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Oscar Bluemner papers

Creator:
Bluemner, Oscar, 1867-1938  Search this
Names:
Bourgeois, Stephan, 1881-1964  Search this
Bruce, Edward, 1879-1943  Search this
Fiene, Ernest, 1894-  Search this
Friedman, Arnold, 1874-1946  Search this
Hirsch, Stefan, 1899-1964  Search this
Hochschild, Walter  Search this
Lewisohn, Margaret  Search this
Liebman, Aline Meyer, 1879-1966  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Rothbart, Albert  Search this
Stieglitz, Alfred, 1864-1946  Search this
Vogelstein, Ludwig, 1871-1934  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Diaries
Photographs
Date:
1886-1939, 1960
Summary:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Scope and Content Note:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.

Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein.

Bluemner' extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries contain Bluemner's handwritten notes about newly-completed paintings and current work. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting.

Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed.

Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1886-circa 1937 (Box 1, OV 9; 0.2 linear feet)

Series 2: Correspondence, 1889-1936 (Box 1; 0.2 linear feet)

Series 3: Painting & Theory Diaries, 1911-1936 (Box 1-2, 7; 1.2 linear feet)

Series 4: Writings & Notes, 1891-1892, 1909-1937 (Box 2-4, 8; 2.2 linear feet)

Series 5: Annotated Books & Catalogs, 1907-1933 (Box 4-5; 1.0 linear feet)

Series 6: Art Motifs & Travel Sketches, 1902-1936 (Box 5-6, 8; 1.4 linear feet)

Series 7: Artwork, 1892-circa 1930s (Box 6; 4 folders)

Series 8: Printed Material, 1906-1939, 1960, undated (Box 6; 0.3 linear feet)

Series 9: Photographs, 1891, 1903, circa 1930s (Box 6; 5 folders)
Biographical Note:
Oscar Bluemner (1867-1938) was born Friedrich Julius Oskar Blümner in Prussia in 1867. As a child he received some formal art training. He enrolled in the architecture department of the Konigliche Technische Hochschule (Royal Technical Academy), Berlin, and received his architecture degree in 1892. A few months later he moved to the United States and worked in Chicago as a draftsman at the World's Columbian Exposition. After the exposition, Bluemner attempted to find work in both Chicago and New York City, but could not find steady employment. In 1903 he created the winning design for the Bronx Borough Courthouse, and for the next few years had various intermittent jobs as an architect in New York. Around this time Bluemner also began writing down his thoughts on aesthetics, art history, and art theory, which he would continue to do for the rest of his life in various journals, diaries, and notebooks.

In 1908 Bluemner met Alfred Stieglitz at Stieglitz's gallery, known as "291", and by 1910 he had decided to pursue painting full-time rather than architecture. From 1911 to 1912 he worked on a set of Neo-Impressionist paintings and, using the money he won in a suit regarding the Bronx Courthouse design, he went on a seven-month trip to Europe, touring museums and galleries, and exhibiting his own work in Germany. Upon returning to the United States, Bluemner exhibited in the 1913 Armory Show, and in 1915 had a one-man show at 291. Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near-poverty. In 1916 he moved to New Jersey, living as an itinerant, until finally settling in South Braintree, Massachusetts, after his wife's death in 1926. Over the next few years, Bluemner had several prominent one-man shows at the Whitney Studio Galleries and at the Marie Harriman Gallery in New York. He was briefly employed for the Public Works of Art Project in 1934 and the Federal Art Project in 1936, but due to failing health was forced to stop painting. Oscar Bluemner committed suicide in 1938.
Related Material:
Also found in the Archives of American Art is the John Davis Hatch papers, 1790-1995, which include correspondence, printed material, and research files regarding Oscar Bluemner.

Additional Oscar Bluemner materials are available at the Avery Architectural and Fine Arts Library, Columbia University, and within the Vera Bluemner Kouba Collection, Stetson University, Deland, Florida.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The material on reel N737 was lent by Graham Gallery in 1968. The rest of the collection was donated between 1970-1985 by John David Hatch, a close friend of Bluemner and an art historian.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Oscar Bluemner 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 -- Philosophy  Search this
Works of art  Search this
Painting -- Technique  Search this
Architects -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- History  Search this
Art criticism  Search this
Art, Chinese  Search this
Art, Japanese  Search this
Genre/Form:
Sketches
Writings
Diaries
Photographs
Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blueosca
See more items in:
Oscar Bluemner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blueosca
Online Media:

Rudolf Arnheim papers

Creator:
Arnheim, Rudolf  Search this
Names:
Harvard University  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New School for Social Research (New York, N.Y.)  Search this
Sarah Lawrence College  Search this
University of Michigan  Search this
Albers, Josef  Search this
Kepes, Gyorgy, 1906-2001  Search this
Sheldon, Alice Bradley, 1915-1987  Search this
Extent:
9.6 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Diaries
Date:
1919-1998
Summary:
The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers document his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.
Scope and Contents:
The papers of art historian, educator, writer and psychologist Rudolf Arnheim measure 9.6 linear feet and date from 1919 to 1998. The papers documents his career in New York, Michigan, and abroad through biographical material, correspondence, writings, lectures, diaries, printed material, and sound recordings.

Biographical material includes a bibliography, biographical sketches, contracts and agreements, sound cassettes of interviews, and other miscellaneous material.

Correspondence is with colleagues, editors, publishers, and universities on various subjects. The bulk of the correspondence is arranged by subject such as architects, art historians, dance, and film. There is correspondence with Harvard University, University of Michigan, Museum of Modern Art, and New School of Social Research, as well as various individuals such as Josef Albers, Gyorgy Kepes, and Alice Sheldon.

Writings and lectures include book reviews, articles, lecture drafts and notes, sound recordings of lectures, manuscripts, and copies of published articles.

Arnheim's diaries date from 1919 to 1987 and discuss his early life as a student in Germany and career as an educator and lecturer. Some diaries include draft writings.

Printed material includes lecture announcements, reviews, clippings, programs, brochures, assorted material from Sarah Lawrence College, and two instructional sound cassettes.
Arrangement:
The collection is arranged as 5 series.

Series 1: Biographical Material, 1939-1991 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1940-1998 (Boxes 1-5; 4.4 linear feet)

Series 3: Writings and Lectures, 1930-1989 (Boxes 5-8; 2.7 linear feet)

Series 4: Diaries, 1919-1987 (Boxes 8-9; 1.0 linear feet)

Series 5: Printed Material, 1928-circa 1990 (Boxes 9-11; 1.2 linear feet)
Biographical / Historical:
Rudolf Arnheim (1904-2007) was a writer, educator, art historian and psychologist who was born in Germany and immigrated to the United States where he primarily worked in New York and Massachusetts.

Rudolf Arnheim was born in Berlin, Germany on July 15, 1904. He received his doctorate in psychology from the University of Berlin in 1928. Arnheim worked as a film critic and editor for several magazines and journals after graduation. During this time, he gathered information which would be compiled in his book Film as Art (1932). When the Nazis came into power in 1933, Arnheim moved to Rome where he worked at the Institute for the Educational Film for six years, then moved to London in 1939 and worked as a translator for the British Broadcasting Company.

Arnheim immigrated to the United States in 1940. In 1943, he became a psychology professor at Sarah Lawrence College where he continued to teach until 1968. He also taught at the New School for Social Research during this time. From 1959 to 1960, he was a Fulbright lecturer at Ochanomizu University in Tokyo, Japan. After Sarah Lawrence College, Arnheim became a Professor of Psychology of Art at Harvard University, where he stayed until 1974 when he moved to Ann Arbor, Michigan with his wife Mary. He was a visiting professor at the University of Michigan from 1974 to roughly 1984.

Among his many publications are Art and Visual Perception, Toward a Psychology of Art, Visual Thinking, Entropy and Art, Picasso's Guernica, and The Power of Center. Arnheim died in Ann Arbor in 2007.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rudolf Arnheim conducted by Robert F. Brown, May 16, 1972. Additional papers on Rudolf Arnheim related to psychology are available at the Archives of the History of Psychology in Akron, Ohio.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 3767) including correspondence with German publishers and editors, 1959-1982; Dumont Buchverlag, 1963-1980; Carl Hanser Varlag, 1974-1981; Helmut Diederich, 1974-1981; Franz Rudolf Knubel, 1971-1981; Werner Korbs, 1976-1982; Jurgen Weber, 1972-1981; and others. The originals were returned to Rudolf Arnheim after microfilming and subsequently donated to the Schiller-Nationalmuseum Deutsches Literaturarchiv, Germany. This material is not described in the collection container inventory or the finding aid.
Provenance:
The Rudolf Arnheim papers were donated to the Archives of American Art in several installments between 1974 to 1998 by Rudolf Arnheim. Arnheim also loaned material for microfilming in 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and electronic records with no duplicate access copies requires advance notice.
Topic:
Art -- Study and teaching -- United States  Search this
Art--Study and teaching--Germany  Search this
Art historians -- Massachusetts  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- Massachusetts  Search this
Authors -- New York (State) -- New York  Search this
Educators -- Massachusetts  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Diaries
Citation:
Rudolf Arnheim papers, 1919-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arnhrudo
See more items in:
Rudolf Arnheim papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-arnhrudo

Mathias Joseph Alten scrapbook

Creator:
Alten, M. (Mathias), 1871-1938  Search this
Extent:
1 Item (v. containing 115 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1920-1965
Scope and Contents:
Clippings primarily, also exhibition catalogs, reproductions of a cover of magazine THE COMMONWEALTH.
Biographical / Historical:
Painter; Grand Rapids, Michigan.
Provenance:
Lent for microfilming 1980 by Diane Boozer and Gloria Gregory via art historian J. Gray Sweeney, an authority on Alten.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Michigan  Search this
Citation:
Mathias Joseph Alten scrapbook. Owned by Gloria Gregory and Diane Boozer. Microfilmed by Archives of American Art, Smithsonian Institution.
Identifier:
AAA.altemath
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-altemath

Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Ruth Bowman papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Authorization to quote, publish or reproduce her unpublished writings and related research materials requires written permission from Ruth Bowman, 200 East 66th Street, Apt. B-2101, New York, New York 10021.
Topic:
Art -- Study and teaching  Search this
Art historians -- California -- Los Angeles  Search this
Art, American -- 20th century  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Online Media:

Adelyne Dohme Breeskin papers

Creator:
Breeskin, Adelyn Dohme, 1896-1986  Search this
Names:
National Collection of Fine Arts (U.S.)  Search this
National Museum of American Art (U.S.)  Search this
Avery, Milton, 1885-1965  Search this
Cassatt, Mary, 1844-1926  Search this
MacIver, Loren, 1909-  Search this
Extent:
2.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
circa 1934-1986
Summary:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Scope and Contents:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Arrangement:
The collection is arranged as four series:

Series 1: Biographical Material, 1938-1986 (0.6 linear feet; Box 1, OVs 4-6)

Series 2: Correspondence, 1940-1970 (0.5 linear feet; Box 1)

Series 3: Writings and Lectures, circa 1934-1981 (1 linear foot; Boxes 1-2)

Series 4: Professional Files, 1945-1984 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Adelyn Dohme Breeskin (1896-1986) was an art historian and museum curator in Baltimore, Maryland, and Washington, D.C. She was the first woman to be named director of a major American museum, the Baltimore Museum of Art.

Adelyn Dohme took her first museum job in the print department of the Metropolitan Museum of Art, where she worked with Kathryn B. Child under the supervision of William Mills Ivins. She left the museum in 1920 to marry violinist Elias Breeskin, and the couple had three children before divorcing in 1930.

Following her divorce, Breeskin returned to her native Baltimore and took a position as a curator with the Baltimore Museum of Art. In 1942 she was appointed director of the museum and remained in that position until 1962. As director she gave Milton Avery and Mary Cassatt's graphics their first museum shows.

Breeskin served as commissioner for the American contingent of the Venice Biennale in 1960 and was director of the Washington Gallery of Modern Art from 1962-1964. She then became a special consultant in twentieth-century art for the Smithsonian's National Collection of Fine Art and served as the museum's curator of contemporary painting and sculpture from 1968 to 1974.

Breeskin authored two catalogue raisonnés of Mary Cassatt's work, and conducted extensive research for a monograph on Loren MacIver, although the monograph was ultimately not published. In 1985 Breeskin received the Smithsonian Institutions highest award, the Gold Medal for Exceptional Service, and at the time of her death in 1986, was senior curatorial adviser.
Related Materials:
The Archives of American Art also holds oral history interviews with Adelyn Breeskin conducted by Paul Cummings in 1974, and Julie Haifley in 1979.
Provenance:
Portions of the collection were donated to the Archives of American Art in a series of gifts from Adelyn Breeskin, 1979-1985. Material relating to Loren MacIver was donated 1979-1987 by Breeskin and Robert Frash, who had possession of Breeskin's research materials on MacIver for an exhibition on MacIver he curated in California. Letters from Georgia O'Keeffe, Stanton Macdonald-Wright, and Lawrence Calcagno, an exhibition catalog for Calcagno, and the file on Milton Avery, were donated by the National Museum of American Art on January 28, 1981. The birthday book was a gift from Breeskin's daughter, Gloria Breeskin Peck, in 2015. The sound recordings were transferred from the National Museum of American Art, circa 1984.
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.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. 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.
Occupation:
Art museum curators -- Maryland -- Baltimore  Search this
Art museum curators -- Washington (D.C.)  Search this
Art historians -- Maryland -- Baltimore  Search this
Art historians -- Washington (D.C.)  Search this
Topic:
Women art historians  Search this
Women museum curators  Search this
Genre/Form:
Sound recordings
Citation:
Adelyn Dohme Breeskin papers, circa 1934-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breeadel
See more items in:
Adelyne Dohme Breeskin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-breeadel

Margaret Bouton papers

Creator:
Bouton, Margaret  Search this
Names:
Keck, Andrew  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Extent:
7 Items ((ca. 700 pages))
Type:
Collection descriptions
Archival materials
Date:
1945-1978
Scope and Contents:
Papers relating to Bouton's research on Augustus Saint-Gaudens, including the typescript of Bouton's dissertation, "Early Works of Augustus Saint-Gaudens," Radcliffe College, 1946; a card file bibliography; notes on Saint-Gaudens' late works; letters from John Flanagan, Virginia Gerson, and others about work by Saint-Gaudens; and a typescript of a lecture delivered by Andrew Keck, "Henry Adams and his Bronze Figure," 1978.
Biographical / Historical:
Art historian (Washington, D.C.)
Provenance:
Donated 1984 by Margaret Bouton.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Sculptors  Search this
Identifier:
AAA.boutmarg
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-boutmarg

Stephan Bourgeois papers

Creator:
Bourgeois, Stephan, 1881-1964  Search this
Names:
Bourgeois Galleries (New York, N.Y.)  Search this
Greco, 1541?-1614  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Business records
Photographs
Date:
1908-circa 1964
Summary:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.
Scope and Contents:
The papers of New York art dealer and consultant Stephan Bourgeois measure 4.2 linear feet and date from 1908 to circa 1964. The papers include biographical material, correspondence, writings, personal business records and printed material.

Biographical material includes an address book, biographical statement, passport, a few photographs and some miscellaneous artifacts.

Correspondence consists of Stephan Bourgeois's letters to and from museums, clients and other art dealers. There is business correspondence with lawyers and art dealers in Cologne, Germany. Alphabetical correspondence mostly dates from Stephan Bourgeois's time in New York City on the subject of art and exhibitions. There is also correspondence regarding specific paintings.

Writings consists of notebooks on artists, writings about various art subjects, research and writings on El Greco, notes on places and sociology, and finally miscellaneous notes.

Personal business records include income tax records, bills and receipts, material related to requesting compensation from the German government, and miscellaneous financial records.

The bulk of the printed material consists of exhibition catalogs from Bourgeois Galleries. There are a few articles about Stephan Bourgeois, catalogs from other galleries, and assorted clippings.
Arrangement:
The collection is arranged as five series.

Series 1: Biographical Material, 1908-circa 1964 (7 folders; Box 1)

Series 2: Correspondence, 1928-1962 (0.6 linear feet; Box 1)

Series 3: Writings, circa 1910-circa 1964 (2.9 linear feet; Boxes 1-4)

Series 4: Personal Business Records, circa 1910-circa 1964 (0.3 linear feet; Box 4)

Series 5: Printed Material, 1915-1961 (0.4 linear feet; Boxes 4-5)
Biographical / Historical:
Stephan Bourgeois (1881-1964) was an art dealer, historian, writer and gallery owner based in New York City.

Stephan Bourgeois was born in 1881 in Cologne, Germany. He came from a long line of prominent art dealers and collectors. Bourgeois studied law at the University of Geneva, Switzerland and later studied art history at the University of Strasbourg in France as well as the universities of Bonn and Berlin in Germany. After his studies, he traveled extensively and then settled in Paris, France. In 1906, he began his career as an art dealer and consultant for museums and private collections.

Bourgeois immigrated to the United States in 1910 and lived in New York City. From 1911 to 1933, he was the founding director of Bourgeois Galleries. Bourgeois Galleries specialized in Old Master paintings as well as modern art, and featured artists such as Degas, Delacroix, Corot, Cezanne, Renoir, Gauguin, Van Gogh, Toulouse Lautrec, Albert Gleizes, Joseph Stella, Oscar Bluemner, Mario Toppi, and others.

After the gallery closed its doors in 1933, Bourgeois continued his work as an art historian, art dealer, and consultant. He lectured at numerous art institutions and universities such as the Art Institute of Chicago, Columbia University, and New York University. Bourgeois wrote several books including Evolution of Images in Art and Two Polarities of Modern Art: Henri Rousseau and Pablo Picasso. He was especially interested in the life and art of El Greco and he organized an exhibition about him at Knoedler Gallery in 1941 and later wrote a book about the artist. Bourgeois died in 1964.
Provenance:
The Stephan Bourgeois papers were donated to the Archives of American Art in 1980 by Mrs. Stephan Bourgeois, widow of Bourgeois.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Art dealers  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Business records
Photographs
Citation:
Stephan Bourgeois papers, 1908-circa 1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bourstep
See more items in:
Stephan Bourgeois papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bourstep

Giulio V. Blanc papers

Creator:
Blanc, Giulio V.  Search this
Names:
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Brito, Maria, 1947-  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carreño, Mario  Search this
Carulla, Ramón, 1938-  Search this
Demi, 1955-  Search this
Garcia, Hernan, 1935-  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Goldman, Shifra M., 1926-2011  Search this
Gómez-Peña, Guillermo  Search this
Lam, Wifredo  Search this
Larraz, Julio  Search this
Libin, Victoria  Search this
Macia, Carlos A., 1951-1994  Search this
Martínez-Cañas, María  Search this
Riverón, Enrique  Search this
Rodríguez, Arturo, 1956-  Search this
Sánchez, Juan, 1954-  Search this
Sí, Juan  Search this
Trasobares, César  Search this
Vater, Regina  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this
Interviewee:
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Extent:
11 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1920-1995
Summary:
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
Arrangement:
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Biographical Note:
Independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.
Related Materials:
Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.
Provenance:
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Giulio V. Blanc 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:
Cuban American art -- Florida -- Miami  Search this
Art, Latin American  Search this
Artists -- Cuba  Search this
Cuban American artists  Search this
Art historians -- Florida -- Miami  Search this
Genre/Form:
Sound recordings
Citation:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
Identifier:
AAA.blangiul
See more items in:
Giulio V. Blanc papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blangiul
Online Media:

Albert Bloch papers

Creator:
Bloch, Albert  Search this
Names:
Bloch, Anna  Search this
Fehl, Philipp P.  Search this
Kandinsky, Wassily, 1866-1944  Search this
Klee, Paul, 1879-1940  Search this
Klinker, Emmy  Search this
Marc, Franz, 1880-1916  Search this
Penney, James, 1910-1982  Search this
Sudlow, Robert  Search this
Extent:
17.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1873-2014
Summary:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.
Scope and Contents:
The papers of painter and educator Albert Bloch measure 17.9 linear feet and date from 1873 to 2014. The collection documents his career as an artist and university professor in Lawrence, Kansas, as well as his time in Munich, Germany, as part of the Blue Rider group of German Expressionists. The collection includes biographical material, extensive personal and professional correspondence, writings, personal business records, exhibition files, printed material, photographs, and artwork. Throughout the collection are records maintained by his widow Anna Bloch on the exhibition, sale, and research of Bloch's work after his death.

Biographical material includes vital records, passports, chronologies, biographical summaries, family history documents, and bibliography files compiled by Anna Bloch. Correspondence is with family, friends, artists, art historians, students, museums, galleries, publishers, magazines, and others, and includes letters of both a personal and professional nature. Of note is Albert Bloch's correspondence with artists Wassily Kandinsky, Paul Klee, Emmy Klinker, Franz Marc, Philipp Fehl, and his students James Penney and Robert Sudlow.

Writings include poetry, lectures, essays, notes, and Bloch's translations of the writings of Austrian writer Karl Kraus. Included are many drafts of his book of poetry, Ventures in Verse: Selected Pieces. Also found are love notes between Albert and Anna Bloch. Writings by others include a few notebooks and loose notes by Anna Bloch, essays and lectures about Bloch's artwork, and poetry.

Personal business records include lists of artworks, price lists, sales records, and ownership records, and more recent records concerning artwork conservation; agreements, and consignment records with art galleries and dealers; and artwork shipping records, all maintained by Anna Bloch. Exhibition files are not comprehensive, and primarily document retrospective exhibitions of Bloch's artwork occurring after his death. Of note are records, including a scrapbook, for a 1997 retrospective at the Nelson-Atkins Museum of Art.

Printed material includes exhibition publications, news clippings, magazines, journals, and photocopies of Bloch's work for The Mirror. Photographs depict Bloch in his home, studio, and with family and friends. Also found are many photographs of family and friends, artwork by Bloch, Blue Rider exhibition photographs taken by artist Gabriele Münter, and two photograph album "Record Books" that contain annotated photographs of his painting during the period that he lived in Germany. A small amount of artwork includes sketches by Bloch.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1873-1990s (0.4 Linear feet; Box 1)

Series 2: Correspondence, 1912-2013 (6.2 Linear feet; Boxes 1-7)

Series 3: Writings, circa 1920s-1990s (3.9 Linear feet; Boxes 7-11)

Series 4: Personal Business Records, 1914-2014 (0.6 Linear feet; Box 11)

Series 5: Exhibition Files, 1939-2000 (0.7 Linear feet; Box 12, 19)

Series 6: Printed Material, 1911-2006 (2 Linear feet; Boxes 12-14)

Series 7: Photographic Materials, circa 1882-2013 (4.1 Linear feet; Boxes 14-21)

Series 8: Artwork, circa 1930s-1950s (0.2 Linear feet; Box 17)
Biographical / Historical:
Albert Bloch (1882-1961) was a painter and educator in Lawrence, Kansas. From 1909 to 1921, he lived and worked in Germany, where he was associated with Der Blaue Reiter (The Blue Rider) group of European modernists.

Bloch was born in St. Louis, Missouri, and as a teenager attended the St. Louis School of Fine Arts. From 1905 to 1913, he contributed numerous caricatures, cartoons, covers, and articles to the satirical newspaper The Mirror. In 1905, he married Hortense Altheimer and they lived briefly in New York City before moving to the artists' district in Munich, Germany, thanks to the financial support of William Reedy, editor of The Mirror. By 1911 Bloch had befriended prominent members of the Neue Kunstlervereinigung Munchen (NKVM), including Wassily Kandinsky and Franz Marc. He joined them when they later seceded from the NKVM group to form Der Blaue Reiter. Bloch exhibited six paintings in the group's first exhibition in 1911-1912. Over the next few years, Bloch exhibited his works regularly, most notably at Der Sturm Gallery. He and his family remained in Germany throughout World War I, returning to the US in 1921.

Bloch worked briefly at the Chicago Academy of Fine Art, and in 1923, settled in Lawrence, Kansas, accepting a faculty position at the University of Kansas. During this period he did not regularly exhibit his work and focused on teaching and writing. He corresponded with Austrian writer Karl Kraus, editor of Die Fackel, and began to translate Kraus' works into English. In the early 1930s, Bloch met Anna Francis at the University of Kansas and later she lived with the Bloch family, including Hortense and two sons, Bernard and Walter. After the death of his wife Hortense, Alfred married Anna in 1951. 1947, Bloch suffered a heart attack and retired from the University of Kansas. That same year a book of his poetry, Ventures in Verse: Selected Pieces, was published.

Bloch continued to paint and had a large retrospective of his work in 1955 at the University of Kansas Museum of Art. He died in December 1961 after a long illness.
Related Materials:
The Albert Bloch, the American Blue Rider Exhibition records, 1994-1997, are available at the Nelson-Atkins Museum of Art.
Provenance:
The collection was donated in 2015 by the Albert Bloch Foundation via Scott Heffley, president. Additonal letters from Anna Bloch donated 2017 by David Strauss, Albert Bloch's cousin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Albert Bloch papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Educators -- Kansas -- Lawrence  Search this
Topic:
Art -- Study and teaching  Search this
Expressionism (Art) -- Germany  Search this
Der Blaue Reiter (Art)  Search this
Painters -- Kansas -- Lawrence  Search this
Genre/Form:
Photographs
Sketches
Citation:
Albert Bloch papers, 1873-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blocalbe
See more items in:
Albert Bloch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blocalbe

Avis Berman research material on art and artists

Creator:
Berman, Avis  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Brooks, Romaine  Search this
Cassatt, Mary, 1844-1926  Search this
Child, Katherine B.  Search this
Cone, Claribel  Search this
Cone, Etta  Search this
Foster, James W., 1920-  Search this
Gross, Chaim, 1904-1991  Search this
Ivins, William Mills, 1881-1961  Search this
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Nakian, Reuben, 1897-1986  Search this
Rosenthal, Gertrude, 1903-  Search this
Sloan, Helen Farr, 1911-2005  Search this
Sloan, John, 1871-1951  Search this
Stein, Gertrude, 1874-1946  Search this
Toklas, Alice B.  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1976-1988
Scope and Contents:
Avis Berman research material on art and artists consists of interviews conducted by Berman and scattered correspondence in preparation for various books, articles and exhibitions. Subjects include Romare Bearden, Adelyn Breeskin, Chaim Gross, Jacob Lawrence, Reuben Nakian, and Helen Farr Sloan regarding John Sloan.
Material on art historian and museum director Adelyn Breeskin (microfilm reel 2786) includes an interview conducted by Berman September 8 and November 2, 1976. Breeskin speaks of her educational background; working at the Boston Museum of Fine Arts and the Metropolitan Museum; her early interest in reading and illustrated books; her role as Curator of Prints and Director of the Baltimore Museum of Art; the Sadie May, Claghorn, Garrett, and Cone Collections; the financial management of the Baltimore Museum of Art; the Venice Biennale, 1960; and her research concerning Mary Cassatt and Romaine Brooks. She recalls Katherine B. Child, Claribel and Etta Cone, William Ivins, Jr., Gertrude Stein, Alicie B. Toklas and others. Also included are transcripts of interviews with Gertrude Rosenthal, January 14, 1977, and James Foster, December 10, 1976, in which they discuss working with Breeskin, and a copy of Berman's article "Adelyn Breeskin: 50 Years of Excellence, Part I," which appeared in the Feminist Art Journal, Summer 1977; and a manuscript draft and photocopied pages of "Profile of Adelyn Breeskin, Part 2" by Berman. (An abbreviated version of this article appeared in The Baltimore Sun, Oct. 30, 1977).
Berman's interview of painter Romare Bearden (2 cassettes, 45 page transcript) was conducted 1980 July 31 in Bearden's studio, Long Island City, New York. Bearden discusses his mural commissions; his youth; his time in Paris; working out of the blues tradition; the influence of the South; and changes in his work. He recalls Constantin Brancusi, Jacob Lawrence, Henri Matisse, Duke Ellington, Stuart Davis, and others.
The interview with painter Jacob Lawrence was conducted 1982 July 20-August 4th (3 sound cassettes, 81 page transcript). Also present is Gwendolyn Knight.
The interview with Helen Farr Sloan, widow of painter John Sloan, was conducted by Berman on 1988 July 17 for an audience at the Delaware Art Museum. The interview primarily concerns her husband, painter John Sloan including their marriage and life together as well as his life and work before they married, Farr Sloan's education including being a student of John Sloan's, as well as her own experience as a teacher. She briefly discusses art collecting.
The interview of sculptor Reuben Nakian was conducted 1981 April 1 (1 sound cassette, untranscribed).
The interview of sculptor Chaim Gross and Renee Gross was conducted 1981 March 7 (2 sound cassettes, untranscribed).
The collection also includes 13 letters to Berman from art historians and critics, and copies of 2 letters sent, in response to her query about what books they find indispensable to their work. Berman used the information in an article in ARTnews (Nov. 1983). Correspondents include John Szarkowski, Milton Brown, John Canaday, Robert Rosenblum, Julius Held, Theodore Reff, Linda Nochlin, Albert Elsen, James R. Mellow, Lewis Mumford, Dore Ashton, John Walker, and Robert Rosenblum. This material is on microfilm reel 4909.
Biographical / Historical:
Avis Berman (1949- ) is an art historian, writer, and curator from New York, N.Y.
Related Materials:
Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006 and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.
Provenance:
The collection was donated incrementally by Avis Berman 1981-1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Interviews with Gross, Lawrence, and Nakian: Authorization to quote or reproduce for purposes of publication must be obtaind from Avis Berman.
Topic:
Art historians -- United States -- Interviews  Search this
Art historians -- Interviews  Search this
Museum directors -- Interviews  Search this
Genre/Form:
Interviews
Identifier:
AAA.bermavis
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bermavis

Avis Berman research material on Katharine Kuh

Creator:
Berman, Avis  Search this
Names:
Arensberg, Walter, 1878-1954  Search this
Dale, Chester, b. 1883  Search this
Duchamp, Marcel, 1887-1968  Search this
Harmon, Lily, 1912-  Search this
Kaufmann, Edgar, 1910-1989  Search this
Kuh, Katharine  Search this
Lebrun, Rico, 1900-1964  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Rich, Daniel Catton, 1904-1976  Search this
Tobey, Mark  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1939-2006
Summary:
The Avis Berman research material on art dealer and curator Katharine Kuh measures 3.0 linear feet and dates from 1939 to 2006. The materials were compiled by art historian Avis Berman in preparing Katharine Kuh's memoir, which was published posthumously as My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. The collection includes Katharine Kuh's files; Kuh's drafts, manuscripts and interviews for her memoir; and Avis Berman's files relating to the book's publication. Also included is memorabilia.
Scope and Content Note:
The Avis Berman research material on art dealer and curator Katharine Kuh measures 3.0 linear feet and dates from 1939 to 2006. The materials were compiled by art historian Avis Berman in preparing Katharine Kuh's memoir, which was published posthumously as My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. The collection includes Katharine Kuh's files; Kuh's drafts, manuscripts and interviews for her memoir; and Avis Berman's files relating to the book's publication. Also included is memorabilia.

The Katharine Kuh files contain correspondence; exhibition files; writings and notes; and Kuh's interview with Lily Harmon on J. B. Neumann. Correspondents include Walter Arensberg, Marcel Duchamp, and Edgar Kaufmann. Also included is the scattered correspondence of Daniel Catton Rich with Walter Arensberg, Chester Dale, Katharine Kuh, Samuel Marx, and others. Exhibition files pertain to exhibitions curated by Katharine Kuh for the Louise and Walter Arensberg Collection and one-man shows for Rico Lebrun and Mark Tobey, respectively.

Sorting Out and Summing Up: Episodes in An Art Odyssey contains Katharine Kuh's draft versions of book chapters; her manuscripts and interviews; and drafts of chapters that were not incorporated in the published memoir. Also included are manuscripts for the memoir and an annotated version of Avis Berman's interview with Kuh.

The Avis Berman files include correspondence, writings, printed material, clippings, press releases, and miscellaneous printed material. Files document Berman's activities concerning the publication of the memoir.

Memorabilia consists of a monograph and a memorial booklet.
Arrangement:
The collection is arranged as 4 series:

Series 1: Katharine Kuh Files, 1944-2003 (Box 1; 0.3 linear feet)

Series 2: -- Sorting Out and Summing Up: Episodes in an Art Odyssey -- by Katharine Kuh, 1939-2006 (Boxes 1-3; 2.0 linear feet)

Series 3: Avis Berman Files, 1950s-2006 (Box 3; 0.6 linear feet)

Series 4: Memorabilia, 1976, 1977 (0.1 linear feet)
Biographical Note:
Writer and art historian, Avis Berman lives and works in New York City. Berman was a close friend of Katharine Kuh's and is Kuh's literary executor. Berman compiled Katharine Kuh's research materials for the memoir that she was working on at the time of her death; the book was subsequently published as My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator in 2006.

Katharine Kuh (1904-1994) was a curator and art dealer born in St. Louis, Missouri. She received her Bachelor of Arts from Vassar College in 1925, where she studied art history under Alfred Barr. In 1928, she earned her Master's in Art History at the University of Chicago. As a graduate student, Kuh developed an interest in modern art, particularly the work of European artists.

Kuh married George Kuh, a businessman in 1930. She and Kuh divorced six years later.

In 1935, she established the Katharine Kuh Gallery in Chicago. The gallery was dedicated to featuring the works of contemporary European and American painters and sculptors, such as Alexander Archipenko, Alexei Jawlensky, Wassily Kandinsky, Gyorgy Kepes, Paul Klee, Gaston Lachaise, Fernand Léger, Carlos Mérida, Joan Miro, Lazlo Moholy-Nagy, Pablo Picasso, as well as Charles Biederman, Alexander Calder, Stuart Davis, and Isamu Noguchi, among others. The Katharine Kuh Gallery was one of the first galleries in Chicago to show photography as art. Kuh held exhibitions for Ansel Adams, Eliot Porter, Edward Weston, and she also showed the photographs of Gyorgy Kepes and Man Ray.

At the gallery, Kuh taught classes on an informal basis to individuals interested in modern art. During this period, she spent her summers as a Visiting Professor of Art History at the University School of Fine Arts of San Miguel in Guanajuarto, Mexico (1938-1940). With the onset of America's involvement in World War II, Kuh realized that the war would curtail her contact with many of the European artists whose works she had promoted and in 1942, she decided to close the gallery.

In 1943, Katharine Kuh took a position in the public relations department at the Art Institute of Chicago. The following year, Kuh was asked to take over the Gallery of Art Interpretation at the Art Institute. Later she was appointed the Curator of Painting and Sculpture; in this role, she developed a close collaborative relationship with the Director of the Art Institute, Daniel Catton Rich. From 1946-1953, she served as the Editor of the Art Institute of Chicago Quarterly.

She left the Art Institute in 1959 and settled in New York City. She served as an art editor at the Saturday Review and World Magazine. She was also an art consultant for the First National Bank of Chicago from 1968-1979.

Katharine Kuh traveled extensively and often wrote about the art of the places she visited such as Sicily, Turkey, and the Yucatan. In the 1940s Kuh developed an interest in the wood carvings of the Indian tribes in the Pacific Northwest. The University of Alaska awarderd her an honorary doctorate for her efforts to preserve the indigenous artwork of the region's Native Americans.

Her publications on twentieth-century art included: Art Has Many Faces (1951), The Artist's Voice: Talks with Seventeen Artists (1962), Break-up: The Core of Modern Art (1965), and The Open Eye: In Pursuit of Art (1971). Kuh also wrote the catalog that accompanied the "Fernand Léger Retrospective at the Art Institute of Chicago" (1953). At the time of her death, Katharine Kuh had completed a final draft of her memoir, which she had tentatively titled, Sorting Out and Summing Up: Episodes in an Art Odyssey.

In 1994, Katharine Kuh died in New York City.
Related Material:
The Archives of American Art holds the Katharine Kuh papers, 1908-1994. Also found in the Archives of American Art is an oral history interview with Katharine Kuh conducted by Avis Berman, March 18, 1982-March 23, 1983. Additional Katharine Kuh material is located at the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.
Provenance:
The Avis Berman Research Material, 1939-2006 was donated to the Archives of American Art by Avis Berman, an art historian and literary executor of Katharine Kuh's estate in 2007.
Restrictions:
Use of original papers requires an appointment.
Rights:
Authorization to quote, publish, or reproduce requires written permission from: Avis Berman, 407 East 91st Street, New York, New York 10128.
Topic:
Art, Modern  Search this
Art dealers -- Illinois -- Chicago  Search this
Curators -- Illinois-Chicago  Search this
Genre/Form:
Interviews
Citation:
Avis Berman research material on Katharine Kuh, 1939-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis3
See more items in:
Avis Berman research material on Katharine Kuh
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bermavis3

Wallace Berman

Creator:
Berman, Wallace, 1926-1976  Search this
Names:
Bengston, Billy Al  Search this
DeFeo, Jay, 1929-1989  Search this
Di Prima, Diane  Search this
Duncan, Robert Edward, 1919-  Search this
Fonda, Peter, 1940-  Search this
Ginsberg, Allen, 1926-  Search this
Heinecken, Robert, 1931-  Search this
Herms, George, 1935-  Search this
Hirschman, Jack, 1933-  Search this
Hopper, Dennis, 1936-  Search this
Jess, 1923-  Search this
Johnson, Ray, 1927-  Search this
Jordan, Patricia M., 1937-1989  Search this
Lamantia, Philip, 1927-  Search this
McClure, Michael  Search this
Meltzer, David  Search this
Miller, Henry, 1891-  Search this
Patchen, Kenneth, 1911-1972  Search this
Perkoff, Stuart Z.  Search this
Ruscha, Edward  Search this
Sherman, Donald  Search this
Wieners, John, 1934-  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sound recordings
Photographs
Date:
1907-1979
bulk 1955-1979
Summary:
The Wallace Berman papers date from 1907 to 1979 (bulk 1955-1979). The collection measures 5 linear feet and presents a cursory overview of Berman's career as an assemblage artist and poet. The collection contains business correspondence, letters from other artists and writers of the Beat movement, writings by others, scattered artwork by Berman, photographs by Robert F. Heinecken, and sound recordings of poetry readings.
Scope and Content Note:
The Wallace Berman papers, 1907-1979 (bulk 1955-1979), measure 5 linear feet and present a cursory overview of Berman's career as an assemblage artist and poet. The collection is valuable not only for its documentation of the work of Wallace Berman, but for its documentation of the California beat movement of the late 1950s through the early 1970s.

Found are numerous letters, writings, poems, and other published material which portray the thoughts, attitudes, and trends popular in a prominent underground culture which eventually led to radical changes in America and American art. The collection contains business correspondence, letters from other artists and writers of the beat movement, writings by others, scattered artwork by Berman, and photographs by Robert F. Heinecken. In addition, the collection contains files for Berman's mail art publications Semina and S.M.S. Also of note is the large volume of printed material (2.7 feet), much of it in the form of books and other published material. Sound recordings include poets Michael McClure, Kenneth Patchen, David Melzer, and another unidentified writer performing their work.
Arrangement:
The collection is arranged into nine series which generally reflect material type.

With the exception of the letters in Series 1, each series is arranged chronologically. The original arrangement of the letters has been maintained, with a chronological arrangement of miscellaneous business letters and an alphabetical arrangement of the letters from Berman's more prominent colleagues.

Series 1: Letters, 1957-1979, undated (box 1, 0.5 linear feet)

Series 2: Notes from Interview, 1967 (box 1, 1 folder)

Series 3: Writings by Others, 1972, undated (box 1, 6 folders)

Series 4: Artwork, 1956-1976 (box 1, 4 folders)

Series 5: Semina, 1955-1967 (boxes 1-2, 26 folders)

Series 6: S. M. S., 1968 (box 2, 1 folders)

Series 7: Printed Material, 1907-1976 (boxes 2-5, 2.7 linear feet)

Series 8: Photographs, 1956-1976 (box 5, 6 folders)

Series 9: Sound Recordings, 1962-1965 (box 5, 6 folders)
Biographical Note:
Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the "father" of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication Semina, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.
Provenance:
The Wallace Berman papers were donated by Tosh Berman, Wallace Berman's son, in 1992.
Restrictions:
The collection is open for research. Patrons must use microfilm copy. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Wallace Berman 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
Poets  Search this
Collage  Search this
Art -- California -- San Francisco Bay Area  Search this
Assemblage (Art)  Search this
Assemblage artists  Search this
Beat generation -- California  Search this
Photography, Artistic  Search this
Genre/Form:
Drawings
Sound recordings
Photographs
Citation:
Wallace Berman papers, 1907-1979 (bulk 1955-1979). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermwall
See more items in:
Wallace Berman
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bermwall
Online Media:

Hermine Benhaim papers

Creator:
Benhaim, Hermine  Search this
Names:
Guggenheim, Peggy, 1898-  Search this
Onslow-Ford, Gordon  Search this
Putzel, Howard, 1898-1945  Search this
Extent:
7 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1945-1966
Scope and Contents:
Benhaim's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Benhaim, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
Biographical / Historical:
Art historian; New York, N.Y.
Provenance:
Donated 1972 by Hermine Benhaim.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Topic:
Abstract expressionism -- United States  Search this
Identifier:
AAA.benhherm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benhherm

Michel N. Benisovich research material

Creator:
Benisovich, Michel N., 1891-1963  Search this
Names:
Drexel, Francis Martin, 1792-1863  Search this
Extent:
3 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1901-1963
Scope and Contents:
Letters, photographs, writings and notes.
REEL D10: A memoir of Francis Martin Drexel, said to have been written for his children, ca. 1830. He writes of his youth, going from town to town in Italy, Switzerland, and Austria, and of Paris, to find work painting coaches, portraits, etc. He details his emigration to the U.S. leaving Amsterdam on the JOHN OF BALTIMORE, with much about the contract between Captain Richards and passengers, reneging, dishonesty of fellow passenger Mr. Bayer, and his early years in Philadelphia.
UNMICROFILMED: Research material mainly on 18th c. French artists, including correspondence, notes, transcripts, articles, photographs, etc., ca. 1948-1963, about or arising from Benisovich's research into the lives and work of Jacques Louis David, Jean Etienne Liotard (incl. typescript of a biography), Frans Post, Nicolas Antoine Taunay (incl. typescript of biography and catalogue), Adolph Ulrich Wertmuller, Francisco de Miranda, Francis Martin Drexel, et al. His correspondence was mostly with editors, scholars, and museum and library staff. Some letters related to sales of art, others to personal matters.
Biographical / Historical:
Art historian; New York, N.Y. Benisovich came to the U.S. from Russia and studied at N.Y.U. A member of the College Art Association, he wrote N.A. TAUNAY, 1753-1830, UNDERCURRENTS IN FRENCH PAINTING.
Provenance:
Katherine Drexel Penrose typed Francis Martin Drexel's memoir from the original in 1901.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Painters  Search this
Topic:
Painting, French  Search this
Identifier:
AAA.benimich
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benimich

Masked performer wearing male Chi wara headdress, Bamako (national district), Mali. [slide]

Photographer:
Elisofon, Eliot  Search this
Physical description:
slide : col
Culture:
Bamana (African people)  Search this
Type:
Color slides
Place:
Africa
Mali
Date:
1971
Topic:
Rites and ceremonies  Search this
Masquerades  Search this
Masks  Search this
Animals in art  Search this
Animals in art--Antelopes  Search this
Animals in art--Composite animals  Search this
Wood-carving  Search this
Headdresses--headgear  Search this
Local number:
7
E 1 BMB 1 EE 71
EEPA EECL 3363
Restrictions & Rights:
Permission to reproduce images from Eliot Elisofon Photographic Archives must be obtained in advance. For information on photo services and research appointments, please visit <http://africa.si.edu/research/archives.html> or contact Archives staff at elisofonarchives@si.edu <mailto:elisofonarchives@si.edu>
See more items in:
Eliot Elisofon Field photographs 1942-1972
Data Source:
Eliot Elisofon Photographic Archives
EDAN-URL:
edanmdm:siris_arc_117272

Masked performer wearing male Chi wara headdress, Bamako (national district), Mali. [slide]

Photographer:
Elisofon, Eliot  Search this
Physical description:
slide : col
Culture:
Bamana (African people)  Search this
Type:
Color slides
Place:
Africa
Mali
Date:
1971
Topic:
Rites and ceremonies  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Animals in art  Search this
Animals in art--Antelopes  Search this
Animals in art--Composite animals  Search this
Headdresses--headgear  Search this
Local number:
E 1 BMB 2 EE 71
EEPA EECL 3364
Restrictions & Rights:
Permission to reproduce images from Eliot Elisofon Photographic Archives must be obtained in advance. For information on photo services and research appointments, please visit <http://africa.si.edu/research/archives.html> or contact Archives staff at elisofonarchives@si.edu <mailto:elisofonarchives@si.edu>
See more items in:
Eliot Elisofon Field photographs 1942-1972
Data Source:
Eliot Elisofon Photographic Archives
EDAN-URL:
edanmdm:siris_arc_117273

Masked performer wearing male Chi wara headdress, Bamako (national district), Mali. [slide]

Photographer:
Elisofon, Eliot  Search this
Physical description:
slide : col
Culture:
Bamana (African people)  Search this
Type:
Color slides
Place:
Africa
Mali
Date:
1971
Topic:
Rites and ceremonies  Search this
Masquerades  Search this
Masks  Search this
Wood-carving  Search this
Animals in art  Search this
Animals in art--Antelopes  Search this
Animals in art--Composite animals  Search this
Headdresses--headgear  Search this
Local number:
7
EEPA EECL 3365
Restrictions & Rights:
Permission to reproduce images from Eliot Elisofon Photographic Archives must be obtained in advance. For information on photo services and research appointments, please visit <http://africa.si.edu/research/archives.html> or contact Archives staff at elisofonarchives@si.edu <mailto:elisofonarchives@si.edu>
See more items in:
Eliot Elisofon Field photographs 1942-1972
Data Source:
Eliot Elisofon Photographic Archives
EDAN-URL:
edanmdm:siris_arc_117274

Rebecca Beal papers

Creator:
Beal, Rebecca J.  Search this
Names:
Burchfield, Charles Ephraim, 1893-1967  Search this
Eichholtz, Jacob, 1776-1842  Search this
Poor, Henry Varnum, 1887-1970  Search this
Extent:
7.6 Linear feet ((on 11 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1949-1982
Scope and Contents:
Research material on Jacob Eichholtz; and letters.
REELS 3668-3678: Beal's research papers for her book on her great grandfather, painter, Jacob Eichholtz. Arranged in subject files and include research notes; correspondence; printed material; typescripts of the text; and two exhibition catalogs. Also includes photographs and negatives of portraits and paintings by Eichholtz; and publications (including the one Beal wrote) on Pennsylvania art and artists.
REEL 1079: 34 letters from Charles Burchfield and 6 letters from Henry Varnum Poor to Beal.
Biographical / Historical:
Art historian, patron; Pittsburgh, Pennsylvania. Jacob Eichholtz was a 19th century painter. Beal is his great granddaughter. She wrote a book about him, JACOB EICHHOLTZ, 1776-1842: PORTRAIT PAINTER OF PENNSYLVANIA, published in 1969.
Related Materials:
Documents of Rebecca J. Beal are also located at LancasterHistory.
Provenance:
Donated 1976 and 1988 by Rebecca J. Beal.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians -- Pennsylvania  Search this
Painters -- Pennsylvania  Search this
Topic:
Art -- Study and teaching -- Pennsylvania  Search this
Identifier:
AAA.bealrebe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bealrebe

Alfred Hamilton Barr papers

Creator:
Barr, Alfred H., Jr., 1902-1981  Search this
Names:
Foundation for Arts, Religion and Culture  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Barr, Margaret Scolari, 1901-1987  Search this
Canaday, John, 1907-1985  Search this
Catlin, Stanton L. (Stanton Loomis)  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Gray, Camilla  Search this
Hightower, John Brantley, 1933-  Search this
Matisse, Henri, 1869-1954  Search this
Penrose, Roland, Sir  Search this
Picasso, Pablo, 1881-1973  Search this
Soby, James Thrall, 1906-1979  Search this
Extent:
61 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
[ca. 1915-1983]
Scope and Contents:
Files kept during Barr's tenure at the Museum of Modern Art, including personal and professional correspondence with museum officials, curators, writers, historians, critics, art associations, foundations, magazines, artists, and collectors, including John Canaday, Stanton Catlin, Camilla Gray, Rene d'Harnoncourt, John Hightower, Roland Penrose, and James Thrall Soby; files on staff, exhibitions, publications and collections of MoMA, and abstract art, cubism and futurism, some related to Barr's book CUBISM AND ABSTRACT ART, 1936; files on the Foundation for Arts, Religion and Culture (ARC), Barr's travels, lectures, speeches, exhibitions, publications, political controversies, and artists and collections in the U.S.S.R.; writings, including travel notebooks regarding his trip to Russia, 1959, visits with Pablo Picasso, 1956, and Henri Matisse, 1952; exhibition catalogs, clippings and printed material; and photographs.
Also included are material collected by Margaret Scolari Barr, including Alfred's obituaries, A MEMORIAL TRIBUTE, 1981, an invitation and guest list to the memorial service, and condolence letters; and photocopies of autograph letters, ca. 1920s-1970s, from the Barr's collection sold to Arthur A. Cohen in 1975.
Biographical / Historical:
Museum director, curator, and critic; New York, N.Y. Died 1981. Became the first director of the Museum of Modern Art in 1929. He was married to Margaret Scolari Barr, art historian and teacher.
Provenance:
The Museum of Modern Art was responsible for the selection, organization and arrangement of the papers microfilmed. Five series were not microfilmed, including Matisse (6 ft.), Picasso (7 ft.), Russian culture (6 ft.), family letters (2 ft.), and education (2 ft.).
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Museum directors -- New York (State) -- New York  Search this
Art museum directors -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century  Search this
Cubism  Search this
Art, Abstract  Search this
Art, Russian  Search this
Function:
Art museums -- New York (State) -- New York
Citation:
Alfred H. Barr, Jr. papers, [ca. 1915-1983]. Owned by the Museum of Modern Art. Museum of Modern Art requires full citation to include microfilm reel and frame numbers, and reference to MoMA as the owner of the Alfred H. Barr papers.
Identifier:
AAA.barralfr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-barralfr

Kit Smyth Basquin papers

Creator:
Basquin, Kit  Search this
Extent:
4.8 Linear feet
3.49 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
1992-2012
Summary:
The papers of New York City art historian and curator Kit Smyth Basquin measure 4.8 linear feet and 3.49 GB and date from 1992-2012. The collection documents Basquin's dissertation research on artists Lynne Allen, Lesley Dill, Jaune Quick-to-See Smith, and Pat Steir.
Scope and Contents:
The papers of New York City art historian and curator Kit Smyth Basquin measure 4.8 linear feet and 3.49 GB and date from 1992-2012. The collection documents Basquin's dissertation research on artists Lynne Allen, Lesley Dill, Jaune Quick-to-See Smith, and Pat Steir.

Writing and Research Files include a wide variety of materials such as correspondence, interviews and transcripts, photographic materials, printed materials, journals, exhibition catalogs, writings, sound and video recordings and subject files. Some of the materials are in digital format, including sound and video recordings. Also included is a bound copy of Basquin's dissertation, "Words Expand Postmodern Prints: Pat Steir, Jaune Quick-to-See Smith, Lynne Allen, and Lesley Dill." The collection contains seventeen sound cassettes of recorded interviews and one lecture.
Arrangement:
The collection is arranged as one series

Series 1: Writing and Research Files, 1992-2012 (4.8 linear feet; Box 1-6, 3.49 GB; ER01-ER07)
Biographical / Historical:
Kit Smyth Basquin (194?- ) is an art historian in New York City. Before retiring, she was Associate for Administration in the Department of Prints and Drawings at the Metropolitan Museum of Art in New York. In 2009 she completed her dissertation in Interdisciplinary Studies at Union Institute and University. She holds a Masters in Art History from Indiana University, Bloomington, and had previously worked as Assistant Director for Collections and Public Programs at the Patrick and Beatrice Haggerty Museum of Art in Milwaukee, Wisconsin.
Provenance:
Donated to the Archives of American Art in 2014 by Kit Smyth Basquin.
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 access copy requires advance notice.
Rights:
The Kit Smyth Basquin 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.
Citation:
Kit Smyth Basquin papers, 1992-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.basqkit
See more items in:
Kit Smyth Basquin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-basqkit

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