The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material such as education records, World War II files, and some interviews; correspondence with family, artists, art historians, architects, and professional organizations; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; clippings, exhibition ephemera, invitations, and other printed material; photographs of Hadzi, events and exhibitions, installations, foundries, and studios; some artwork; and audio recordings and motion picture films.
Scope and Contents:
The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material; correspondence; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; printed material; photographs, some artwork, audio recordings, and motion picture films.
Biographical material includes files pertaining to Hadzi's education at Cooper Union (1946-1950) and Polytechnion in Athens, Greece (1950-1951) as well as his high school years at Brooklyn Technical High School (1936-1940); years enlisted in the Army Air Force (1942-1946); and his hobbies of music, mineral collecting, and geology. Also found are address books, honors and awards, interviews, and resumes. Hadzi's professional correspondents include artists, art historians, architects, and professional organizations. Also found is personal correspondence with family, friends, and acquaintances, most extensively during his years in the military.
Diaries and notebooks consist of memoranda books, travel logs, and annotated calendars. Writings include drafts, correspondence, and some printed material from Dimitri Hadzi (1996) by Peter Selz. Material gathered for his incomplete memoir, artist statements, and writings about Hadzi are also present.
Exhibition files shed light on various group and solo exhibitions of Hadzi's work. The files mostly consist of shipping records, correspondence, press releases and other printed matter, photographs, and loan documents. Gallery and museum files include loan and sale agreements, price lists, clippings, newsletters, shipping information, and some papers related to exhibitions.
Project files include sketches and blueprints, correspondence, legal documents, shipping information, and some audiovisual material regarding the installation of Hadzi's sculptures. The files also pertain to recasted sculptures, small-scale projects, and unexecuted commissions. Teaching Files include administrative correspondence, clippings, lecture and discussion notes, course descriptions, and correspondence from Hadzi's tenure as Visual and Environmental Studies professor at Harvard University. Papers related to instructor positions, employment opportunities, and lectures outside of Harvard are also present. Personal business records include sales, inventories, and other financial material; correspondence, shipping information, and price lists from foundries and material distributors; studio logs, correspondence, and notes.
Printed materials consist of exhibition invitations, announcements, post cards, and books; news clippings and articles; printed matter from special events, exhibitions of other artists, press releases, and newsletters. Photographs include portraits and snapshots of Hadzi, depicting him working in studios and foundries, at installation sites and events, and with his family. Also included are photographs of other artists, Hadzi's travel in Japan, and his artwork. Artwork found in this collection consists of six sketchbooks, several small drawings, and one woodblock.
Audiovisual material is extensive and includes documentation of the creation, installation, and exhibition of some of Hadzi's work. The majority of the footage centers on the creation and installation of the Thermopylae sculpture in front of the JFK Federal Building in Boston, Massachusetts in 1968.
Arrangement:
The collection is arranged as 13 series.
Series 1: Biographical Material, 1910s, bulk 1936-2004 (Box 1-3, 33; 2.7 linear feet)
Series 2: Correspondence, 1943-2007 (Box 3-6; 3 linear feet)
Series 3: Diaries and Notebooks, 1939-2006 (Box 6-9; 3 linear feet)
Series 4: Writing Files, 1945-2003 (Box 9; 10 folders)
Series 5: Exhibition Files, 1958-2002 (Box 9-10; 1.2 linear feet)
Series 6: Project Files, 1957-2002 (Box 11-15, 33; 4.7 linear feet)
Series 7: Teaching Files, 1955-2000 (Box 15-16; 12 folders)
Series 8: Museum and Gallery Files, 1947-2008 (Box 16-17; 1.8 linear feet)
Series 9: Personal Business Records, 1949-2007 (Box 17-20; 2.5 linear feet)
Series 10: Printed Material, 1949-2007 (Box 20-24, 33; 3.7 linear feet)
Series 11: Photographs, circa 1930s-2006 (Box 24-25, 33; 1.5 linear feet)
Series 12: Artwork, circa 1939-1998 (Box 25; 11 folders)
Series 13: Audiovisual Material (Box 26-40; 11.1 linear feet)
Biographical / Historical:
Dimitri Hadzi (1921-2006) was an Greek American sculptor who lived and worked in Rome from the 1950s to 1975, and then in Cambridge, Massachusetts from 1975 to 2006. Born to Greek immigrants, Hadzi attended Brooklyn Technical High School before enlisting in the Army Air Force in 1942. After the World War II, Hadzi studied painting and sculpture at Cooper Union and graduated with honors in 1950. He was awarded a Fulbright fellowship to study at the Polytechnion, Athens, Greece, and subsequently moved to Rome where he remained until the mid-1970s. Hadzi worked mostly with stone and bronze, from which he created semi-abstract shapes and structures drawn from his Greek heritage. His work was selected for the Venice Biennale in 1956, and and his first solo-exhibition came two years later at the Galeria Schneider, Rome, Italy. Throughout his career, Hadzi held solo exhibitions at the Massachusetts Institute of Technology, The Philips Collection, Athens Gallery in Greece, Rikugie Gallery in Japan, and many others. His group exhibitions include Recent Sculptor USA (1959), Museum of Modern Art, New York; Annual Exhibition, The Whitney Museum (1961); Seven Sculptors at Harvard, Harvard University (1983); and American Academy of Arts & Letters Centennial Portfolio, Pace Prints, New York (1998). Hadzi's public commissions include those at the Massachusetts Institute of Technology (1963), St. Paul's Church, Rome, Italy (1966-1976), Dallas Center, Texas (1980). His artwork is held in permanent collections of the Hirshhorn Museum and Scultpure Garden, Solomon R. Guggenheim Museum, Hakone Museum of Sculpture in Japan, and the Montreal Museum of Art, among others. Hadzi was professor of Visual and Environmental Studies at Harvard University from 1975-1989, and was named Professor Emeritus in 1989.
Provenance:
Donated 1989 and 1998 by Dimitri Hadzi and in 2008 and 2011 by Cynthia Hadzi, Dimitri Hadzi's widow.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Massachusetts -- Cambridge Search this
Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.
Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."
A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.
Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.
Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.
Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.
Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.
Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.
Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)
Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)
Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)
Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)
Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)
Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)
Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)
Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)
Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)
Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)
Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.
Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.
In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.
In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).
Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.
In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.
Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.
Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. Contact Reference Services for more information.
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.
Biographical material, correspondence, writings, teaching files, personal business records, scrapbooks, photographs, artwork, printed material and sound recordings documenting the career of painter and educator Henry Edwards Scott, Jr.
Biographical material includes appointment books, Navy documentation, and certificates of appointment. Correspondence is both personal and professional. Writings consist of travel diaries, journals, published and unpublished manuscripts, and notes from classes in the Navy. Teaching files include notes and proposals for students' trips and teaching appointments. Personal business records consist of tax documents, deeds, sales receipts and invoices, and cancelled checks.
Four scrapbooks contain correspondence, clippings, programs, photographs, exhibition materials, and notes. Photographs and slides are of Scott and others and works of art. Artwork includes sketches. Printed material consists of newspaper clippings, programs, maps, exhibition publicity material, and published books by Scott. Also included are unidentified sound recordings which appear to be recorded lectures.
Biographical / Historical:
Henry Edwards Scott Jr.(1900-1990) was a painter and educator in Cambridge, Massachusetts. Scott served in the U.S. Navy during World War II.
Provenance:
Seven photographs of Scott and one of Scott with Thomas Hart Benton and a ballet program for the Ballet Russes, Paris, 1923, donated 1981 by Henry Edwards Scott, Jr. The bulk of the collection (15.3 linear feet) donated 2002 by Sarah S. Cook and Jonathon F. Scott, Scott's children, and in 2014-2015 by Sarah S. Cook.
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:
Educators -- Massachusetts -- Cambridge Search this
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview of Gyorgy Kepes conducted 1968 Aug. 18, by Dorothy Seckler, for the Archives of American Art.
Biographical / Historical:
Gyorgy Kepes (1906-2001) was a painter and educator from Cambridge, Mass.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 1 hr., 24 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Massachusetts -- Cambridge -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Gyorgy Kepes, 1968 Aug. 18. Archives of American Art, Smithsonian Institution.
An interview with John Coolidge conducted 1989 March 7-29, by Robert F. Brown, for the Archives of American Art.
Biographical / Historical:
John Coolidge (1913-1995) was an educator and director of the Fogg Art Museum, 1948-1968.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 21 digital wav file. Duration is 15 hr., 24 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Educators -- Massachusetts -- Cambridge Search this
An interview of Lawrence Anderson conducted 1992 January 30-March 30, by Robert F. Brown, for the Archives of American Art.
Anderson speaks about: his childhood in rural Minnesota, youth in Minneapolis, education at the Massachusetts Institute of Technology's School of Architecture and Planning, and at L'Ecole des Beaux-Arts, Paris; his studies, teachers and fellow students; teaching at the University of Virginia and MIT; colleagues and students at MIT; partnership with Herbert Beckwith and buildings by their firm; Alvar Aalto, Deans William Emerson, William Wurster and Pietro Belluschi; projects on which he has served as an architectural advisor; and competitions he has juried.
Biographical / Historical:
Lawrence B. Anderson (1906-1994) was an architect and educator from Cambridge, Massachusetts.
General:
Originally recorded on 9 sound cassettes. Reformatted in 2010 as 17 digital wav files. Duration is 12 hrs., 43 minutes.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, and critics.
Restrictions:
Transcript available on the Archives of American Art website.
Ecole nationale supérieure des beaux-arts (France) Search this
Massachusetts Institute of Technology. School of Architecture and Planning Search this
Massachusetts Institute of Technology. Dept. of Architecture Search this
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Lawrence Anderson, 1992 January 30-March 30. Archives of American Art, Smithsonian Institution.
An interview with Stephen Prina conducted 2017 August 7 and 9, by Hunter Drohojowska-Philp, for the Archives of American Art, at Prina's residence in Los Angeles, California.
Biographical / Historical:
Stephen Prina (1954- ) is an artist, musician, and professor in Cambridge, Massachusetts and Los Angeles, California. Hunter Drohojowska-Philp is an art critic and writer in Beverly Hills, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
For information on how to access this interview contact Reference Services.
Topic:
Artists -- Massachusetts -- Interviews Search this
Educators -- Massachusetts -- Cambridge -- Interviews Search this
Musicians -- Massachusetts -- Cambridge -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Stephen Prina, 2017 August 7-9. Archives of American Art, Smithsonian Institution.
Topic:
Artists -- Massachusetts -- Interviews Search this
Educators -- Massachusetts -- Cambridge -- Interviews Search this
Musicians -- Massachusetts -- Cambridge -- Interviews Search this
Correspondence and sales records, writings, printed material, and photographs of art work document Preusser's artistic and teaching careers.
REEL 1829: Clippings and printed material document Preusser's early associations with his teacher, McNeil Davidson, and critic Ralph Pearson; regional and one-man exhibitions; teaching, lectures, juries and professional activities; his teaching affiliation with MIT, student projects and exhibitions; and lectures and published articles. Also included are a biographical summary, a list of owners of Preusser's paintings, and photographs of his work.
REEL 1830: Forty-eight photographs of art work (1939-1969) and correspondence and sales records (1951-1955) from the Downtown Gallery and Alan Gallery.
REEL 4494: General correspondence, correspondence with art dealer Catherine Long Randolph, exhibition catalogs, announcements, statements by Preusser about his work, and course outlines relate to his career as a painter, designer and educator.
Biographical / Historical:
Painter, educator, designer; Houston, Tex. and Cambridge, Mass. Preusser began his artistic career in Houston, Tex., where he taught at the Museum of Fine Arts, Houston School (1947-1954) and the University of Houston (1951-1954). He moved to Massachusetts in 1954 to teach visual design at the Massachusetts Institute of Technology (MIT). In 1974, he was appointed director of education at MIT's Advanced Center for Visual Studies. He retired in 1985.
Provenance:
Material on reel 1829 donated 1980 by Robert O. Preusser; material on reel 1830 lent for microfilming 1980 by Preusser, material on reel 4494 was lent in 1991.
Microfilmed as part of the Archives of American Art's Texas project.
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:
Designers -- Massachusetts -- Cambridge Search this
Educators -- Massachusetts -- Cambridge Search this
Painters -- Massachusetts -- Cambridge Search this
Topic:
Design -- Study and teaching -- Massachusetts Search this
