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The Topography of Emotion: Eighteenth-Century Landscape Paintings of Udaipur, Rajasthan

Creator:
Freer Gallery of Art and Arthur M. Sackler Gallery  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2021-10-26T23:00:39.000Z
YouTube Category:
Education  Search this
Topic:
Art, Asian  Search this
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FreerSackler
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
YouTube Channel:
FreerSackler
EDAN-URL:
edanmdm:yt_nAlHVCSOKl8

Episode 1 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T20:32:57.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_3sueEQVEV0g

Encuentros II - National Identities and International Relations

Creator:
Smithsonian American Art Museum  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2012-03-27T20:28:21.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_JbXXKSTbcJE

Episode 5 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T22:06:43.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_XMB4I0Rrig8

Episode 2 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T20:35:22.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_bA8FcOc6zio

Episode 3 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T20:34:16.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_bh-klRHSsMc

Episode 6 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T20:34:34.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_k_0LvXnLUk4

Episode 4 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T13:17:49.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
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americanartmuseum
EDAN-URL:
edanmdm:yt_sw-U5ZEjnL8

Episode 7 - Podcast: The Civil War and American Art

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2012-11-14T13:18:12.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
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Smithsonian American Art Museum
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americanartmuseum
EDAN-URL:
edanmdm:yt_zkjpFFDS9pA

Basque Landscape Painter Jesus Mari Lazkano

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2016-11-14T20:53:46.000Z
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Travel & Events  Search this
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Cultural property  Search this
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smithsonianfolklife
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolklife
EDAN-URL:
edanmdm:yt_u7g2L9Dw8ZY

Cleve Gray papers

Creator:
Gray, Cleve  Search this
Names:
Berry-Hill Galleries  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Jacques Seligmann & Co  Search this
Neuberger Museum of Art  Search this
Pratt Institute  Search this
Princeton University  Search this
Rhode Island School of Design  Search this
Barzun, Jacques, 1907-  Search this
Calder, Alexander, 1898-1976  Search this
Davis, Jim, 1901-1974  Search this
Dillenberger, Jane  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Jimmy, 1920-1984  Search this
Gabo, Naum, 1890-1977  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marin, John, 1870-1953  Search this
Pollock, Jackson, 1912-1956  Search this
Richter, Hans, 1888-1976  Search this
Smith, David, 1906-1965  Search this
Villon, Jacques, 1875-1963  Search this
Weber, Nicholas Fox, 1947-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Date:
1933-2005
Summary:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Connecticut  Search this
Painters -- Connecticut  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnamese Conflict, 1961-1975 -- Protest Movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grayclev
See more items in:
Cleve Gray papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052
EDAN-URL:
ead_collection:sova-aaa-grayclev
Online Media:

Circular Box

Medium:
Ivory, painted glass
Type:
containers
Decorative Arts
box
Object Name:
box
Date:
late 18th century
Credit Line:
Bequest of Katherine Strong Welman
Accession Number:
1908-23-22-a/c
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Product Design and Decorative Arts Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq43d0cd388-583f-4a6a-aba0-6803a9391856
EDAN-URL:
edanmdm:chndm_1908-23-22-a_c
Online Media:

Fred and Edith Nagler papers

Creator:
Nagler, Fred, 1891-1983  Search this
Nagler, Edith Kroger, 1890-1986  Search this
Names:
Bishop, Isabel, 1902-1988  Search this
Cahill, Holger, 1887-1960  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Kieran, John, 1892-  Search this
Orozco, José Clemente, 1883-1949  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Sloan, John, 1871-1951  Search this
Teale, Edwin Way, 1899-  Search this
Extent:
1.6 Linear feet ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1913-1979
Scope and Contents:
Printed material, correspondence, photographs, a scrapbook, and a journal.
UNMICROFILMED: Ca. 450 letters from Edith to her friends and ca. 50 letters to Edith and Fred from family and friends; clippings and exhibition announcements; address lists; and a short priced list of Edith's paintings.
REEL 75: Letters to Edith and Fred from Louis Eilshemius, Jose Orozco, John Sloan of the Artists and Writers Dinner Club, Holger Cahill of the First Municipal Art Exposition, Edwin Way Teale and professional organizations; clippings about Edith and Fred, particularly Fred's religious paintings, exhibition catalogs and announcements; photographs of Fred; a sketch of Fred by Edith; and a letter from John Kieran, "Why I Want Willkie."
REEL 414: Correspondence, with letters from Anthony Lauck, Isabel Bishop and other friends and art institutions; Fred's journal containing ideas on religion, poems, and observations; a scrapbook, 1913-1946; clippings and articles; a photograph of Edith's portrait of her husband; and an address given by Fred.
REELS 1798 & 1799: Ca. 200 letters from Edith to her friends plus correspondence with Joseph Bates, Jr., Isabel Bishop, John Kieran, Elsie Nagler, and Homer Saint-Gaudens; clippings and exhibition invitations.
Biographical / Historical:
Painters; Massachusetts and Dallas, Tex. Fred Nagler and Edith Kroeger met while studying at the Art Students League in New York. Fred was a painter of religious subjects. Edith was a landscape painter.
Provenance:
Donated by Edith and Fred Nagler, 1968-1979.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Texas -- Dallas  Search this
Topic:
Art and religion  Search this
Landscape painting -- 20th century  Search this
Women artists  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.naglfred
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a6a3cff0-317d-43a2-81a7-bbefe5ccd589
EDAN-URL:
ead_collection:sova-aaa-naglfred

Lee Hall papers

Creator:
Hall, Lee  Search this
Names:
Betty Parsons Gallery  Search this
Rhode Island School of Design  Search this
Ajay, Abe  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Parsons, Betty  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Drawings
Sketchbooks
Diaries
Video recordings
Date:
circa 1870s-2017
bulk 1975-2010
Summary:
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.
Scope and Contents:
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.

Biographical material includes business cards, résumé and biographical texts, travel documents, and awards. Correspondence is professional and personal in nature and includes some collected historic correspondence from unknown authors. Correspondence regarding specific writing projects is found in the Writings series. The Writings series includes journals and notebooks focusing primarily on Hall's travels and study of Classics including the Greek language. The Writing Projects subseries includes titles intended for publication as well as college papers, essays, and lectures. Published titles are often accompanied by book proposals, contracts, research material, interviews, and correspondence. Also included are writings by others including reviews regarding Hall's art career. Studio records include artwork inventories, loan paperwork, and the mechanical for an exhibition catalog. Printed material includes exhibition invitations for Lee Hall's art career, exhibition catalogs for Hall's exhibitions and that of Betty Parsons, and general printed material regarding Elaine de Kooning, as well as press clippings on various topics. Photographic materials include images of Lee Hall and her circle of friends including Betty Parsons, images of Hall in her studio, installation images of Hall's exhibitions at the Betty Parsons Gallery, and extensive photographs of Hall's travels to the Mediterranean, primarily to Greece and Turkey. The Artwork series includes sketches, watercolors and other small paintings by Lee, as well as illustrated manuscripts for children's book titles.
Arrangement:
The collection is arranged in seven series:

Series 1: Biographical Material, circa 1970-2010 (0.2 Linear Feet; Boxes 1, 7)

Series 2: Correspondence, circa 1870-2016 (0.3 Linear Feet; Box 1)

Series 3: Writings, circa 1920-2010 (4.0 Linear Feet; Boxes 1-5)

Series 4: Studio Records, circa 1973-2010 (0.2 Linear Feet; Box 5)

Series 5: Printed Material, circa 1914-2016 (0.4 Linear Feet; Boxes 5, 7)

Series 6: Photographic Material, circa 1940-2017 (1.7 Linear Feet; Boxes 5-9)

Series 7: Artwork, circa 1950-2010 (0.6 Linear Feet; Boxes 6-7, Oversize 10)
Biographical / Historical:
Lee Hall (1935-2017) was a painter, author, and arts administrator who served as president of the Rhode Island School of Design from 1975-1983. Born in Lexington, North Carolina and raised in Florida following her parents' divorce, Lee Hall later returned to her birth state to attend the Woman's College of the University of North Carolina. She received her bachelor of fine arts in 1955, studying under the abstract painter John Opper. She eventually earned a masters degree in art education and a PhD in creative arts, both from New York University. Hall's paintings shared an Abstract Expressionist sensibility common with many of her peers at the Betty Parsons Gallery, imparted on the figurative tradition of landscape painting. Hall showed her paintings at the Betty Parsons Gallery from the late seventies until 1982 when the gallery closed following Parsons' death, after which she ceased exhibiting her work almost entirely until the last decade of her life. Hall maintained a studio at her home in South Hadley, Massachusetts throughout her life. A few years before Parson's death Hall had agreed to write Parsons' biography, finally released in 1991, on the condition that she and papers were made available for intensive research. Hall published titles on a wide variety of subjects including a comprehensive survey of American clothing (1992), and perhaps most notably the controversial biography of painters Elaine and Willem de Kooning (1993).
Separated Materials:
Three linear feet of Betty Parsons papers donated as part of the Lee Hall papers were transferred to the collection of Betty Parsons Gallery records and personal papers, also located at the Archives of American Art.
Provenance:
Donated in 2018 by the Lee Hall Estate via Carolyn Crozier and Deborah Jacobson, co-executors.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts  Search this
Authors -- Massachusetts  Search this
Arts administrators -- Rhode Island  Search this
Genre/Form:
Interviews
Drawings
Sketchbooks
Diaries
Video recordings
Citation:
Lee Hall Papers, circa 1870s-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halllee
See more items in:
Lee Hall papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d411a6e-e1cb-42cd-97de-96d9f710d658
EDAN-URL:
ead_collection:sova-aaa-halllee
Online Media:

The People of India, Volume One

Publisher:
Watson, J. Forbes (John Forbes), 1827-1892.  Search this
Kaye, John William, Sir, 1814-1876  Search this
Collection Publisher:
Watson, J. Forbes (John Forbes), 1827-1892.  Search this
Kaye, John William, Sir, 1814-1876  Search this
Extent:
1 Volume
Container:
Box 4
Culture:
Hindus  Search this
Christians  Search this
Rajput (Indic people)  Search this
Buddhists  Search this
Type:
Archival materials
Books
Volumes
Local Numbers:
FSA A1990.03 1
Collection Restrictions:
Collection is open for research.
Topic:
Indigenous peoples -- South Asia  Search this
Ethnography -- South Asia  Search this
Collection Citation:
The People of India, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C., Purchase
Identifier:
FSA.A1990.03, Series FSA A1990.03 1
See more items in:
The People of India: A Series of Photographic Illustrations, with Descriptive Letterpress, of the Races and Tribes of Hindustan
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3ca1ac868-6372-481c-8bfa-f7d77736fccf
EDAN-URL:
ead_component:sova-fsa-a1990-03-ref1
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Online Media:

tankard

Maker:
Meissen Manufactory  Search this
Physical Description:
porcelain (overall material)
Measurements:
overall: 7 1/2 in; 19.05 cm
overall: 7 5/16 in x 6 in x 4 1/2 in; 18.6055 cm x 15.24 cm x 11.43 cm
Object Name:
tankard
Date made:
ca 1735
1735
Subject:
Manufacturing  Search this
Credit Line:
Dr. Hans Syz
ID Number:
1981.0702.20
Accession number:
1981.0702
Catalog number:
1981.0702.20
Collector/donor number:
963
See more items in:
Home and Community Life: Ceramics and Glass
The Hans C. Syz Collection
Meissen Porcelain: The Hans Syz Collection
Art
Domestic Furnishings
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-adb6-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1405932

Essential terms of Chinese painting = Zhongguo hui hua ci hui lei bian Maria Cheng, Tang Wai Hung, Eric Choy

Title:
Essential terms of Chinese painting = 中國繪畫辭彙類編 / Maria Cheng, Tang Wai Hung, Eric Choy
Zhongguo hui hua ci hui lei bian
中國繪畫辭彙類編
Author:
Cheng, Maria Po Suen  Search this
Deng, Weixiong  Search this
Choy, Eric  Search this
Physical description:
ix, 435 pages illustrations (some color), facsimiles 29 cm
Type:
Terminology
Terminologie
Dictionaries
Date:
2017
Topic:
Painting, Chinese  Search this
Peinture chinoise  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1157642

Noland, Kenneth/Stephanie

Collection Creator:
Greenberg, Clement, 1909-1994  Search this
Container:
Box 6, Folder 9
Type:
Archival materials
Date:
1962-1983
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Clement Greenberg papers
Clement Greenberg papers / Series 3: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dbb95845-de97-4f73-adfe-3fa7562ae175
EDAN-URL:
ead_component:sova-aaa-greeclep-ref363
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  • View Noland, Kenneth/Stephanie digital asset number 1

Charles Volkmar papers, 1827-1985

Creator:
Volkmar, Charles, 1841-1914  Search this
Subject:
Harpignies, Henri  Search this
Jacque, Charles Emile  Search this
Millet, Jean François  Search this
Volkmar, Carl  Search this
Volkmar, Charles  Search this
Volkmar, Leon  Search this
Type:
Sketchbooks
Citation:
Charles Volkmar papers, 1827-1985. Archives of American Art, Smithsonian Institution.
Topic:
Decorative arts  Search this
Ceramics  Search this
Theme:
Diaries  Search this
Lives of American Artists  Search this
Craft  Search this
Record number:
(DSI-AAA_CollID)10189
(DSI-AAA_SIRISBib)213244
AAA_collcode_volkchar
Theme:
Diaries
Lives of American Artists
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213244

Charles Volkmar papers

Creator:
Volkmar, Charles, 1841-1914  Search this
Names:
Harpignies, Henri, 1819-1916  Search this
Jacque, Charles Emile, 1813-1894  Search this
Millet, Jean François, 1814-1875  Search this
Volkmar, Carl  Search this
Volkmar, Charles, 1809-1892  Search this
Volkmar, Leon, 1879-1959  Search this
Extent:
1.2 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1827-1985
Scope and Contents:
Printed material, biographical material, correspondence, and photographs (ca. 1860-1920) documenting the Volkmar family's involvement in the development of the ceramics industry in northeastern America. The collection focuses on Charles Volkmar but the careers of Carl, Leon (1879-1959), and Charles Volkmar, Sr. (1809-1892) are also documented. Material on Charles Volkmar includes correspondence (1897-1915), notes and writings, clippings (1872-1913), articles, 2 sketchbooks, and prints and drawings. In the original 41-page typed draft of his reminiscences, Charles Volkmar writes of his flight to Europe at the outbreak of the civil war, the life of American artists in Paris, studying landscape painting under Henri Harpignies, the work of Jean-Francois Millet and Charles Emile Jacque, and his work painting pottery and tiles in France, after which he returned to the United States and went into the ceramics business. Leon Volkmar's correspondence (1901-1953) and printed materials discuss the business, artistic and family traditions of the ceramics industry. Photographs depict Leon, his family, the Volkmar Pottery and the tiles and ceramics they produced. Carl Volkmar's family papers, documents (1827-1838) and a notebook are all in German.
Biographical / Historical:
Ceramicist, painter. Born in Baltimore, Charles Volkmar received his early art training at the Maryland Institute. He moved to Paris, where he studied landscape painting with Henri Harpignies in the 1860's. His paintings were exhibited in the Paris salons of the 1870's. He studied pottery painting and tile making in France, working as an apprentice at the Haviland factory. Returning to the United States, Charles built a kiln at Greenpoint, Long Island, in 1879 where he produced tiles and vases. He was the first potter to use underglaze slip painting in the United States. His son, Leon, was an accomplished potter and formed a partnership with his father. When the kiln was moved to Metuchen, New Jersey, the name was changed to Charles Volkmar and Son. In 1911 the partnership dissolved and Leon moved to Bedford, New York; established Durant kilns and devoted much time to glaze experimentation.
Provenance:
Papers were lent by Susan Volkmar, the wife of Peter Volkmar, great-grandson of Charles Volkmar.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Ceramicists -- United States  Search this
Topic:
Decorative arts  Search this
Ceramics  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.volkchar
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93960612e-10d0-415b-9576-add5eb5ff137
EDAN-URL:
ead_collection:sova-aaa-volkchar

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