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John Henry Bradley Storrs papers

Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Names:
Downtown Gallery (New York, N.Y.)  Search this
Andersen, Hendrik Christian, 1872-1940  Search this
Anderson, Sherwood, 1876-1941  Search this
Bennett, Edward H.  Search this
Biddle, George, 1885-1973  Search this
Blum, Jerome, 1884-1956  Search this
Braque, Georges, 1882-1963  Search this
Bryant, Louise, 1885-1936  Search this
Calder, Alexander, 1898-1976  Search this
Cole, Walter, b. 1891  Search this
Cret, Paul Philippe, 1876-1945  Search this
Dismorr, Jessica Stewart, 1885-1939  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Duchamp, Marcel, 1887-1968  Search this
Eastman, Max, 1883-1969  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hartley, Marsden, 1877-1943  Search this
Heap, Jane  Search this
Hecht, Zoltan, 1890-1968  Search this
Hélion, Jean, 1904-1987  Search this
Lipchitz, Jacques, 1891-1973  Search this
Léger, Fernand, 1881-1955  Search this
Ray, Man, 1890-1976  Search this
Raynal, Maurice  Search this
Rodin, Auguste, 1840-1917  Search this
Sheeler, Charles, 1883-1965  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, Marguerite Deville Chabrol  Search this
Survage, Leopold  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
20.44 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Date:
1790-2007
bulk 1900-1956
Summary:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.

Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.

Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.

Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.

Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.

Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.

Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.

Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.

Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.

Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.

This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.

Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement:
The collection is arranged as 11 series.

Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)

Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)

Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)

Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)

Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)

Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)

Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)

Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)

Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)

Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)

Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical / Historical:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.

John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.

The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.

During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Materials:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The John Henry Bradley Storrs 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:
Expatriate artists -- France  Search this
Artists' studios -- France -- Paris -- Photographs  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- France -- Paris  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- France -- Paris  Search this
Sculpture, Modern -- 20th century  Search this
Sculptors -- Illinois -- Chicago  Search this
Sculptors -- France -- Paris  Search this
World War, 1939-1945 -- France  Search this
World War, 1939-1945 -- Underground movements  Search this
Genre/Form:
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn
See more items in:
John Henry Bradley Storrs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-storjohn
Online Media:

Arnold Rönnebeck and Louise Emerson Ronnebeck papers

Creator:
Ronnebeck, Arnold, 1885-1947  Search this
Names:
Demuth, Charles, 1883-1935  Search this
Hartley, Marsden, 1877-1943  Search this
Luhan, Mabel Dodge, 1879-1962  Search this
Luhan, Tony  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Ronnebeck, Louise Emerson, 1901-1980  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
4.24 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Drawings
Scrapbooks
Photographs
Date:
1884-2002
Summary:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Scope and Content Note:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.

Biographical materials include articles on the Rönnebecks by Betsy Fahlman, curriculum vitae, and documentation on the Emerson family. Correspondence is primarily between Arnold Rönnebeck to Louise, and also includes letters in German to Arnold's sister Irmgard Rönnebeck. Among the professional and personal correspondence from friends and family to both of the Rönnebecks are letters from Kenneth Hayes Miller to Louise Ronnebeck.

Writings include essay drafts, notes, and poetry by the Rönnebecks, including Arnold Rönnebeck's "Paint-As-You-Go Plan." There is a scrapbook of clippings covering Louise Ronnebeck's work. Additional printed material includes Christmas cards, clippings, and exhibition announcements and catalogs of both the Rönnebecks' work. Artwork consists of drawings and sketches by Arnold Rönnebeck.

Photographic materials include photographs of the Rönnebecks and their travels to Arizona, Colorado, New Mexico, New York, and Europe. The series also contains photos, copy prints, negatives, and 7 glass plate negatives of artist friends, and formal and informal documentation of their works of art and public and private art commissions.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1926-2002 (9 folders; Box 1, OV 7)

Series 2: Correspondence, 1909-1998 (0.6 linear feet; Box 1, 5)

Series 3: Writings, 1920-1944 (6 folders; Box 1, 5)

Series 4: Scrapbook, 1926-1966 (1 folder; Box 1)

Series 5: Printed Material, 1923-1999 (0.5 linear feet; Box 1-2)

Series 6: Artwork, 1915-1950 (2 folders; Box 2, 5)

Series 7: Photographic Materials, 1884-1976 (2.6 linear feet; Box 2-6)
Biographical Note:
Sculptor Arnold Rönnebeck (1885-1947) was part of the "Stieglitz circle" and settled in Denver where he served as director of the Denver Art Museum from 1926-1931. Rönnebeck married Louise Emerson (1901-1980) in 1926. Emerson was a painter and muralist who worked on New Deal mural commissions in Colorado and Wyoming.

Arnold Rönnebeck was born in Nassau, Germany and was a noted sculptor and lithographer. From 1905 to 1907, Rönnebeck studied architecture at the Royal Art School in Berlin and spent a year studying sculpture in Munich. In 1908, he moved to Paris where he furthered his studies in sculpture under Aristede Maillol and Emile Bourdelle. From 1914 to 1918, Rönnebeck served as an officer in the German Imperial Army during World War I. In 1923, he emigrated to the United States where he became part of the Stieglitz circle.

In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Arnold Rönnebeck and Louise Emerson Ronnebeck 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:
Sculptors  Search this
Muralists  Search this
Artists -- New Mexico -- Taos  Search this
Portrait sculpture  Search this
Women artists  Search this
Genre/Form:
Sketches
Drawings
Scrapbooks
Photographs
Citation:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ronnarno
See more items in:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ronnarno
Online Media:

Judith Zilczer papers

Creator:
Zilczer, Judith  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Whitney Museum of American Art  Search this
Benton, Thomas Hart, 1889-1975  Search this
Coady, Robert J., 1881-1921  Search this
Dasburg, Andrew, 1887-1979  Search this
Dawson, Manierre, 1887-1969  Search this
Hartley, Marsden, 1877-1943  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Linder, Richard  Search this
Munson, Gorham Bert, 1896-1969  Search this
Quinn, John, 1870-1924  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1910-1995
bulk 1973-1995
Summary:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.
Scope and Contents:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.
Arrangement:
The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)
Biographical / Historical:
Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.
Provenance:
Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Authors -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Topic:
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Art historians -- Washington (D.C.)  Search this
Synchromism (Art)  Search this
Genre/Form:
Photographs
Citation:
Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zilcjudt
See more items in:
Judith Zilczer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zilcjudt
Online Media:

Hudson D. Walker papers

Creator:
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Names:
American Federation of Arts  Search this
Artists Equity Association  Search this
Parke-Bernet Galleries  Search this
Walker Art Center  Search this
Benn, Ben, 1884-  Search this
Biberman, Edward, 1904-1986  Search this
Blatas, Arbit  Search this
Booth, Cameron, 1892-1980  Search this
Botkin, Henry, 1896-1983  Search this
Brenson, Theodore, 1893-1959  Search this
Browne, Byron, 1907-1961  Search this
Cahn, Joshua Binion, 1915-  Search this
Charlton, Gene, 1909-  Search this
Cook, Howard Norton, 1901-1980  Search this
Davis, Gladys Rockmore, 1901-1967  Search this
Dodd, Lamar  Search this
Evergood, Philip, 1901-1973  Search this
Fuerstenburg, Eugenia M.  Search this
Fuller, Sue, 1914-  Search this
Gaertner, Carl F. (Carl Frederick), 1898-1952  Search this
Greenbaum, Dorothea S.  Search this
Hartley, Marsden, 1877-1943  Search this
Hirsch, Joseph, 1910-1981  Search this
Jules, Mervin, 1912-  Search this
Kemp, Harry, 1883-1960  Search this
Maril, Herman  Search this
Maurer, Alfred Henry, 1868-1932  Search this
McCausland, Elizabeth, 1899-1965  Search this
Moy, Seong  Search this
Reeder, Dickson, 1912-1970  Search this
Ribak, Louis, 1902-1979  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sepeshy, Zoltan, 1898-1974  Search this
Sokole, Miron, 1901-  Search this
Sprinchorn, Carl, 1887-1971  Search this
Sternberg, Harry, 1904-2001  Search this
Tinguely, Jean, 1925-  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Walker, Ione  Search this
Weeren-Griek, Hans van  Search this
West, Clifford B.  Search this
Extent:
20 Linear feet ((partially microfilmed on 10 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1982
Scope and Contents:
Correspondence; biographical material; artists files; files on organizations; business and financial records; photographs; writings and notes; diaries; scrapbooks; appointment calendars; exhibition catalogs and announcements; printed material; and miscellany.
REELS D351-D358: Biographical material; personal and business correspondence with family, artists, museums, and art organizations; 62 artists files containing photos of works of art, printed material, and correspondence; files on the American Federation of the Arts, Artists Equity Association, the Walker Foundation, and other organizations; business and financial records; material relating to Walker's work with Elizabeth McCausland in her studies of Marsden Hartley; printed material; and photos of Walker, his family, and miscellaneous works of art. Among the correspondents are: Berenice Abbott, Ben Benn, Theodore Brenson, Gene Charlton, Philip Evergood, Joseph Hirsch, Mervin Jules, Carl Sprinchorn, Harry Sternberg, and others.
REEL 130: Correspondence with Eugenia M. Fuerstenberg, Oct. 8, 1940-Sept. 25, 1941, concerning the consignment and sale of ca. 400 Alfred Maurer paintings owned by Mrs. Fuerstenberg. One letter is from Parke-Bernet Galleries, declining to handle the paintings.
REEL 1535: 4 volumes of a diary, 1929, 1930, 1942, and 1945. The first two volumes were kept while Walker was a graduate student at Harvard, the 1942 volume covers exhibitions and artists, including Marsden Hartley, and the 1945 volume details Walker's travels in Europe after World War II. Also included are 7 letters, a valentine, and two post cards from his wife, Ione G. Walker, and a 1967 letter from Hans van Weeren-Griek.
UNMICROFILMED: Correspondence with Henry Botkin, Philip Evergood, Susan Fuller, Marsden Hartley, Harry Sternberg and other artists and gallery directors; letters and poems by Harry Kemp, 1948-1955; essays by Walker on Joshua B. Cahn and Marsden Hartley; a report on the Walker Art Center by William Valentiner, 1930; notes from meetings, galleries and art associations; a silk screen by Seong Moy; financial records; 2 diaries, 1938-1939; 2 appointment calendars, 1950-1951; 8 school notebooks; 3 scrapbooks; exhibition catalogs; clippings; and photos of Walker and artists Cameron Booth, Byron Browne, Gladys Rockmore Davis, Carl Gaertner, Dorothea Greenbaum, Mervin Jules, Herman Maril, Dickson Reeder, Henry Schnakenberg, Miron Sokole, Harry Sternberg, Jean Tingley and Clifford West.
Biographical / Historical:
Collector and administrator; New York, N.Y.; d. 1976.
Provenance:
Material on reels D351-D358 & unmicrofilmed donated 1966-1982 by Hudson D. and Ione G. Walker; material on reel 1535 lent for microfilming 1979 by Ione G. Walker, widow of Walker; material on reel 130 donor unspecified.
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.
Occupation:
Administrators -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Identifier:
AAA.walkhuds
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walkhuds

Elizabeth McCausland papers

Topic:
Springfield Republican
Creator:
McCausland, Elizabeth, 1899-1965  Search this
Names:
American Art Research Council  Search this
Barnard College -- Faculty  Search this
Federal Art Project (U.S.)  Search this
United States. Farm Security Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Henry, Edward Lamson, 1841-1919  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Inness, George, 1825-1894  Search this
Kleinholz, Frank, 1901-  Search this
Lawrence, Jacob, 1917-2000  Search this
Maurer, Alfred Henry, 1868-1932  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weegee, 1899-1968  Search this
Weston, Edward, 1886-1958  Search this
Extent:
45 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Place:
New York N.Y. -- Pictorial works -- Photographs
Date:
1838-1995
bulk 1920-1960
Summary:
The papers of art critic, writer, and historian Elizabeth McCausland measure 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of research data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material donated later from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.
Scope and Content Note:
The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1995. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.

McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for The Springfield Republican in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.

The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the Changing New York book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book Careers in Art (1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.

Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.

Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to The Springfield Republican from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, Changing New York), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.

Additional material belonging to Elizabeth McCausland and donated by the estate of Berenice Abbott includes biographical material; business and personal correspondence; professional project files and writings, including drafts and research materials related to the book projects Art in America, Conversations with March, and Frank Kleinholz; and printed materials, including reprints of critical essays and articles by McCausland.
Arrangement:
The collection is arranged as 15 series:

Series 1: Personal Papers, 1838, 1920-1951 (Boxes 1-2, 34; 1.5 linear feet)

Series 2: Correspondence, 1923-1960 (Boxes 2-5; 2.9 linear feet)

Series 3: General Writings, circa 1930-1954 (Boxes 5-6; 0.9 linear feet)

Series 4: Alfred H. Maurer, 1851-1951, bulk 1948-1950 (Boxes 6-9; 3.7 linear feet)

Series 5: American Processional, 1949-1951 (Boxes 10-11; 1.8 linear feet)

Series 6: Marsden Hartley, 1900-1964, bulk 1944-1964 (Boxes 11-21, OV 37; 10 linear feet)

Series 7: Other Research and Writing Files, 1896, 1926-1958 (Boxes 21-25, 31; 4.6 linear feet)

Series 8: Subject Files, 1927-1954 (Boxes 25-26; 1.0 linear feet)

Series 9: Other Exhibition Files, 1939-1941, 1944 (Box 26; 0.1 linear feet)

Series 10: Teaching Files, 1939-1965 (Box 27; 0.5 linear feet)

Series 11: Committee Files, 1936-1960 (Box 27; 0.5 linear feet)

Series 12: Printed Material, 1923-1953 (Boxes 28-32, 34, OV 38, BV 44-47; 4.6 linear feet)

Series 13: Photographs, circa 1905-1950 (Boxes 32-36, OV 37; 1.4 linear feet)

Series 14: Art Work, 1887-1942 (Boxes 33-34, OV 39-43; 0.7 linear feet)

Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott, 1920-1995 (Boxes 48-53; 5.4 linear feet)
Biographical Note:
Elizabeth McCausland, the art critic and writer, was born in Wichita, Kansas in 1899. She attended Smith College, receiving her Bachelor's degree in 1920 and her Master's in 1922. Beginning in 1923, she worked as a general reporter for The Springfield Republican (Springfield, Massachusetts). After several years, she began to review art exhibitions and soon became an established art critic. In the course of her work, she began to develop friendships with artists, such as Alfred Stieglitz and Arthur Dove. During these early years, she also wrote poetry and designed and printed limited edition publications on her private press.

McCausland moved to New York in 1935, but continued to contribute a weekly art column to The Springfield Republican until it suspended publication in 1946. From the mid-1930s on, she worked primarily as a freelance writer and art critic, contributing articles to publications such as Parnassas, The New Republic, and Magazine of Art. In the latter part of her career, her writings focused more on art history and special studies on artists.

In the late-1930s, McCausland collaborated with the photographer Berenice Abbott on the Federal Art Project book, Changing New York, for which she provided the text to Abbott's now-famous photographs of New York City neighborhoods, architecture, and street scenes. She studied and wrote about photography, including numerous articles on the photographer Lewis Hine (of whose work she organized a retrospective exhibition at the Riverside Museum in 1939), and was appointed to the Advisory Committee of the Museum of Modern Art's Department of Photography in 1944.

McCausland went on to organize other exhibitions, including a show of contemporary work, "The World of Today" (Berkshire Museum, 1939), shows of silk screen prints (Springfield Museum of Fine Arts, March 1940 and New York State Museum, Summer 1940), and a photography show, "Photography Today" (A.C.A. Gallery, 1944). In the late 1930s, she embarked upon a study of "the status of the artist in America from colonial times to the present, with especial attention to the relation between art and patronage," which continued over twenty years (and was never completed) and for which she received a Guggenheim fellowship in 1943.

In addition to her other writing, during the 1940s, McCausland carried out studies on the artists, E. L. Henry and George Inness, which resulted in exhibitions at the New York State Museum in 1942 and the George Walter Vincent Smith Art Museum in 1946, respectively and publications (a report on Henry and a book on Inness). From 1948 to 1949, she carried out an extensive study of the painter, Alfred H. Maurer, organizing an exhibition, "A. H. Maurer: 1868-1932," which showed at the Walker Art Center and the Whitney Museum of American Art in 1949, and publishing the biography, A. H. Maurer, in 1951. In 1950, she worked as a special consultant on the American Processional exhibition at the Corcoran Gallery and as editor of the accompanying book. Shortly thereafter, she began a study of Marsden Hartley for a monograph, which was published in 1952, and she helped organize the Hartley exhibition at the University of Minnesota that same year. She continued the Hartley study on larger scale for a planned biography and catalogue raisonne; although she continued to work on it off and on for the next decade, the project was never completed.

McCausland published other books, including Careers in the Arts (1951), and undertook other research and consulting projects, such as photo-editing Carl Sandburg's Poems of the Midwest (1946), conducting surveys of art and advertising for an article in Magazine of Art and of art education for Cooper Union Art School, and contributing yearly articles on art to various encyclopedias. At different times throughout her career, she supplemented her income by taking teaching positions. She taught courses on art history at Sarah Lawrence College from 1942 to 1944 and at Barnard College in 1956, as well as courses at the Design Laboratory (1939) and the New School for Social Research (1946). She also gave numerous lectures and speeches on various art topics, and regularly participated in conferences and symposiums. Towards the end of her career, she was publishing less, but was still involved in many projects, most notably the Hartley study.

McCausland was a tireless promoter of the arts, and often an advocate for artists. Even though her work was well-known among certain art circles, she never received the recognition as a writer that she deserved. Nor was she ever able to free herself from the pressure of writing for a living. Continually suffering from poor health, she died on May 14, 1965.
Related Material:
Related material found in the Archives includes a sound recording from a symposium on Marsden Hartley, of which McCausland was a participant, held at the Portland Museum of Art in 1961. The Frank Kleinholz papers contain a recorded interview of McCausland done in 1944-1945 for radio station WNYC. Some of McCausland's correspondence is found in the G. Alan Chidsey papers; Chidsey served as a trustee of the Marsden Hartley estate.
Separated Material:
Material separated from the collection includes some issues of Camera Work (Vol. 30, 47, 49/50), which were combined with other issues in an artificial collection created by the Archives at some earlier point.
Provenance:
Elizabeth McCausland donated the bulk of her papers in several installments from 1956 to 1961. An unknown donor, perhaps her literary executor, donated additional papers sometime after her death in 1965. It appears that McCausland originally donated her research files on Marsden Hartley, measuring 10 linear feet, to the Whitney Museum, who then lent them to the Archives for microfilming in 1966, and donated them sometime thereafter. McCausland originally donated files of newspaper clippings and offprints of her articles to the The New York Public Library, who gave them to the Archives in 1968. Additional McCausland material from the estate of Berenice Abbott was donated to the Archives in 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Art criticism -- United States  Search this
Documentary photography -- United States  Search this
Authors -- New York (State) -- New York  Search this
Art -- Exhibitions -- United States  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 20th century -- United States  Search this
Art -- Societies, etc. -- United States  Search this
Modernism (Art) -- United States  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccaeliz
Online Media:

A strange mixture : the art and politics of painting Pueblo Indians Sascha T. Scott

Author:
Scott, Sascha T  Search this
Author:
William P. Clements Center for Southwest Studies  Search this
Southern Methodist University  Search this
The Wyeth Foundation for American Art Publication Fund of the College Art Association  Search this
ProQuest (Firm)  Search this
Physical description:
1 online resource (xiii, 266 pages) illustrations
Type:
Electronic resources
Place:
United States
New Mexico
Date:
2015
20th century
Topic:
Pueblo Indians--History  Search this
Social life and customs  Search this
Pueblo art  Search this
Indians in art  Search this
Art--Political aspects--History  Search this
Art, American  Search this
Artists  Search this
HISTORY--State & Local--Southwest (AZ, NM, OK, TX)  Search this
HISTORY--State & Local--West (AK, CA, CO, HI, ID, MT, NV, UT, WY)  Search this
Art--Political aspects  Search this
Pueblo Indians  Search this
Pueblo Indians--Social life and customs  Search this
Puebloindianer  Search this
Malerei  Search this
Indianer  Search this
Politik  Search this
Call number:
E99.P9 S36 2015 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145026

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Erle Loran 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, Abstract  Search this
Art teachers -- California -- Berkeley  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painters -- California -- Berkeley  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Judith K. Zilczer research photographs, ca. 1974-2003

Creator:
Zilczer, Judith  Search this
Names:
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Lindner, Richard, 1901-  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1974-2003
Summary:
Photograph prints, negatives and color transparencies documenting early modern American artists and the contemporary artist Richard Lindner.
Scope and Contents:
This collection includes photographic images (black-and-white photographic prints, negatives and color transparencies) collected by art historian Judith Zilczer in support of her research in early modernists, collectors and patronage; early 20th century sculpture, post-Impressionists; and music and art synergies. Among the artists represented: Milton Avery, Oscar Bluemner, John Covert, Andrew Dasburg, Arthur B. Davies, Charles Demuth, Arthur Dove, Marcel Duchamp, Marsden Hartley, B.J.O. Nordfelt, Georgia O'Keeffe, Francis Picabia, Horace Pippen, Morton Schamberg, Charles Sheeler, Joseph Stella, Abraham Walkowitz and Max Weber.

A second large part of the collection consists of research images assembled during the organization of the Hirshhorn Museum's 1996 retrospective exhibition for artist Richard Lindner.

In addition, the collection also includes some typescript manuscripts and article offprints authored by Zilczer in which the images were featured, including:

"Decoding John Covert's Time, 1919," Art Bulletin, Vol. LXXV, no. 4 (Dec. 1993), pp. 713-722.

"Light Coming on the Plains: Georgia O'Keeffe's Sunrise Series," artibus et historiae, No. 40, 1999, pp. 191-208.

"Color Music": Synaesthesia and Nineteenth Century Sources for Abstract Art," artibus et historiae, No. 16, 1997, pp. 101-126.
Arrangement:
The collection has been arranged into two series:

Series I: Early Modernists

Series 2: Richard Lindner
Biographical / Historical:
Judith K. Zilczer, Curator Emerita of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, organized more than two dozen exhibitions in her twenty–nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator.

She has written and lectured widely on modern and contemporary art and is particularly known for her work on connections between music and art, and artists such as Horace Pippin, Willem de Kooning, and Richard Lindner. Born in 1948, she holds a PhD from the University of Delaware.
Provenance:
The collection was receieved as a gift from Judith K. Zilczer in 2014.
Restrictions:
The collection, which is undergoing processing and cataloging, is open for research use in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
Rights:
Copyright restrictions may apply.
Topic:
Art, Modern -- 20th century  Search this
Art, American -- Photographs  Search this
Citation:
Judith K. Zilczer Collection, Photograph Archives, Smithsonian American Art Museum
Identifier:
SAAM.Photo.ZIL
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_collection:sova-saam-photo-zil

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1846-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

1882 -- born, Tarrytown, New York

1887 -- death of Rockwell Kent, Sr.

1894-1896 -- attended Cheshire Academy

1895 -- toured Europe with Aunt Jo

1896 -- attended Horace Mann School, New York City

1900-1902 -- studied architecture at Columbia University

1900-1902 -- attended William Merritt Chase's summer school, Shinnecock Hills, Long Island

1903 -- studied with William Merritt Chase, New York City

1904 -- first sale of a painting

1904 -- met Rufus Weeks and attended first Socialist meeting

1905 -- lived and worked with Abbott H. Thayer, Dublin, New Hampshire

1905 -- first painting trip to Monhegan Island, Maine

1907 -- first one-man show, Claussen Galleries, New York City

1908 -- marriage to Kathleen Whiting

1908 -- studied with Robert Henri

1908 -- joined Socialist Party

1909 -- birth of Rockwell, III

1910 -- ran Monhegan Summer School of Art

1910 -- first trip to Newfoundland

1910 -- helped to organize first Independent Exhibition

1911 -- birth of Kathleen

1912 -- moved to Winona, Minnesota

1913 -- birth of Clara

1914 -- settled in Newfoundland

1915 -- deported from Newfoundland

1915 -- birth of Barbara

1917 -- served as full-time organizer and administrator of Independent Exhibition

1918-1919 -- in Alaska with son Rocky

1919 -- purchased Egypt Farm, Arlington, Vermont

1919 -- incorporated self

1920 -- publication of Wilderness

1920 -- birth of Gordon

1922 -- traveled to Tierra del Fuego

1924 -- publication of Voyaging

1925 -- trip to France

1925 -- divorced from Kathleen

1926 -- marriage to Frances Lee

1926 -- traveled to Ireland

1927 -- purchased Asgaard Farm, AuSable, New York

1927 -- editor of Creative Art

1927 -- helped organize National Gallery of Contemporary Art, Washington, D.C.

1929 -- sailed to Greenland on Direction

1930 -- publication of N by E

1932-1933 -- returned to Greenland

1934-1935 -- final trip to Greenland

1935 -- publication of Salamina

1936 -- trip to Puerto Rico

1937 -- trip to Brazil

1937-1938 -- Post Office Department mural commission and controversy over Eskimo-language message interpreted as encouraging Puerto Rican independence

1939 -- divorced from Frances

1939 -- General Electric Co. mural commission for New York World's Fair

1940 -- publication of This Is My Own

1940 -- marriage to Shirley Johnstone (Sally)

1942 -- solo exhibition, Know and Defend America, at Wildenstein Galleries, New York City

1946 -- elected to Executive Committee of American Labor Party

1948 -- congressional candidate, American Labor Party

1948 -- transferred ownership of dairy to remaining employees after boycott resulting from support of Wallace for president

1949 -- attended World Congress for Peace, Paris

1950-1958 -- denied U.S. passport; lawsuit, appeals, and Supreme Court decision reinstating right to travel

1953 -- testified before House Un-American Activities Committee

1955 -- publication of It's Me, O Lord

1958 -- one-man show at Hermitage Museum, Leningrad

1959 -- publication of Of Men and Mountains

1960 -- gift of Kent Collection to Friendship House, Moscow

1960 -- exhibition at Pushkin Museum, Moscow

1963 -- publication of Greenland Journal

1966 -- elected to Academy of Arts of the USSR

1967 -- awarded Lenin Peace Prize, Moscow

1969 -- oral history interview, Archives of American Art

1969 -- home at Asgaard destroyed by fire; papers survived with some water and smoke damage

1969 -- first installment of Rockwell Kent Papers donated to Archives of American Art

1971 -- died, Plattsburgh, New York

1971 -- gift of additional Rockwell Kent Papers to Archives of American Art

1979 -- gift of textile samples to the Archives of American Art

1996 -- gift of additional Rockwell Kent Papers to Archives of American Art

2000 -- death of Sally [Shirley Johnstone] Kent Gorton

2000 -- previously sealed correspondence of wives Frances and Sally (Series 1) opened to researchers

2001 -- gift of additional Rockwell Kent papers to the Archives of American Art from the Estate of Sally Kent [Shirley Johnstone] Gorton
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Rights:
The Rockwell Kent 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:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Painters -- New York (State)  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Labor unions  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kentrock
Online Media:

Chenoweth Hall papers

Creator:
Hall, Chenoweth, 1908-1999  Search this
Names:
Blatas, Arbit  Search this
Colwell, Miriam, 1917-  Search this
Hartley, Marsden, 1877-1943  Search this
Marin, John, 1870-1953  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Date:
1936-1989
Scope and Contents:
Biographical material, writings, correspondence, clippings, photographs, sketchbooks, and a scrapbook related to Hall's career as a sculptor, painter, musician, and writer.
Biographical material includes resumes, obituaries, Hall's thesis "Integration in the teaching of Musical History" written for Columbia University, 1936. Correspondence includes letters from Paul Strand, Berenice Abbott, Malvina Hoffmann, John Marin, Jr., Thornton Wilder, May Sarton, Herbert Read, Erle Loran; Katherine and Dan Hathaway's correspondence referring to mutual friend Marsden Hartley; and postcards written by Hall and Miriam Colwell on a trip to Virginia and environs in 1946. Writings include drafts and mss. of many short stories, novels, plays, including The Crow and The Spruce, A Tale Twice Told, The Fictitious I, Conversation After Midnight, The Conjurer, Moon Forgot, An Unimportant Little Man, Sink or Swim, The Conjurer, Taygetus, The Heir, Again the Sun, A Portrait of Maine (a collaborative publication with Beatrice Abbott); essays, and composition books. Photographs are of Hall, her family, pets, Miriam Colwell, and photographs and a photograph album of Hall's works of art. The scrapbook contains clippings covering Hall's entire career. The videotape, 1989, (VHS, ca. 25 min.) is of Hall and Miriam Colwell in their home showing Hall's sculpture.
Biographical / Historical:
Artist, writer, musician, teacher; Prospect Harbor, Me.
Provenance:
Donated 2001 by Miriam Colwell.
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.
Occupation:
Sculptors -- Maine  Search this
Authors -- Maine  Search this
Topic:
Women artists  Search this
Genre/Form:
Scrapbooks
Video recordings
Identifier:
AAA.hallchen
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hallchen

Andrew Dasburg and Grace Mott Johnson papers

Creator:
Dasburg, Andrew, 1887-1979  Search this
Names:
Carlson, John F., 1874-1945  Search this
Cramer, Florence Ballin, 1884-1962  Search this
Davidson, Florence Lucius, d. 1962  Search this
Davidson, Jo, 1883-1952  Search this
Frankl, Walter  Search this
Hartley, Marsden, 1877-1943  Search this
Howard, Lila  Search this
Johnson, Grace Mott, 1882-1967  Search this
Kuhn, Vera, d. 1961  Search this
Lockwood, Ward  Search this
Luhan, Mabel Dodge, 1879-1962  Search this
McFee, Henry Lee, 1886-1953  Search this
Riley, Mary G., 1883-1939  Search this
Simonson, Lee, 1888-  Search this
Sterling, Lindsey, 1876-1931  Search this
Wright, Alice Morgan, 1881-1975  Search this
Extent:
8.8 Linear feet
Type:
Collection descriptions
Archival materials
Poetry
Diaries
Sketchbooks
Photographs
Date:
1833-1980
bulk 1900-1980
Summary:
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.

Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:

Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)

Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.

Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.

In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.

Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.

In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.

Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Andrew Dasburg and Grace Mott Johnson 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:
Artist colonies -- New York (State)  Search this
Artist colonies -- New Mexico  Search this
Painters -- New Mexico  Search this
Works of art  Search this
Sculptors -- New York (State)  Search this
Painters -- New York (State)  Search this
Genre/Form:
Poetry
Diaries
Sketchbooks
Photographs
Citation:
Andrew Dasburg and Grace Mott Johnson papers, 1833-1980 (bulk 1900-1980). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dasbandr
See more items in:
Andrew Dasburg and Grace Mott Johnson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dasbandr
Online Media:

Oral history interview with Erle Loran

Interviewee:
Loran, Erle, 1905-1999  Search this
Interviewer:
Chipp, Herschel Browning  Search this
Names:
Minneapolis School of Art  Search this
Booth, Cameron, 1892-1980  Search this
Cézanne, Paul, 1839-1906  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Extent:
119 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 June 18
Scope and Contents:
An interview of Erle Loran conducted 1981 June 18, by Herschel Chipp, for the Archives of American Art.
Loran speaks of his education, his studies with Cameron Booth and Hans Hofmann, life in Europe on a grant, his study of Cezanne, including his book, "Cezanne's Composition," and his return to New York. He discusses teaching at the Minneapolis School of Art, the WPA Art School, in Minneapolis, and the University of California, at Berkeley. He comments on meeting Marsden Hartley, American midwestern painters, ghost towns as subject matter for paintings, American politics in the 1930s, and surrealism in America.
Biographical / Historical:
Erle Loran (1905-1999) was a painter and art historian of Minneapolis, Minn. and Berkeley, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hrs., 14 min.
Provenance:
This interview is part of the Archives' 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.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Surrealism -- United States  Search this
Art, American -- Minnesota  Search this
Art historians -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.loran81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loran81

Oral history interview with Sally Avery

Interviewee:
Avery, Sally  Search this
Interviewer:
Wolf, Tom  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
Opportunity Club (New York, N.Y.)  Search this
Avery, Milton, 1885-1965  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hartley, Marsden, 1877-1943  Search this
Newman, Barnett, 1905-1970  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 February 19
Scope and Contents:
An interview of Sally Avery conducted 1982 February 19, by Tom Wolf, for the Archives of American Art's Mark Rothko and His Times oral history project.
Avery discusses the friendship between Mark Rothko and the Averys, noting especially Rothko's admiration for Milton Avery's work. She describes Avery's influence on Rothko and Adolph Gottlieb, recalling several summers spent together and their close association in New York. She mentions Rothko's and Avery's involvement with the Opportunity Gallery, and the activities of the Club and the Ten. Avery speaks of Rothko's "myth paintings" and the origination of the idea with Barnett Newman and Adolph Gottlieb. The second half of the interview focuses on Milton Avery and his manner of working. She mentions an Avery portrait of Marsden Hartley and remembers his visits with them.
Biographical / Historical:
Sally Michel Avery (1902-2003) was a painter and widow of Milton Avery. Sally Avery lived in New York and Long Island.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 32 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.avery82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-avery82

Zabriskie Gallery records

Creator:
Zabriskie Gallery  Search this
Names:
Galerie Zabriskie  Search this
Archipenko, Alexander, 1887-1964  Search this
Baizerman, Saul, 1889-1957  Search this
Benglis, Lynda, 1941-  Search this
Christenberry, William, 1936-  Search this
Crawford, Ralston, 1906-1978  Search this
Davis, Stuart, 1892-1964  Search this
Frank, Mary, 1933-  Search this
Hartley, Marsden, 1877-1943  Search this
King, William, 1925-2015  Search this
Lozowick, Louis, 1892-1973  Search this
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Siskind, Aaron  Search this
Snelson, Kenneth, 1927-2016  Search this
Stankiewicz, Richard, 1922-1983  Search this
Sugarman, George, 1912-1999  Search this
Tacha, Athena, 1936-  Search this
Tworkov, Jack  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Wilmarth, Christopher  Search this
Yunkers, Adja, 1900-1983  Search this
Zabriskie, Virginia M., 1927-1991  Search this
Extent:
120.7 Linear feet
2 Items (rolled docs)
Type:
Collection descriptions
Archival materials
Date:
1951-2010
Scope and Contents:
Records of the New York and Paris locations of Zabriskie Gallery, including artist and subject files, financial records, and business records.
Artist files contain correspondence with artists, galleries and collectors, photographs of artists and their work, inventories, resumes, exhibition catalogs, press releases, and clippings. Artists include Ansel Adams, Pat Adams, Alexander Archipenko, Eugen Atget, George Ault, Saul Baizerman, Lynda Benglis, Isle Bing, Nell Blaine, Claude Cahun, Harry Callahan, William Christenberry, Ralston Crawford, Imogen Cunningham, Stuart Davis, Kiki de Montparnasse, Marcel Duchamp, Arnold Friedman, Joan Fontcuberta, Mary Frank, Lee Friedlander, Marsden Hartley, Geroges Hugnet, Allan Kaprow, William King, William Klein, Yasuo Kuniyoshi, Ellen Lanyon, Louis Lozowick, Man Ray, Elie Nadelman, Nicholas Nixon, B.J.O. Nordfeldt, Alfonso Ossorio,Albert Renger-Patzch, Jorge Ribalta,Theodore Roszak, Tomoko Sawada, Aaron Siskind, Kenneth Snelson, Ralph Steiner, Richard Stankiewicz, Alfred Stieglitz, George Sugarman, Athena Tacha, Dorothea Tanning, Jack Tworkov, Junko Uoda, Vaclav Vytlacil, Abraham Walkowotz, Christopher Wilmarth, Adja Yunkers and William Zorach, among others.
Gallery correspondence is between the Paris and New York galleries and with artists, dealers, clients, and other galleries. Financial records includes artists account statements, administrative files, Zabriskie transaction records, sales books, and price lists. Also included are signed guest books, floor plans, and inventory cards.
Also found are blueprints and line drawings by Richard Stankiewicz, with copies of designs and information relating to Stankiewicz's sculpture and studio building (0.2 linear ft.).
Biographical / Historical:
Art gallery, New York City and Paris (Galerie Zabriskie) owned by Virginia Zabriskie. The New York gallery opened in 1954; Galerie Zabriskie in Paris officially opened in January 1977, but work began there the previous year and closed in 1998.
Provenance:
Donated by Virginia Zabriskie, 1992-2011.
Restrictions:
Use requires an appointment.
Occupation:
Artists -- United States  Search this
Topic:
Art, American  Search this
Art, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Art galleries, Commercial -- France -- Paris
Identifier:
AAA.zabrgall
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zabrgall

Max Weber papers

Creator:
Weber, Max, 1881-1961  Search this
Names:
American Artists' Congress  Search this
Forum Gallery (New York, N.Y.)  Search this
Biddle, George, 1885-1973  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Gropper, William, 1897-1977  Search this
Gross, Chaim, 1904-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Kent, Rockwell, 1882-1971  Search this
Kroll, Leon, 1884-1974  Search this
Newman, Barnett, 1905-1970  Search this
Soyer, Raphael, 1899-1987  Search this
Zorach, William, 1887-1966  Search this
Extent:
11.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Motion pictures (visual works)
Date:
1902-2008
Summary:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
Scope and Content Note:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.

Biographical material includes biographical summaries, obituaries, award certificates, and a small amount of family memorabilia. Weber's personal and professional correspondence includes discussions of exhibitions, sales, and donations of his work, as well was requests to teach, write, or lecture. Also found is correspondence with arts organizations, clubs, and committees in which he participated. A small amount of family correspondence is also included. Artists that Weber corresponded with include George Biddle, Arthur Davies, William Gropper, Chaim Gross, Marsden Hartley, Rockwell Kent, Leon Kroll, Barnett Newman, Raphael Soyer, and William Zorach, among many others. Weber also corresponded with many art historians and critics, gallery owners, and art patrons. Joy Weber's correspondence primarily concerns the exhibition, loan, sale, and authentication of her father's artwork.

Exhibition files document various solo and group exhibitions of Weber's work. Five reels of motion picture film include footage of an exhibition at the Forum Gallery in 1975. Gallery files include correspondence, inventories, sales and loan records, gallery publications, and other documentation. Most files for exhibitions and galleries were created by Joy Weber after Max Weber's death in 1961. Personal business records include documents on sales, loans, and gifts of Max Weber's artwork; scattered financial documents; and mortgage and property records. Also found are files regarding his participation in the American Artists' Congress and art juries. Weber's writings primarily concern art theory, impressions of other artists, and social and political issues. Additionally there are notes, drafts speeches, and writings by others about Weber.

Printed material is extensive and includes exhibition publications, press releases, and two published booklets written by Weber: "Art Consciousness" and "Things." Also found are news clippings, brochures, newsletters, and publications produced by art organizations, schools, and museums. Photographs include portraits and snapshots of Weber, depicting him working in his studio, participating in art juries, at art openings, and with his family. Photographs also depict installation views of exhibitions and numerous photographs of Weber's artwork. Audiovisual materials include one sound recording of a National Gallery program on Max Weber and five reels of motion picture film that include home movies and footage of an exhibition at the Forum Gallery in 1975.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Material, 1905-1995 (Box 1; 10 folders)

Series 2: Correspondence, 1902-2007 (Box 1-5; 4.2 linear feet)

Series 3: Exhibition Files, 1919-2003 (Box 5-6; 0.7 linear feet)

Series 4: Gallery Files, 1926-2005 (Box 6-7; 0.9 linear feet)

Series 5: Personal Business Records, 1906-2006 (Box 7; 0.8 linear feet)

Series 6: Writings, circa 1910s-1999 (Box 7-8; 0.6 linear feet)

Series 7: Printed Material, 1909-2008 (Box 8-10, 12; 2.6 linear feet)

Series 8: Photographs, 1930s-circa 2000 (Box 10-11; 1.1 linear feet)

Series 9: Audiovisual Material, 1954-2000 (Box 11, FC 13-17; 0.7 linear feet)
Biographical Note:
Max Weber (1881-1961) was a painter and sculptor in New York City.

Weber was born in Bialystok, Russia. When he was ten years old his family moved to Brooklyn, New York. From 1898 to 1900 he attended Pratt Institute and studied theory and practice of design under Arthur Wesley Dow. After graduating he briefly taught drawing in Lynchburg, Virginia, and Duluth, Minnesota. In 1905 he moved to Paris to attend the Académie Julian, studying under Jean-Paul Laurens, and later attended classes at the Académie Colarossi and Académie de la Grande Chaumiere. In 1907 he attended Henri Matisse's studio class. The influence of Matisse and friend Henri Rousseau transformed Weber's painting style to include elements of cubism and fauvism.

Weber returned to New York in 1909, and over the next few years he frequently exhibited at Alfred Stieglitz's gallery 291. Initially his work was panned by American critics for being too modern. Despite criticism, Weber exhibited his work extensively in the 1910s and also began creating abstract sculptures. In 1914 he helped his friend Clarence H. White open the White School of Photography and taught art history there for four years. Also in 1914 his Cubist Poems were published in London. His second book of poetry Primitives was published in 1926.

In 1916 Weber married Frances Abrams. He began to explore narrative subjects in his paintings and in 1918 began carving woodblock prints. He also taught at the Art Students League for the 1919-1921 and 1926-1927 sessions. By the early 1920s he was recognized as an important American artist, serving as a leader in art organizations such as the Society of Independent Artists. In 1930 Weber became the first American modernist to have a retrospective exhibition at the Museum of Modern Art.

In the 1930s Weber became more active in political and socialist causes, participating in many organizations throughout the Depression and World War II. In 1937 he became the National Chairman of the American Artists' Congress. By the 1940s, his work was widely known and influenced a new generation of American painters. He continued to exhibit extensively, received many awards, such as the Temple Gold Medal at the Pennsylvania Academy of Fine Arts, and often served on art juries. In 1955 he was elected to the National Institute of Arts and Letters and received an honorary doctorate from Brandeis University. He died in Great Neck, New York, in 1961.
Related Material:
Also found at the Archives of American Art is an Allen L. Wetmore letter from Max Weber, April 15, 1946.
Separated Material:
Material lent for microfilming in 1959 and 1969 which was not included in the 2011 donation is available on microfilm reels NY59-6 to NY59-10, N69-82 to N69-88, and N69-112.
Provenance:
Material was lent for microfilming in 1959 by Max Weber and in 1969 by Mrs. Max Weber and daughter, Joy Weber. The bulk of the microfilmed material and additional papers were donated in 2011 by Joy Weber.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Max Weber 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, American  Search this
Sculptors -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Genre/Form:
Photographs
Sound recordings
Motion pictures (visual works)
Citation:
Max Weber papers, 1902-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webemax
See more items in:
Max Weber papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-webemax
Online Media:

Oral history interview with Peter Howard Selz

Interviewee:
Selz, Peter Howard, 1919-2019  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Francis, Sam, 1923-1994  Search this
Hartley, Marsden, 1877-1943  Search this
Magritte, René, 1898-1967  Search this
Pascin, Jules, 1885-1930  Search this
Rothko, Mark, 1903-1970  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
80 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 July 28-October 12
Scope and Contents:
An interview of Peter Howard Selz conducted 1982 July 28-1982 October 12, by Paul J. Karlstrom, for the Archives of American Art.
Selz speaks of his early interest in art; his immigration to the United States in 1935; meeting Alfred Stieglitz; his career as an art historian and how it developed; exhibitions he organized; art and its relationship to politics; developments in contemporary American art and the study of art history; the Mark Rothko estate trial; and his current work. He recalls Marsden Hartley, Rene Magritte, Sam Francis, and Jules Pascin.
Biographical / Historical:
Peter Howard Selz (1919-2019 ) was a curator and art historian from Berkeley, California.
General:
Originally recorded on 6 sound cassette. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 31 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.
Restrictions:
Transcript: Use requires an appointment.
Topic:
Art historians -- California -- Berkeley -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.selz82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-selz82

Maurice Brazil and Charles Prendergast selected papers

Creator:
Prendergast, Maurice Brazil, 1858-1924  Search this
Prendergast, Charles, 1863-1948  Search this
Names:
Brooks, Van Wyck, 1886-1963  Search this
Glackens, Edith  Search this
Glackens, Ira, 1907-1990  Search this
Glackens, William J., 1870-1938  Search this
Hartley, Marsden, 1877-1943  Search this
Pach, Walter, 1883-1958  Search this
Sargent, John Singer, 1856-1925  Search this
Extent:
1 microfilm reel
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
[ca.1865]-1992
Scope and Contents:
Selected material from the Prendergast Archive, Williams College, Williamstown, Mass. Included are: a descriptive list of contents on the microfilm; letters from Maurice to his brother Charles during trips to Paris, 1907, and Venice, 1911-1912, and a draft of a letter to William Glackens about Marsden Hartley, ca. 1908, with transcriptions by the Prendergast Archive; letters to Charles and his wife, Eugenie, 1900-1956, from John Singer Sargent, Van Wyck Brooks, Walter Pach, Ira Glackens, Edith Glackens, and others. Also included are Maurice's address book, ca. 1914-1923?; Charles' diaries of trips to France, 1927 and 1929, containing 3 pencil sketches;
Maurice's and Charles' diary and addresses, 1918-1925; and a partial record of the Prendergast/Germaine family history recorded in a Bible and birth and death documents of family members. Miscellany pertaining to Maurice includes a sketch on his Macbeth Gallery exhibition catalog, 1900; an informal translation of an article on Paul Cezanne, ca. 1908; a notebook p. inscribed with his name and address; and a bronze medal awarded for third prize in an American oil painting exhibition at the Corcoran Gallery of Art.
Miscellany of Charles includes his driver's license, a sketch; notes; and signatures. Also included are a photograph of their painting "The Spirit of the Hunt," inscribed by them to a friend, 1918; printed material collected by them; a list of their books; photographs of Maurice, Charles, family, friends, and of works of art by other artists.
Biographical / Historical:
Maurice: painter, watercolorist, illustrator and graphic artist; Boston, Mass. and New York, N.Y. Charles: painter, sculptor, craftsman, and framemaker; Boston, Mass., New York, N.Y. and Westport, Conn. Maurice was an Impressionist and early modernist. He painted scenes along the Massachusetts and Maine coasts as well as in Paris, Venice, Rome, and French coastal towns; exhibited with "The Eight" (1908), and was a contributor to the Armory show (1913). Charles achieved prominence as a craftsman and framemaker (1891-1912), and later specialized in painted, gilded, and incised panels of exotic and folk subjects (1912-1948).
Provenance:
Loaned for microfilming in 1992 by the Prendergast Archive and Study Center. Located in the Williams College Museum of Art, Williamstown, Mass., it contains archival materials pertaining to the Prendergasts, donated by Mrs. Charles Prendergast, as well as research materials and files amassed for the publication of MAURICE BRAZIL PRENDERGAST, CHARLES PRENDERGAST: A CATALOG RAISONNE (1990).
Restrictions:
Patrons must use microfilm copy.
Topic:
Art, Modern -- 19th century -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Modernism (Art)  Search this
Identifier:
AAA.prenmaur
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-prenmaur

Milton Avery papers

Creator:
Avery, Milton, 1885-1965  Search this
Names:
Avery, Sally  Search this
Duthuit, Georges, 1891-  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Hartley, Marsden, 1877-1943  Search this
Putnam, Wallace, 1899-1989  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1926-1982
bulk 1950-1982
Summary:
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Scope and Content Note:
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of business files maintained by Milton Avery's wife Sally as a trustee for the Milton Avery Trust (2.4 linear feet). Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Arrangement:
The collection is arranged into 7 series:

Series 1: Biographical Material, 1964, 1975 (Box 1; 1 folder)

Series 2: Correspondence, 1935-1981 (Box 1; 10 folders)

Series 3: Subject Files, 1950-1981 (Box 1-4; 2.4 linear feet)

Series 4: Writings, circa 1951-1979 (Box 4; 5 folders)

Series 5: Financial & Legal Records, 1943-1982 (Box 4; 6 folders)

Series 6: Printed Material, 1926, 1962-1977 (Box 4; 4 folders)

Series 7: Photographs, circa 1970 (Box 4; 1 folder)
Biographical Note:
Milton Avery (1885-1965) was born in Altmar, New York and grew up in Hartford, Connecticut. Around 1905 he began attending the Connecticut League of Art Students in Hartford where he studied life drawing while also working full-time as a factory worker and file clerk. In 1915 he had his first public exhibition and, in 1918, transferred to the School of Art Society in Hartford. In 1924 he met Sally Michel (1905-2003), a student at the Art Students League in New York, and moved to New York City to be closer to her. They married one year later. Around this time Avery also altered his year of birth to 1893, perhaps due to the age difference between him and Sally. After their marriage Sally worked as an illustrator so that Avery could paint full time.

During the early 1920s, Avery's works were traditional figurative and genre subjects, influenced by American Impressionism. By the mid 1920s, with his move to New York, Avery began to simplify his forms and use broader expanses of flat color. Although his paintings became increasingly abstract, he never fully abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. By the mid-1940s, Avery's work was characterized by a reduction of elements and elimination of detail, filled with an emphasis on arbitrary color.

Avery exhibited in a group show at The Opportunity Gallery in 1928 which also featured Mark Rothko and the two became close friends. He became friends with many other artists including Adolph Gottlieb, Barnett Newman, and Marsden Hartley. Avery's color work was an important influence on many younger artists, particularly Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. The Phillips Collection in Washington, D.C. was the first museum to purchase one of his paintings in 1929 and to give him his first solo museum exhibition in 1944.

In 1949 Milton Avery suffered a major heart attack and began making monotypes during his recovery. He returned to painting despite periods of ill-health, and his reputation grew rapidly over the next ten years, culminating in a retrospective at the Whitney Museum of American Art in New York in 1960. He also exhibited along with his wife Sally Avery and their daughter, March Avery Cavanaugh (born in 1932), both of whom were also painters. Avery died in 1965 and left behind an oeuvre of paintings that numbers in the thousands. His wife Sally managed his estate and the sale of his works to many major museums, and served as a trustee for the Milton Avery Trust until her death in 2003.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-95, N68-115, N69-63, and 2535 including six scrapbooks, a sketchbook, Christmas cards, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Milton Avery papers were donated in 1968, 1969, and 1982 by his widow Sally Avery, including a few letters previously loaned for microfilming.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art's website.
Rights:
The Milton Avery 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:
Painting, Abstract  Search this
Painters -- New York (State) -- New York  Search this
Citation:
Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.avermilt
See more items in:
Milton Avery papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-avermilt
Online Media:

Hartley, Marsden

Collection Creator:
Ashton, Dore  Search this
Container:
Box 11, Folder 74
Type:
Archival materials
Photographs [31027000765970]
Date:
circa 1950-2010
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Dore Ashton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Dore Ashton papers
Dore Ashton papers / Series 7: Photographs of Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ashtdore-ref529

Marsden Hartley

Artist:
Herbert Katzman, 8 Jan 1923 - 15 Oct 2004  Search this
Sitter:
Marsden Hartley, 4 Jan 1877 - 2 Sep 1943  Search this
Medium:
Charcoal on paper
Type:
Drawing
Date:
c. 1984
Topic:
Artwork\Painting  Search this
Marsden Hartley: Male  Search this
Marsden Hartley: Literature\Writer  Search this
Marsden Hartley: Visual Arts\Artist\Painter  Search this
Marsden Hartley: Literature\Writer\Poet  Search this
Portrait  Search this
Credit Line:
Owner: Terry Dintenfass
Object number:
DLR00059
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4f1cf4ffc-c845-4c46-b0dc-15f80830a185
EDAN-URL:
edanmdm:npg_DLR00059

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