generation. Artists affiliated with the Tibor de Nagy Gallery included Helen Frankenthaler, Robert Goodnough, Red Grooms, Grace Hartigan, Alfred Leslie, Barnett Newman, Kenneth Noland, Fairfield Porter, and Larry Rivers.

Myers and de Nagy remained partners in the Tibor de Nagy Gallery for 19 years. In 1970 Myers left in to open a gallery which he ran for about five years under his own name. After retiring from the gallery, he was a private dealer and lecturer; he also served as a consultant to the Kouros Gallery. He continued to organize exhibitions including a Joseph Cornell exhibiton at A.C.A. Gallery in 1977, and "Tracking the Marvelous" at the Grey Gallery, New York University in 1981.

For more than thirty years after View ceased publication, a number of art and poetry publications benefitted from Myers' editorial skills. Among them were Prospero Pamphlets, a series of chapbooks produced between 1946 and 1948, featuring contemporary poets Wallace Stevens, Charles Henri Ford, Parker Tyler, and Paul Goodman. Brunidor Editions, a portfolio of graphics by Yves Tanguy, Joan Miró, Kurt Seligmann, Max Ernst, Wilfredo Lam, Matta, and William Stanley Hayter was issued in 1948. From 1953 until 1956, Tibor de Nagy Gallery published Semi-Colon, a poets' newsletter edited by Myers. Gallery Editions, a series of pamphlets paired the work of a poet and painter, among them: John Ashbury and Jane Freilicher, Frank O'Hara and Larry Rivers, Kenneth Koch and Nell Blaine, and Barbara Guest and Robert Goodnough. Myers devoted a great deal of time to Parenthése, a magazine of words and pictures, that was published between 1975 and 1979. In addition, he compiled and edited Poets of the New York School, an anthology with photographs by Francesco Scuvullo published by the University of Pennsylvania Art Department in 1968.

For much of his life, John Bernard Myers kept a diary recording daily activities and his reactions to an reflections on his experiences. His autobiography, Tracking the Marvelous: A Life in the New York Art World, published in 1984, quotes extensively from diaries written as early as 1939. He wrote many book reviews, exhibition reviews, and articles about art and art criticism that were published in Art in America, Arts, Artforum, Art and Literature, Art International, Art News, Art/World, Craft Horizons, and Smithsonian. Knowing What I Like, a selection of his own essays and articles that Myers compiled and edited in 1983, remains unpublished. He also wrote poetry and song lyrics.

John Bernard Myers died July 26, 1987.

1919 or 1920 -- Born, Buffalo, New York

circa 1939 -- Began puppeteering and eventually established his own puppet theater

circa 1942-1944 -- Assisted with editing Upstate, an avant garde literary magazine

1942 -- Rejected from military service due to ear problems; employed in airplane factory, and later at Ulbrich's Bookstore in Buffalo

1944-1947 -- Managing Editor, View, a magazine devoted to the Neo-Romantic and Surrealist artists in exile

1946-1948 -- Editor, Prospero Pamphlets, a series of chapbooks featuring Wallace Stevens, Charles Henri Ford, Parker Tyler, and Paul Goodman

1948 -- Editor, Brunidor Editions, portfolios of graphics featuring Yves Tanguy, Joan Miró, Kurt Seligmann, Max Ernst, Wilfredo Lam, Matta, and William Stanley Hayter; started a professional marionette company with Tibor de Nagy as business manager

1951 -- Tibor de Nagy Gallery opens at 219 East 53rd Street, backed by Dwight Ripley, with Myers as gallery director and de Nagy its business manager

1953 -- Tibor de Nagy Gallery moves to 24 East 67th St.

1953-1956 -- Editor, Semi-Colon, a poets' newsletter emphasizing brief prose and verse

1954-1970 -- Producer and Artistic Advisor, The Artists' Theater; during this time 36 plays by poets, with appropriate décors and music by modern painters and composers

1959-1970 -- Editor, Gallery Editions, a series of poetry pamphlets pairing poets and painters (Frank O'Hara and Larry rivers, Kenneth Koch and Nell Blaine, Barbara Guest and Robert Goodnough)

1968-1968 -- Producer, Southampton Artists' Theatre Festival, Long Island University

1970 -- Leaves Tibor de Nagy Gallery and opens John Bernard Myers Gallery at 50 West 57th Street

1974 -- Closes his gallery and in retirement becomes a private dealer

1975-1979 -- Editor, Parenthése, a little magazine of words and pictures

1981 -- Editor, Parenthése Signatures, each deluxe limited edition portfolios paired an artist and poet

1981 -- Tracking the Marvelous, exhibition at Grey Gallery, New York University

1984 -- Publication of Tracking the Marvelous: A Life in the New York Art World

1985-1987 -- Consultant to Kouros Gallery, New York

1987 -- Dies July 26, Danbury, Conn.
Related Material:
Other material relating to John Bernard Myers in the Archives of American Art includes an interview with Myers conducted by Barbara Rose, circa 1969.
Provenance:
The collection was a gift of the Estate of Ricky Dale Horton, 1990.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The John Bernard Myers 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 criticism  Search this
Art critics -- New York (State) -- New York  Search this
Puppet making  Search this
Works of art  Search this
Puppets  Search this
Genre/Form:
Color slides
Photographs
Diaries
Color transparencies
Citation:
John Bernard Myers papers, circa 1940s-1987, bulk 1970-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.myerjohn
See more items in:
John Bernard Myers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-myerjohn

Mouse, Stanley - Newman, Barnett

Collection Creator:
Wagstaff, Samuel J.  Search this
Container:
Box 2, Folder 14
Type:
Archival materials
Date:
1963-1971, undated
Scope and Contents note:
Mouse, Stanley

Murphy, Greg

Museum of Modern Art

Myers, John Bernard

Nakian, Robert

Nesbitt, Lowell

Nevelson, Mike and Flo

New Britain Development Commission, Design Review Committee

Newman, Barnett
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Samuel J. Wagstaff 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:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Samuel J. Wagstaff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wagssamu-ref60

Miscellaneous

Collection Creator:
Myers, John Bernard  Search this
Extent:
(0.25 linear ft.)
Type:
Archival materials
Date:
circa 1962-1987, undated
Scope and Contents note:
Miscellaneous items consist of a small number of items not properly part of the larger series. Among these documents are artwork and biographical information. Also included are minutes and memoranda of the Ingram Merrill Foundation (most likely established by the family of Myers' friend the poet James Merrill) which gave grants to artists and writers. Myers served as the foundation's secretary. There are transcripts of interviews Myers conducted with Alexandra Anderson, Marisol and Red Grooms, and a transcript of Myers interviewed by Alfred Sturdevant.

Records of the Southampton Artists' Theatre Festival (Herbert Machiz, director, and John Bernard Myers, producer), operated at Long Island University during the summers of 1968 and 1969, consist of notes and music. Its 1969 production "Gertrude Stein's 'First Reader'" was repeated at the Museum of Modern Art and the Metropolitan Museum of Art. Music by Ann Sternberg includes "Sunshine," "Jenny," "How They Do, Do," "Baby Benjamin," "In a Garden," and "The Soldier."
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The John Bernard Myers 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:
John Bernard Myers papers, circa 1940s-1987, bulk 1970-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.myerjohn, Series 4
See more items in:
John Bernard Myers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-myerjohn-ref101

Artwork, Collages by Arthur Cady (illustrations for "Another Medici Child" by JBM)

Collection Creator:
Myers, John Bernard  Search this
Container:
Box 2, Folder 28
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The John Bernard Myers 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:
John Bernard Myers papers, circa 1940s-1987, bulk 1970-1987. Archives of American Art, Smithsonian Institution.
See more items in:
John Bernard Myers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-myerjohn-ref102

Artwork, Original for Announcement: "Tibor de Nagy Presents Red Grooms, Featuring Extension Paintings . . .,"

Collection Creator:
Myers, John Bernard  Search this
Container:
Box 2, Folder 29
Type:
Archival materials
Date:
circa 1962
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The John Bernard Myers 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:
John Bernard Myers papers, circa 1940s-1987, bulk 1970-1987. Archives of American Art, Smithsonian Institution.
See more items in:
John Bernard Myers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-myerjohn-ref103

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