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Art Techniques and Materials

Collection Creator:
Thayer, Polly, 1904-2006  Search this
Container:
Box 5, Folder 51
Type:
Archival materials
Date:
1941-1994
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Polly Thayer (Starr) papers, 1846-2008, bulk 1921-2008. Archives of American Art, Smithsonian Institution.
See more items in:
Polly Thayer (Starr) papers
Polly Thayer (Starr) papers / Series 5: Writings / 5.2: Notes
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cc5791d4-b9a4-4a7d-ae1b-40dbba043465
EDAN-URL:
ead_component:sova-aaa-thaypoll-ref307

Essays by Curry

Collection Creator:
Curry, John Steuart, 1897-1946  Search this
Container:
Box 4, Folder 25
Type:
Archival materials
Date:
circa 1924-1942
Scope and Contents note:
(includes an autobiographical essay; essays on the creative process, art technique, and Grant Wood; see also Correspondence and Project Files)
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.
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:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
See more items in:
John Steuart Curry and Curry family papers
John Steuart Curry and Curry family papers / Series 5: Notes and Writings / Essays
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93951b2f5-4669-4b24-9bd2-9cde2768a529
EDAN-URL:
ead_component:sova-aaa-currjohn-ref299

Writings

Collection Creator:
Aach, Herbert, 1923-1985  Search this
Extent:
0.2 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1950-1985
Scope and Contents note:
Writings include texts for lectures, miscellaneous writings by Aach on art techniques and materials, evaluations by students, Gail O'Brien's master's thesis entitled "The Painter's Approach Toward Serialization in Modern Painting", and information about printmaking by Jack Stewart.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Herbert Aach papers, 1942-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.aachherb, Series 6
See more items in:
Herbert Aach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97e353515-ef8b-4776-92e1-ccee6276643a
EDAN-URL:
ead_component:sova-aaa-aachherb-ref36

Writings and Notes

Collection Creator:
Kroll, Leon, 1884-1974  Search this
Extent:
(Boxes 4-5, 7; 0.5 linear feet)
Type:
Archival materials
Date:
circa 1920s-1972
Scope and Contents note:
Writings and notes include draft essays, lectures, speeches, notes, lists, recommendations, annotated address book and an engagement calendar. Subjects of writings include art technique, art history, Kroll's art, and the work of other artists. Lectures and speeches were generally given at art organizations such as the American Federation of Arts, or at art schools and universities. Additional writings include drafts of recommendations of artists for grants, memberships, or appointment to committees. Lists of people consist of drafts of invitation lists, member lists, and mailing lists. Scattered writings by others include an essay by Julia E. Langsam describing her experience as an artist's model for Kroll and additional writings about Kroll by unknown authors.
Arrangement note:
Writings are arranged in rough chronological order. This series has been scanned in its entirety, except for the 2019 additions, of which a large portion is duplicate material.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Leon Kroll papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.krolleon, Series 3
See more items in:
Leon Kroll papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c6e7d01c-7ff9-4e77-9cf3-22c550466610
EDAN-URL:
ead_component:sova-aaa-krolleon-ref315

Notebooks

Collection Creator:
Yoshida, Ray  Search this
Extent:
0.3 Linear feet (Box 3)
Type:
Archival materials
Date:
circa 1956-circa 2000
Scope and Contents:
Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items such as news clippings.
Arrangement:
This series is in rough chronological order.
Collection 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. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
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:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.yoshray, Series 3
See more items in:
Ray Yoshida papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91b3471ae-a135-4c77-b105-b0fbf4dbca9f
EDAN-URL:
ead_component:sova-aaa-yoshray-ref3

Writings

Collection Creator:
Buehr family  Search this
Extent:
4 Folders (Box 1)
Type:
Archival materials
Date:
circa 1915-1970
Scope and Contents note:
This series includes Karl Buehr's handwritten essays, lectures, and notebooks on art technique. The series contains magazine articles by Mary Hess Buehr, as well as Kathleen's manuscript, "California Notes."
Arrangement:
The series is arranged by family member.
Collection 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.
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:
Buehr family papers, 1880-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buehfami, Series 3
See more items in:
Buehr family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d074fe3a-53a5-47bf-8363-0ed4bf801273
EDAN-URL:
ead_component:sova-aaa-buehfami-ref23

Notes and Writings

Collection Creator:
Curry, John Steuart, 1897-1946  Search this
Extent:
(Box 4; 0.3 linear feet)
Type:
Archival materials
Date:
circa 1911-1946
Scope and Contents note:
This series contains essays, notes, transcripts of lectures and interviews, and other miscellaneous writings written primarily by John Steuart Curry. Other authors, where known, are noted in the folder listing, along with details about subject content. Subjects of writings include art technique, art history, Curry's artworks, early school essays, and one brief essay on Grant Wood. Also found are an annotated address book and mailing list dating from Curry's years in Westport, Connecticut, and travel notes from his trip to Europe in 1926-1927.
Arrangement note:
When multiple drafts are present, drafts are filed in the order in which they appear to have been written. Additional notes and writings are scattered throughout the collection.
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.
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:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.currjohn, Series 5
See more items in:
John Steuart Curry and Curry family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d833a840-b362-4f81-ad6a-b63a371b51e3
EDAN-URL:
ead_component:sova-aaa-currjohn-ref286

Writing Files

Collection Creator:
Pfriem, Bernard, 1914-1996  Search this
Extent:
7 Folders (Box 1)
Type:
Archival materials
Date:
1940s-1970s
Scope and Contents:
Writings by Pfreim include a eulogy, notes and writings on art techniques and movements, lesson plans, speeches, and two papers on art, journalism, and propaganda in Latin America during World War II. Writings by others include statements about and reviews of Pfriem's artwork and career; and a draft of Patrick Waldberg's Pfriem (1961).
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Researchers interested in accessing audiovisual material in this collection must use access copies. Contact Reference 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:
Bernard A. Pfriem papers, 1932-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pfribern, Series 2
See more items in:
Bernard A. Pfriem papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d820dd11-ce80-4e4d-bc67-30be1cefe108
EDAN-URL:
ead_component:sova-aaa-pfribern-ref29

Printed Materials

Collection Creator:
Bransom, Paul, 1885-  Search this
Extent:
1.5 Linear feet (Boxes 6-7, OV 12)
Type:
Archival materials
Date:
circa 1905-1985
Scope and Contents note:
This series includes catalogs and announcements for exhibitions; reproductions of Bransom illustrations and cartoons from magazines, newspapers, and calendars; newspaper and magazine articles about Bransom and others; programs from musical events in which Bransom performed; newsletters, brochures, membership directories, mailings, and invitations from organizations in which Bransom was involved; pamphlets and other printed matter about Jack London and other people known to Bransom; and a copy of Bransom's art technique book, Animal Drawing.

Catalogs are for individual and group exhibitions of Bransom's artwork, some of which are annotated with prices and other information. Printed price lists, press releases, and invitations are also found. Selected catalogs of exhibitions by Walt Kuhn and his pupil, Lily Cushing are filed under their names.

Many of Bransom's illustrations for magazine stories are also found, including stories by writers Albert Payson Terhune and Jim Corbett. An early newspaper cartoon series by Bransom called "News From Bugville" is represented here by over 200 printed copies of cartoons. An original drawing from Bransom's cartoon series is found in Artwork.

Clippings include biographies, reviews of exhibitions, book reviews for books illustrated by Bransom, obituaries, and other news related to Bransom and his friends. Additional clippings are found in Scrapbooks, and scattered clippings are found in Correspondence.

Printed material related to organizations ranges from a single item to long runs of newsletters or catalogs, with occasional annotations by Bransom and others. The Salmagundi Club and the Society of Animal Artists have the widest range of materials, including newsletters, announcements, exhibition documentation, membership directories, and other mailings. See also Personal Business Records for original records of Bransom's transactions with some of the organizations listed here.
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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:
Paul Bransom papers, 1862-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.branpaul, Series 5
See more items in:
Paul Bransom papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e4083d66-108f-44ff-9d13-ce35ecfefb0e
EDAN-URL:
ead_component:sova-aaa-branpaul-ref219

Writings

Collection Creator:
Rush, Olive, 1873-1966  Search this
Extent:
0.6 Linear feet (Box 2)
Type:
Archival materials
Date:
1886-1962
undated
Scope and Contents note:
This series contains diaries, notes, transcripts of lectures/talks, and other writings by Olive Rush, mostly about art, aesthetics, and art techniques. Also found are personal writings, creative writing, and writings of others. Rush's early diaries concern her childhood, education, and early career, including her experiences at the Corcoran School in Washington, D.C. and her arrival in New York City, where she studied with Henry Siddons Mowbray and Augustus St. Gaudens. A 1932 diary contains a daily account of her experience creating murals with young Native American artists at the Santa Fe Indian School. Rush's talks and lectures address mostly art-related topics, including art appreciation, modern art, her own art, and Indian art. Essays include a couple of brief, handwritten essays about Indian art.

Notebooks include a book labeled "Analysis" which contains compositional analyses of modern paintings, detailed notes on other art subjects, and sketches. Two other notebooks contain records of her experiments and practices with art materials, particularly frescoes, for which she developed her own techniques suitable to the New Mexican climate. Detailed notes are found concerning Rush's mural project for the Biology Building at the New Mexico College of Agriculture and Mechanical Arts, a Federal Public Works of Art Project, as well as loose notes on a range of art subjects. Miscellaneous Notes contain contact information and other personal notes.

Other writings are found in Series 1. More details on the Agricultural College mural are found in 1938 correspondence with R. Vernon Hunter, and many sketches for that project are found in Artwork (Series 4).
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rusholiv, Series 3
See more items in:
Olive Rush papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bf1c3623-c84d-45c7-9f7a-39c8c4ff105a
EDAN-URL:
ead_component:sova-aaa-rusholiv-ref41

Art Technique

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Container:
Box 14, Folder 13
Type:
Archival materials
Date:
circa 1940-1973
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 3: Personal and Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97d117c43-e6f6-4557-8ba7-cec79913f83e
EDAN-URL:
ead_component:sova-aaa-falkclai-ref477

Notes on Art Techniques and Supplies

Collection Creator:
Falkenstein, Claire, 1908-1997  Search this
Container:
Box 25, Folder 46
Type:
Archival materials
Date:
circa 1945
Collection Restrictions:
Use of original papers requires an appointment.
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:
Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Claire Falkenstein papers
Claire Falkenstein papers / Series 6: Writings / 6.4: Other Writings by Falkenstein
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cf86a80f-1a2e-4da6-996a-cdccbec29dd4
EDAN-URL:
ead_component:sova-aaa-falkclai-ref947

Writings

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Extent:
0.8 Linear feet (Boxes 2-3, OV 6)
Type:
Archival materials
Date:
circa 1868-1954
Scope and Contents note:
This series includes twelve diaries, notebooks, lectures, essays, poetry, and notes written primarily by Cecilia Beaux, as well as a collection of poems and essays about Cecilia Beaux by various authors including Royal Cortissoz, Richard Watson Gilder, and others. A single sketch on notepaper, which appears to be a study for a portrait, is filed at the end of this series.

Twelve diaries contain entries recording daily activities, including regular notes on her work in the studio and with various sitters for portraits. Some entries are quite brief, and others go on at length about her social life in Europe and America; occasional meetings with prominent figures such as Ida Tarbell, Clarence Day, J. Alden Weir, George Bellows, the Roosevelts, and others; jurying; sitters; women's suffrage; and women in art.

Lectures and essays on a variety of art subjects are found, usually in the form of annotated typescripts and often in multiple drafts, filed chronologically with their titles or subjects listed in folder headings. The latest draft of each work is filed first in each folder. Beaux writes of her own experiences as an artist, art techniques, education, critical or theoretical ideas, and autobiographical subjects which are unrelated to art. Included are several essays in the form of letters to unidentified recipients, including a detailed account of her time time spent in Malines, Belgium, to paint Cardinal Mercier in 1919. Lengthy prose fragments, many of them autobiographical, are possibly drafts from her 1930 memoir, Background with Figures.

Poems by Beaux are arranged chronologically, with published poems filed first, along with clippings of their published versions, followed by unpublished poems, titled and untitled. Additional poems are found in her 1868-1884 school notebook. Writings about Cecilia Beaux include poems by Richard Watson Gilder, Adrian Smith, and Adeline Adams; and prose by Royal Cortissoz, Paul Bion, and Eugene Neuhaus. Also found here are corrected galley proofs for an unattributed, published article on American Art that quotes Beaux extensively.

Notebooks include school notes and poetry, expenses, contacts, and what appear to be teaching records. A notebook labeled "Important Data" contains summaries by year of autobiographical data. Other notes include corrections and annotated proofs for Background with Figures, and collection notes by Beaux and others that relate to items in this collection.

Printed editions of some poems and essays are also found in Printed Materials. Additional autobiographical notes and essays are found in Biographical materials and Correspondence. See series descriptions for further details.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci, Series 3
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9647c0e32-fd95-4a8e-b069-291d3468744b
EDAN-URL:
ead_component:sova-aaa-beauceci-ref69

Clippings and Press

Collection Creator:
Zarina  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1970-1999
Collection 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.

Use of electronic records requires advance notice.
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:
Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Zarina Hashmi papers
Zarina Hashmi papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e927291f-99dd-404f-97bd-88056991af47
EDAN-URL:
ead_component:sova-aaa-zarina-ref27
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Karl Knaths papers

Creator:
Knaths, Karl, 1891-1971  Search this
Names:
Roseberg, Paul and Company  Search this
Einstein, Carl, 1885-1940  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Malevich, Kazimir Severinovich, 1878-1935  Search this
Mehler, F. A.  Search this
Meierhans, Joseph, b. 1890  Search this
Mocsanyi, Paul  Search this
Mondrian, Piet, 1872-1944  Search this
Phillips, Duncan, 1886-1966  Search this
Phillips, Marjorie, 1895-1985  Search this
Extent:
8.9 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Sketchbooks
Paintings
Manuscripts
Prints
Sketches
Transcripts
Date:
1890-1973
bulk 1922-1971
Summary:
The papers of cubist painter Karl Knaths measure 8.9 linear feet and date from 1890 to 1973, with the bulk of the materials dating from 1922 to 1971. The collection includes biographical material, personal and professional correspondence, four diaries, 22 notebooks and notes on theoretical color and compositional approaches to painting, published and draft copies of essays on art, miscellaneous printed material, 132 sketchbooks and other artwork.
Scope and Contents note:
The papers of cubist painter Karl Knaths measure 8.9 linear feet and date from 1890 to 1973, with the bulk of the materials dating from 1922 to 1971. The collection includes biographical material, personal and professional correspondence, four diaries, 22 notebooks and notes on theoretical color and compositional approaches to painting, published and draft copies of essays on art, miscellaneous printed material, and 132 sketchbooks and additional artwork.

Biographical material consists of a copy of Knaths's curriculum vitae, a press release, and miscellaneous personal financial records.

Correspondence in the collection documents Knaths's relationships with family, friends, and business associates after his move to Provincetown, Massachusetts in 1919. Notable correspondents include Duncan and Marjorie Phillips, artist Joseph Meierhans, and the gallery Paul Rosenberg and Co.

The papers include three of Knaths's personal diaries (1916-1919, 1948) and a diary written by F.A. Mehler in 1890. Additional writings include lecture notes from classes that Knaths both attended and taught; 22 notebooks that explore his interest in articulating a color and compositional theory of painting; loose notes on various artists, projects, and facets of painting; several of his completed essays on art, including "Decorative Material" and "Pictorial Analysis;" and a draft of his unpublished manuscript "Ornament and Glory." Writings by others include 15 lecture transcripts from courses taught by Hans Hofmann during the 1930s, Knaths's translations of essays by Piet Mondrian, Kazimir Malevitch, and Carl Einstein, and a biographical essay on Karl Knaths by Paul Mocsanyi.

Printed materials in the collection include clippings, exhibition catalogs, and programs related to Knaths's one-man exhibitions and group shows, and the books Syracuse University Centennial Collection of Art (1970) and Karl Knaths: Five Decades of Painting (1973).

The bulk of the collection consists of 132 sketchbooks and additional artwork. Sketchbooks date from the 1920s to the 1970s and document Knaths's early figurative and landscape studies and later explorations of cubist style and compositional experiments with color, line, and form. Additional artwork includes numerous color charts and diagrams that Knaths kept to inform his painting color palette; outlines of compositional works on both graphed and regular paper; loose pencil sketches and pastels of figures, landscapes, and compositional experiments; and finished paintings and prints.
Arrangement note:
The collection is arranged as 6 series:

Missing Title

Series 1: Biographical Material, circa 1950s-1971 (Box 1, 8; 6 folders)

Series 2: Correspondence, 1923-1971 (Box 1; .5 linear feet)

Series 3: Writings, 1890, 1916-1968 (Boxes 1-3, 8, OV 14, OV 19; 2 linear feet)

Series 4: Printed Material, circa 1920s-1973 (Box 3, OV 19; 10 folders)

Series 5: Sketchbooks, circa 1920s-1970s (Boxes 3-6, 9-13; 4.5 linear feet)

Series 6: Artwork, circa 1920s-1970s (Box 6, 13, OV 15-18, OV 20-22; 1.8 linear feet)
Biographical/Historical note:
Karl Knaths (1891-1971), born Otto G. Knaths, lived and worked in Provincetown, Massachusetts and was known for his cubist style of painting.

Knaths was born in Eau Claire, Wisconsin and studied at the Art Institute of Chicago in his early twenties. The 1913 Armory Show provided his first major encounter with modernist art styles and the works of Paul Cezanne and Vincent Van Gogh. In 1919, Knaths moved to Provincetown and began to explore cubist perspectives in his own work, which drew much of its inspiration from the fishing culture and landscapes of his Cape Cod environs. Intellectually curious and drawn to art theory, Knaths recorded his thoughts on composition rules, color classifications, and the potential intersections between music, space, and color theory in notebooks, notes, and sketchbooks throughout his career.

The patronage of art collector Duncan Phillips led to Knaths's first one-man show at the Phillips Collection in 1929. The following year, he landed a solo show at New York's Daniel Gallery. Knaths joined the Works Progress Administration in 1934 and painted murals and other works for a year and a half. From 1938 to 1950, he also taught painting and art theory during a six week course held at the Phillips Art School, and was a guest lecturer at Black Mountain College, North Carolina (1944) and the Skowhegan School of Painting and Sculpture in Maine (1948). From 1945 to 1971, he was represented by the art gallery Paul Rosenberg and Co. Knaths died in 1971 in his home in Provincetown, at the age of 80.
Related Archival Materials note:
The Archives of American Art holds one oral history interview with Karl Knaths conducted by Dorothy Seckler in 1962; a transcript of a 1968 lecture delivered by Knaths at the Provincetown Art Association in Provincetown, Massachusetts; and a 1955 video recording documenting Knaths's Cape Cod influenced artwork, directed by Jack Calderwood.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D81) including one sketchbook. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1962, Karl Knaths lent the Archives of American Art a sketchbook and a selection of papers for microfilming. Upon Knath's death in 1972, these papers, excluding the sketchbook, along with additional materials, were willed to the Archives. His executor, Kenneth Desmarais, donated additional material from Knaths's estate in 1977 and 1980.
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 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.
Occupation:
Painters -- Massachusetts -- Cape Cod  Search this
Topic:
Painting -- Study and teaching  Search this
Painting -- Technique  Search this
Cubism  Search this
Art -- Technique  Search this
Color in art  Search this
Art -- Study and teaching  Search this
Genre/Form:
Diaries
Sketchbooks
Paintings
Manuscripts
Prints
Sketches
Transcripts
Citation:
Karl Knaths papers, 1890-1973, bulk 1922-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.knatkarp
See more items in:
Karl Knaths papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cf903b6a-d529-4267-91e3-c358928a643c
EDAN-URL:
ead_collection:sova-aaa-knatkarp
Online Media:

Arthur Wesley Dow papers

Creator:
Dow, Arthur W. (Arthur Wesley), 1857-1922  Search this
Names:
Académie Julian -- Photographs  Search this
Ipswich Summer Art School -- Photographs  Search this
Hess, Herbert A. (Herbert Arthur)  Search this
Kenyon, Henry Rodman, 1861-1926 -- Photographs  Search this
Käsebier, Gertrude, 1852-1934  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Date:
circa 1826-1978
bulk 1879-1922
Summary:
The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826-1978, with the bulk of the material dating from 1879-1922. The collection documents aspects of the life and work of the landscape painter, printmaker, photographer and educator. Papers include correspondence, diaries, writings, lecture notes, clippings, catalogs, ephemera, artwork, and photographs.
Scope and Content Note:
The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826 to 1978, with the bulk of the materials dating from 1879 to 1922. Correspondence consists of two folders, which contain a few letters from Dow to his family during his stints painting in Brittany and to and from Columbia University's Teachers College, as well as letters from his wife (then fiancée) Minnie Pearson Dow to her mother and friend while she, too, was studying painting abroad. There is also a folder of typescript and handwritten notes on Dow's correspondence, the majority of which is not in this collection, attributed to his biographer, Arthur Warren Johnson. Diaries include travel diaries kept by Dow and his brother Dana F. Dow during their "trip around the world" in 1903-1904. Publications, clippings, exhibition catalogs, announcements for Dow's Ipswich Summer School of Art and a new edition of his book Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers are found within printed materials. Notes and writings include a substantial number of handwritten manuscripts and typescripts of Dow's lectures on art and art history during his tenure as the Dean of Fine Arts at the Teachers College of Columbia University. There are a few examples of works of art, including prints from the Ipswich Prints series, and a pencil sketch of a colonial home, similar to those that appeared in the serial Antiquarian Papers.

This collection is particularly rich in vintage prints of Dow portraits as well as family and group photographs, although it does not include any of the artist's landscape cyanotypes. Among the nineteen vintage prints are several platinum prints including a portrait by the renowned Pictorialist photographer Gertrude Käsebier and an atmospheric image of Dow taken at the Grand Canyon by Mrs. Fannie Coburn, the mother of another well-known Pictorialist photographer, Alvin Langdon Coburn. There are also three portraits by Herbert Hess and a photogravure of Dow by Kenneth Alexander that was used in the publication announcement for the second edition of Composition. Group photographs include an albumen print of fellow artist Henry R. Kenyon with Dow in his Ipswich studio, with classmates at the Académie Julian in Paris, and with his own students during a crafts class at his Ipswich Summer Art School. There are also several modern copy prints of vintage photographs from other collections as well as photographs of artworks by Dow and his contemporaries.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Correspondence, circa 1885-1934 (Box 1; 3 folders)

Series 2: Diaries, 1861-1904 (Box 1; 6 folders)

Series 3: Notes and Writings, circa 1904-1977 (Box 1; 0.4 linear feet)

Series 4: Printed Materials, circa 1826-1978 (Boxes 1-2; 5 folders)

Series 5: Photographs, circa 1880-1977 (Boxes 1-2; 0.6 linear feet)

Series 6: Artwork, circa 1879-1906 (Box 1; 3 folders)
Biographical Note:
Arthur Wesley Dow, landscape painter, printmaker, photographer, and influential art educator, was born in Ipswich, Massachusetts on April 6, 1857, the eldest son of Mary Patch and David Dow. As a young man, he showed interest in the colonial history of Ipswich and together with Reverend Augustine Caldwell, he produced the serial Antiquarian Papers from 1875 to 1880, which featured Dow's drawings of local colonial architecture. It was Caldwell who advised him to pursue formal art instruction and in 1880 Dow began studying in the Boston studio of James M. Stone.

Like many aspiring American artists of his generation, Dow traveled to Paris for further art instruction. Between 1884 and 1889, the artist alternated between spending time in Paris, where he had enrolled in the Académie Julian, and in Brittany where he painted landscapes en plein air. During this period he produced landscape paintings that were accepted into the Paris Salon and exhibited to moderate success back in the United States.

Shortly after his return to Ipswich, Dow took a studio in Boston, where he hoped to attract students and began an extremely fertile and successful period as an art educator. He began studying Japanese art, particularly the compositional elements employed in Japanese prints, which he synthesized with Western art techniques and utilized in teaching composition and design. In addition to seeing students in his Boston studio, he began the Ipswich Summer School of Art, which continued into 1907. Pratt Institute hired Dow as an art instructor in 1895 and he remained there until 1904, when he was appointed the Director of Fine Arts of the Columbia University Teacher's College, a position he retained until his death in 1922. Between 1897 and 1903, he also taught at the Art Students League.

In 1899 his seminal book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, was published. Composition illustrated Dow's teaching method, which focused on the compositional elements of line, notan (a Japanese word for the balance of light and dark in a composition) and color. The book underwent several printings and art schools across the United States adopted the Dow method. Max Weber, Georgia O'Keeffe and the photographer Alvin Langdon Coburn were among the artists who personally benefited from Dow's instruction. Through his teaching, publications, and public speeches, Arthur Wesley Dow played an important role in shaping modern American art.
Related Material:
Also found at the Archives of American Art are the William H. Elsner papers relating to Arthur Wesley Dow, which include color photographs of Dow's works of art and correspondence regarding Dow between Frederick Moffatt and Rudolph Schaeffer.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1027, 1033-1034, and 1079) including biographical material, correspondence, manuscripts, printed material, and one diary. Reel 1271 contains group photographs taken at the Académie Julian, Paris, as well as unidentified group photographs, some of the photographs and are available at the Ipswich Historical Society. All other loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Material on reels 1027 and 1033-1034 were lent for microfilming by the Ipswich Historical Society, 1975. The diary on reel 1079 was lent by the Society for Preservation of New England Antiquities, 1976. Dow's grand-niece, Mrs. George N. Wright, donated material in 1976, and lent the photographs for microfilming in 1977. Additional material was received from Frederick Moffatt in 1989, who had obtained them in preparation for his book Arthur Dow (1977).
Restrictions:
The bulk of the collection has been digitized and is available online via the Archives of American Art's website. Use of material not digitized requires an appointment.
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.
Occupation:
Landscape painters -- Massachusetts  Search this
Topic:
Works of art  Search this
Printmakers -- Massachusetts  Search this
Photographers -- Massachusetts  Search this
Art educators -- Massachusetts  Search this
Art -- Study and teaching -- Massachusetts  Search this
Genre/Form:
Diaries
Photographs
Citation:
Arthur Wesley Dow papers, circa 1826-1978 (bulk 1879-1922). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dowarth
See more items in:
Arthur Wesley Dow papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw948ccb3fe-dce1-4cf1-9dda-8b2ec6c95e74
EDAN-URL:
ead_collection:sova-aaa-dowarth
Online Media:

Books on Art Technique

Collection Creator:
Page, William, 1811-1885  Search this
Extent:
(Oversized items housed in Box 9)
Container:
Box 6, Folder 18
Type:
Archival materials
Date:
1849, undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.
See more items in:
William Page and Page Family papers
William Page and Page Family papers / Series 5: Printed Materials / Books
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96811f498-49c9-4a99-8b7b-b3b3045e9e2f
EDAN-URL:
ead_component:sova-aaa-pagewill-ref283

Minutes

Extent:
8.70 cu. ft. (9 document boxes) (7 12x17 boxes) (1 16x20 box)
Type:
Collection descriptions
Archival materials
Manuscripts
Date:
1846-1995
Descriptive Entry:
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead. Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from 1907 to 1946 and can be useful.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives; two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice since that time.

The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A. Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A. Wallace, William A. Wheeler, Henry Wilson.

Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White, William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.

Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell, Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin, Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey, Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull, Wallace H. White, Jr., Robert Enoch Withers.

Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth, Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton, Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce, Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R. Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.

Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings, John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley, John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton, Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson, Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Topic:
Museums -- Administration  Search this
Museum trustees  Search this
Genre/Form:
Manuscripts
Citation:
Smithsonian Institution Archives, Record Unit 1, Smithsonian Institution. Board of Regents, Minutes
Identifier:
Record Unit 1
See more items in:
Minutes
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0001
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Minutes digital asset number 1

Sketchbooks

Collection Creator:
Meiere, M. Hildreth, d. 1961  Search this
Extent:
0.4 Linear feet (Box 13)
Type:
Archival materials
Date:
1911- circa 1922
Scope and Contents:
There are eight sketchbooks containing figure studies, landscapes, and notes. One undated volume contains mainly costume sketches and handwritten notes. One sketchbook contains scenes from Yosemite National Park from 1912. Three of the sketchbooks appear to be from a continuous period of travel in Europe in 1912 and 1913, with sketches from Italy, France, and England, many identified and dated. A sketchbook labeled "Art Students League" contains mainly theatrical and costume studies, some with actors and performances identified from 1912-1913. A Sketchbook labeled "Fort Mason, San Francisco" also contains theatrical studies and notes on art techniques. The latest sketchbook is labeled "Navy Dept." and contains portraits of Navy personnel, presumably from Meière's time in the service, and other figure studies. Also found are notes in another hand, transcribing identifications from within the sketchbooks' pages.
Arrangement:
Additional drawings and ephemera found in the pages of the sketchbooks have been removed and filed alongside the sketchbook in which they were found. Additional drawings by Meière are found in the illustrated letters of Seres 2, Correspondence.
Collection Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari, Series 8
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9280007f2-176b-4fb5-9dfe-9571bcdcc703
EDAN-URL:
ead_component:sova-aaa-meiemari-ref8

Drawing new color lines transnational Asian American graphic narratives edited by Monica Chiu

Editor:
Chiu, Monica  Search this
Physical description:
1 online resource (369 pages) illustrations
Type:
Electronic resources
Electronic books
Criticism, interpretation, etc
Place:
United States
États-Unis
Asia
Asie
Date:
2015
Topic:
Graphic novels--History and criticism  Search this
Graphic novels  Search this
Asian Americans in literature  Search this
Romans graphiques--Histoire et critique  Search this
Romans graphiques  Search this
Américains d'origine asiatique dans la littérature  Search this
ART--Techniques--Drawing  Search this
ART--American--Asian American  Search this
International relations  Search this
Relations  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156436

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