Quotes and excerpts must be cited as follows: Oral history interview with Elizabeth Saltonstall, 1981 November 18. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- France -- Paris Search this
Art -- Study and teaching -- Massachusetts Search this
Quotes and excerpts must be cited as follows: Oral history interview with Jessie Benton, 2020 August 10. Archives of American Art, Smithsonian Institution.
An interview with Jessie Benton conducted 2020 August 10, by Josh T. Franco, for the Archives of American Art's Pandemic Oral History Project, at Benton's home in Martha's Vineyard, Massachusetts.
Biographical / Historical:
Jessie Benton (1939 - ) is the daughter of painter Thomas Hart Benton.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Scope and Contents:
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Arrangement:
The collection is arranged as 7 series.
Series 1: Correspondence, 1968-2002 (0.25 linear feet, Box 1)
Series 2: Writings, 1952-1984 (0.18 linear feet) Box 1)
Series 3: Exhibition Files, 1974-1988 (0.20 linear feet, Box 1)
Series 4: Project Files, 1980-1984, 2007 (0.17 linear feet, Box 1)
Series 5: Printed Material, 1962-2014 (2.09 linear feet Box 1, 2, 3)
Series 6: Artwork, circa 1966-1974 (0.07 linear feet, box 3, 4)
Series 7: Photographic Material, circa 1970s-1978 (0.04 linear feet, Box 4)
Biographical / Historical:
Irving Petlin (1934-2018) was a painter in Paris, France; New York, New York; and Martha's Vineyard, Massachusetts. Petlin was born in Chicago to Polish Jewish immigrants, attended the Art Institute of Chicago, and earned a MFA from Yale University. Petlin specialized in the medium of pastel, first gaining recognition in Paris after his service in the United States army. From there he went to Los Angeles, where he was principal organizer of the "Artists Protest Movement Against the War in Vietnam," and the 1966 "Peace Tower," with Mark di Suvero and other artists. Petlin and his wife, Sarah, a poet, moved to New York City for 28 years before returning to Paris. Petlin was heavily influenced by the political landscape around him and was an active member of the Art Workers' Coalition. He used allegory, mythology, and symbolism to illustrate politics and the human condition. He often collaborated on projects with other artists and was inspired by writers and poets. In the last decades of his life, Petlin split his time between his studio in Paris and his family's 18th century farmhouse in Martha's Vineyard continuing his work as an artist and activist.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Irving Petlin conducted by James McElhinney September 13 and 15, 2016.
Provenance:
The collection was donated in 2019 by Sarah Petlin.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
6 Microfilm reels (195 items on 6 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1874-1939
Scope and Contents:
The microfilmed Reynolds Beal papers contain sketchbooks, art works, notes, photographs, and printed material. Much of the material relates to William Merrit Chase. Microfilmed on Reels 278-282 and Reel 286 are a biographical sketch; 169 sketchbooks (1874-1938); a folder of 32 "Japanese Prints," mostly watercolors; a letter to Beal from his father (1896); three clippings; a book, Song of the Sea (1891), illustrated by Beal; and a diary kept while traveling around Long Island and Martha's Vineyard with his brother, Albert (1896).
Also microfilmed on Reel 286 is material relating to William Merrit Chase's classes at Shinnecock Hills, including Beal's notes on Chase's critical comments while studying with Chase; comments from Chase on museums in Holland; photographs of Chase's 10th Street studio and Shinnecock Hills studios; a catalog of the Chase retrospective, National Arts Club, (1910); clippings and miscellaneous printed material; a diary kept by Beal (1891), "Trip to Newfoundland with Albert [Beal],"describing fishing and his sketching activity; and a notebook with expense accounts and pencil sketches (1899).
Biographical / Historical:
Reynolds Beal (1866-1951) was a painter and printmaker in Rockport, Massachusetts known for his marine and landscape paintings. His brother was Gifford Beal (1879-1956), a painter, printmaker, and muralist. Reynolds Beal studied naval architecture at Cornell University before going on to study painting with William Merritt Chase in Shinnecock, Long Island and with Henry Ward Ranger in Europe. He is considered a modernist and he helped found the Society of Independent Artists and the New Society of Artists alongside George Bellows, Childe Hassam, John Sloan, William Glackens, and Maurice Prendergast.
Related Materials:
The Archives of American Art holds the Alger Beal papers relating to Reynolds and Gifford Beal, circa 1890-1965.
Provenance:
Materials on reels 278-282 and frames labeled as 1-85 on reel 286 lent for microfilming 1972 by Robert Campbell, Shore Galleries, Boston, Mass. Reel 286, frames labeled as 1-60 were lent by Mr. and Mrs. Wayne Morrell through Chapellier Galleries.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Elizabeth Saltonstall conducted 1981 November 18, by Robert F. Brown, for the Archives of American Art.
Saltonstall discusses her experiences with art as a child in Boston (mentioning Frank Weston Benson as an influence) and her subsequent art education at the Winsor School, the art school of the Museum of Fine Arts, Boston, and independent study in Paris. She remembers the various teaching styles of the Museum School faculty (Frederick A. Bosley, Henry Hunt Clark, Anson K. Cross, Philip Leslie Hale, Alexander James, and Leslie P. Thompson), especially as they contrasted with French teaching methods. She also speaks of her teachers in France and on Martha's Vineyard and Nantucket (including Frank Swift Chase), and recalls some of her co-students (including Josef Presser). Particular mention is made of a lithography workshop taught by Stow Wengenroth, and of George C. Miller, who printed her lithography stones. Her cousin, Nathaniel Saltonstall, is discussed as a patron of the arts, especially his contributions to the establishment of the Institute of Modern Art [Institute of Contemporary Art] in Boston. She touches also on her own teaching career at Winsor School and Milton Academy, and her involvement with the Boston Society of Independent Artists and the Grace Horn Gallery.
Biographical / Historical:
Elizabeth Saltonstall (1900-1990) was a painter, printmaker, and instructor of Chestnut Hill, Mass.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 25 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art teachers -- Massachusetts -- Boston Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Senga Nengudi papers, 1947, circa 1962-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.