An interview with Antonio Maldonado conducted by Luis Cancel, 1997 Oct. 25- Nov. 1, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Interviewee Antonio Maldonado (1920-2006) was a Puerto Rican painter and graphic artist.
Provenance:
Other artists interviewed include Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, José A. Torres Martino, Antonio Martorell, Delta Bravo de Picó, and Noemi Ruíz.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
An interview of Antonio Martorell conducted by Luis Cancel, Oct. 25- Nov. 1, 1997, for the Archives of American Art's Puerto Rican Artists Video Project.
Biographical / Historical:
Interviewee Antonio Martorell (1939) is a Puerto Rican writer, painter, graphic artist, and radio and television personality.
Provenance:
Other artists interviewed include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Delta Bravo de Picó, Lorenzo Homar, Antonio Maldonado, Noemi Ruíz, and José A. Torres Martino
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
Biographical data; correspondence (1.5 ft.), 1904-1974, including letters between Ejnar and his wife Helga, and from their son Jorgen, Christmas cards, correspondence with artists, friends, galleries, museums and universities regarding shows and the Southern California art scene, including letters from Jarvis Barlow, Nelbert Chouinard and Francis de Erdely, sympathy cards sent after Ejnar's death, letters to Helga from her grandson, Todd Moore, and ca. 50 rough drafts of letters by Ejnar;
5 daybooks, 1947-1951, containing brief diary-like entries; 5 sketches, undated; a file on the Lovelock Mural Competition, 1939-1941, containing correspondence, writings, business records and blueprints; 2 transcripts, undated, of radio interviews of Hansen (4 p.), and Hansen with other Los Angeles artists (9 p.); printed material, including clippings, 1935-1966, exhibition announcements, 1955-1959, and a catalog, 1984; and a photograph, undated, of a print by Hansen, 1898.
Biographical / Historical:
Painter; Pasadena, California. Born in Copenhagen, Denmark. Hansen studied at the Teknisk Skole and the Royal Academy of Art (1903-1910) while working as a journeyman painter. Arrived in Chicago in 1914, and moved to Pasadena in 1925. Taught at Otis Art Institute, the Chouinard Art Institute (1937-1940), Pasadena City College, and the Pasadena School of Fine Arts (1952).
Provenance:
Donated 1986 by Jorgen Hansen, the son of Ejnar Hansen.
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:
Art teachers -- California -- Pasadena Search this
REEL 2000: Correspondence with Thomas Gibson Fine Arts, Ltd., Morris J. Pinto, and Jackson Pollock; correspondence, loan agreements, and clippings concerning Pollock's painting "Lavender Mist"; and cancelled checks, bank statements and other financial material.
REEL 3888: Correspondence with Clyfford Still, Gregg and Ann Blasdel, Jean Dubuffet, Andre Breton (re Dubuffet), Jackson Pollock and Lee Krasner; a manuscript of a talk delivered by Dubuffet at the Librairie Marcel Evrard, Lille "Honneur aux Valeurs Sauvages"; recipes for painting on cement with oil; a printed article on Dubuffet, "The Hour of the Hourloupe"; writings for Ossorio's publications; 2 of Ossorio's published monographs, FOURTEEN PAINTINGS and PEINTURES INITIATIQUES D' OSSORIO with text by Dubuffet, 1951; photographs of Ossorio and others, of Ossorio's works of art, exhibition photos of "Autour De Jackson Pollock," 1979, and several photos by Gregg Blasdel of unusual buildings; exhibition catalogs and announcements; 2 posters; and clippings.
Addition: Printed material, including catalogs and an article.
Biographical / Historical:
Painter, sculptor; New York, N.Y. Died 1990.
Provenance:
Material on reel 2000 lent for microfilming 1980 and material on reel 3888 donated 1980-1981 by Alfonso A. Ossorio.
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.
The collection includes Arthur d'Arazien's professional work in industrial photography from the late 1940's through about 1981; personal creative photography and other types of professional work were retained by Mr. d'Arazien or placed elsewhere. Thus this collection is a very cohesive, unified body of work, which documents primarily American (and some Canadian) business and industry during a period of expansion a golden age of American industry. Although it represents the photographer's creative and artistic style and skill, the subject matter is appropriate to the National Museum of American History from several viewpoints the visual documentation of industry and technology, as well as advertising, public relations, and business history.
The photographs include black and white negatives and prints from the negatives, as well as color negative and transparency materials, up to 8" x 10" in size. Probably the majority of the transparencies were made in the large size. The black and white materials include pictures of d'Arazien at work some made by famous Life magazine photographer Alfred Eisenstaedt, a colleague at the Famous Photographers School. A number of Dye Transfer prints mounted on illustration board were made by master color printer Don Browning.
In addition to frequently extensive caption information on all of d'Araziens original envelopes and enclosures, many enclosures for color negatives and transparencies bear d'Arazien labels with technical information or instructions for color printing, such as filter pack designations and local printing controls. These enclosures therefore have been retained in the collection, although usually they are not of archival quality.
Of secondary significance are 62 large color prints, mostly Type C, with a few Cibachromes, which were made from the original transparencies for exhibition purposes. Most were made either by K & L laboratories, New York City (stickers on back) or Eastman Kodak professional laboratories, Rochester, N.Y., and have been wet mounted to non archival Masonite. At the time of acquisition, several had faded and/or changed color. These are available for research and exhibition purposes, but are not expected to survive as long as the original transparencies.
The collection contains Mr. d'Arazien's files of printed materials. These include reproductions which indicate how his photographs were used by clients. Included are annual reports, promotional pieces, magazine tearsheets from advertising and editorial uses, and other biographical items.
Series 1: Professional industrial photographs.
Photographs document primarily American business and industry (including some taken in Canada). Black-and-white negatives with prints from these negatives, also color negative and transparency materials. Most transparencies are 8" x 10". The photographs demonstrate the photographer's reputation as a master of dramatic lighting and the coordination of large-scale, complex industrial setups in factories, steel mills, and even outdoor settings. Also 65 color prints, mostly Type C with a few Cibachromes, made from the original transparencies for exhibition purposes, mostly wet-mounted to Masonite. Black-and-white photographs include pictures of d'Arazien at work--some by Life magazine photographer Alfred Eisenstaedt.
Series 2: D'Arazien's files of printed materials, some of which include photomechanical reproductions of his work, indicating how the photographs were used by clients; also annual reports, magazine tearsheets from advertising and editorial uses, and other promotional items, in addition to biographical materials.
2007 addendum: Transparencies, slides, prints and negatives of additional photographs by Arthur d'Arazien, including industrial subjects as well as travel, architectural, agricultural, portrait, art, still life and personal photographs. Also included are miscellaneous papers, mostly relating to d'Arazien's photographic work.
Arrangement:
The collection is divided into three series.
Series 1: Paper Documents
Subseries 1.1: Publications and Reproductions.
Sub Series 1.2: Photographer's Labels, Envelopes, Etc.
Series 2: Photographs
Subseries 2.1: Color Phototransparencies
Subseries 2.2: Color Photonegatives and Color Photoprints
Subseries 2.3: Black and White Photonegatives and Photoprints
Subseries 2.4: Color Photoprints: Enlargements Mounted on Masonite
Material is arranged in each sub-series primarily by client names, in alphabetical order.
Series 3: Oversize prints
Biographical / Historical:
Arthur d'Arazien began his photographic career as an assistant to a famous theatrical photographer, documenting Broadway shows. A distinctive emphasis on dramatic lighting in his later work suggests the heavy influence of the theater. He did fashion and commercial photography, as well as photographing the 1939 World's Fair, for Underwood & Underwood Illustration Studios, East 44th St., New York City, in 1938 1939. He was described in a U.S. Camera Annual article as Aan architect whose interest in photography has caused him to make a profession of it.
D'Arazien taught aerial photography for the U.S. Air Corps Technical Training Command at Lowry Field, Denver, during World War II. He began his career in industrial photography with the De Laval Separator Company, New York City. His energy and creativity led to assignments which often were judged too difficult for lesser photographers. His growing reputation as an industrial photographer kept pace with the dynamic growth of the industrial and technological activities he was photographing during the 1950s through the 1980s.
Robert Vogel, former Curator of Mechanical and Civil Engineering for the National Museum of American History, wrote that d'Arazien:
...became internationally known for his dramatic color views of the American industrial scene at a time when our industry can be said to have been at the height of its powers....He was commissioned by the giants of steel, paper, chemicals, machinery, transportation, automobiles, mining, metal refining, textiles, and the other heavy (and medium) industries. ...He developed a number of special techniques for obtaining the grand, sweeping views that became his trademark, including multiple exposures to achieve dramatic lighting effects, elaborate lighting setups involving multiple flashes from several vantages employing a number of assistants intercommunicating by radio, complex arrangements with transportation lines and the various departments of the subject organization to produce the desired juxtaposition of elements in the photograph, and the like. His MO was anything but that of simply walking onto the scene and snapping the shutter; for many of his breathtaking views he appears to have been more producer and impresario than photographer.
Arthur d'Arazien describes the growth of his spectacular style as an eager response to new subjects, challenges, and photographic materials:
...knowing that color was the coming thing in corporate advertising, I pursued that line. I did lots of experimenting; every assignment gave me an opportunity to try something new, such as combination day and night exposures on a single sheet of film, multiple flash bulbs to light large interiors, multiple exposures on the same film, such as...moving objects ...automobiles, trains...to build up excitement in a picture. Colored gels to change colors. I even used old fashioned flash powder to light ...steel mills, because there were no flashbulbs powerful enough to light these dark, cavernous interiors: this idea was borrowed from the Air Corps night time aerial photography with magnesium flash powder.
A skilled painter and metal sculptor as well as photographer, d'Arazien came from a family of artists. His photographs were made primarily on assignment from industrial corporations for advertising, editorial, and public relations purposes, but have been exhibited and collected as works of art in the Smithsonian Institution (Division of Photographic History), the Metropolitan Museum of Art, and the Cleveland Museum. His work was included in the Photography in the Fine Arts exhibitions organized by Ivan Dimitri, and he was a founding faculty member of the Famous Photographers School, Westport, Connecticut, in the early 1960's.
D'Arazien married Margaret Scott and has two sons. He had a studio in Waterside Plaza, New York, and made his home in New Canaan, Connecticut, until moving to Naples, Florida, upon his retirement in 1988. The collection was brought to the Smithsonian's attention by his son Steven, and was donated to the Archives Center before this move. In anticipation of this gift, Mr. d'Arazien spent several months inspecting his collection, eliminating duplicate and technically unsuccessful images, and captioning photographs.
Sources
American Aces, U.S. Camera Annual 1939. Clipping in scrapbook no. 1, box 24, first page.
Robert M. Vogel, memorandum, undated, but written after a December 1987 visit to d'[Arazien's home.
In Archives Center collection control file.
Letter to the author, 26 February 1992, in collection control file.
Provenance:
Collection donated by Arthur d'Arazien, December 24, 1988.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Industry -- Photographs -- 1940-1980 -- Canada Search this
Industry -- Photographs -- 1940-1980 -- United States Search this
Reel 75: Letters from Charlotte Berend-Corinth to Prof. Hanfstaengl, Director of Bruckman Verlag München, a German art book publisher, regarding the publication of Berend-Corinth's Oeuvre Catalogue of Lovis Corinth's oil paintings.
Unfilmed: Letters from Charlotte Berend-Corinth to Franz Resch, an art dealer, regarding the role of the Volkswagenwerke in Wolfsburg in both underwriting the cost of this publication and mounting an exhibition of Lovis Corinth's work.
Reel 2802: A catalogue of a traveling exhibition, 1969-1972, "Lovis Corinth Prints and Drawings," with an introduction by Thomas Corinth; reviews of Thomas Corinth's book LOVIS CORINTH, EINE DOKUMENTATION ZUSAMMENGESTELLT UND ERLAUTERT, 1979; and an exhibition announcement for watercolors by Charlotte Berend-Corinth.
Biographical / Historical:
Lovis Corinth was a German painter and graphic artist, who married Charlotte Berend, also a painter. In 1905, they had a son, Thomas. Lovis died in 1925, and in 1939 Charlotte emigrated to the U.S., of which she became a citizen. Working on exhibitions and publications relating to her late husband, she also continued in her own painting. In 1967 she died in New York. Thomas has written about both his parents and has been a key figure in the Lovis Corinth Memorial Foundation in New York.
Other Title:
Charlotte Berend-Corinth papers (microfilm title)
Provenance:
The letters from Berend-Corinth to Prof. Hanfstaengl at Bruckman Verlag in Munich remained in the possession of that company, until Thomas Corinth contacted a succeeding representative there, Jakob Reisner. Reisner sent the letters to Thomas Corinth for donation to the Archives of American Art.
After Franz Resch died in 1982, his widow Katherina put the letters that he had received from Berend-Corinth at the disposal of Thomas Corinth for donation to an institution in Resch's name. Corinth selected the Archives of American Art.
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.
Biographical accounts, correspondence, business records (1936-1968), art works, photographs, a photograph album, printed material, and 2 scrapbooks document the life and career of Alfred Jonniaux.
Biographical material consists of a membership card to The Bath Club (1930) and 3 biographical accounts. Correspondence includes letters between Jonniaux, his family, his clients, and his dealers, the Vose Galleries, discussing his work and exhibitions (1915-1967). Business records include 9 address books, business cards, check stubs, a customs form, insurance forms for the shipment of paintings, receipts for art supplies (1936-1967), a fee schedule for portraits, a price list (1961), and a lease for his New York studio. Art works consist of 32 drawings and 11 sketchbooks.
Photographs (1893-1964) show Jonniaux, members of his family, friends, his portraits, and the works of others. An album also contains photographs of his works. Printed material includes clippings (1938-1969) and exhibition announcements and catalogs (1943-1962). Two scrapbooks contain clippings (1921-1964), exhibition announcements and catalogs (1931-1959), and 4 letters discussing his work (1951-1955).
Biographical / Historical:
Portrait painter. Born in Brussels, Belgium. Following study at the Academie des Beaux Arts, Brussels, and as a draftsman in Paris, Jonniaux began his career as a portraitist in London. He immigrated to the United States during World War II, becoming a citizen in 1946. During his first ten years in America, he established studios in San Francisco and Washington, D.C. His exhibitions led to many portrait commissions from leading figures in all spheres of American life.
Provenance:
Donated by art dealer David J. Carlson of Carlson Gallery, San Francisco, California.
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.
Thirty-four letters (1888-1890) pertain to the Milwaukee Industrial Exposition Association's attempt to raise funds to purchase Koehler's painting "The Strike" for the Layton Art Gallery in Milwaukee. At the time, the painting was on exhibit in the American section of the Exposition Universelle of 1889 in Paris and the letters reflect Koehler's efforts to persuade the officials to permit the painting's removal from the exhibition. One letter (1916) written by George E. Vincent of the University of Minnesota, confirms Koehler's appointment as a lecturer on art history. One letter (1927) written by Marie Koehler to Karl W. Jones, explains why she is sending her husband's correspondence to Mr. Jones.
Biographical / Historical:
Robert Koehler was born in Hamburg, Germany, in 1850 and settled with his family in Milwaukee, Wisconsin in 1854. He learned the trade of lithography which he practiced in Milwaukee, Pittsburgh, and New York City. He studied painting for two years in Munich, Germany, until lack of funds forced him to return in 1875 to New York where he continued his studies at the National Academy and the Art Students League. In 1879 Koehler returned to Munich where he taught art and organized the American department of 2 international art exhibitions, held in 1883 and 1888. His most famous work "The Strike" (1886) was based on industrial conflicts in Pittsburgh. He returned to New York in 1892 and served as director of the Minnesota School of Fine Arts from 1893 to 1914. He died Apr. 24, 1917.
Provenance:
The letters were donated to the Minnesota Historical Society by Helen Jones in 1957. Mrs. Jones is the wife of Karl W. Jones, a former student of Koehler. The microfilm was purchased from the Minnesota Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from the Division of Library and Archives, Minnesota Historical Society.
An interview of José Maria Mijares conducted 1998 Jan. 17, by Juan A. Martínez, in Mijares' home/studio, Miami, Fla., for the Archives of American Art.
Mijares discusses his background; his early interest in drawing; attending Cuba's main art school, the San Alejandro Academy of Art, Havana; his professors, Leopoldo Romanach and Armando Menocal; artistic influences of Cuban modernist painters Fidelio Ponce and Amelia Peláez; being awarded the second prize in a national exhibition in Hanava, 1944 for his work Alameda; the art movement in the 1950s "arte concreto," which involved geometric abstraction and art for art's sake; difficulties of being an artist in Cuba due to lack of galleries and collectors; teaching at San Alejandro in the late 1950s; going into exile in the mid-1960s to Miami; his work schedule of drawing and painting about 6 hours daily; favorite medium being oil on canvas, but also works with serigraphy and watercolor; briefly mentions his artistic style; and his nostalgia for Cuba which is a source of inspiration in his work.
Biographical / Historical:
José Maria Mijares (1921-2004) was a painter from Miami, Fla. Born in Cuba.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 30 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by the Smithsonian Institution's Latino Pool Fund.
Restrictions:
Transcript available on the Archives of American Art website.
Scrapbooks compiled by Mrs. Marcel Duchamp containing: ca. 15 letters and telegrams to Marcel Duchamp, 1947-1967; poems sent to Duchamp from admirers; an essay on Duchamp by Guy Beatrice, 1954; transcript of an address given by Duchamp to the New York State Chess Association, 1952; an annotated transcript of a press conference interview at Knoedlers, 1967; printed material on Duchamp and others, including exhibition catalogues, announcements, invitations (some annotated by Duchamp), obituaries, and magazine articles; awards and an honorary degree; and miscellany, including a hairnet sent from Ray Johnson, a few photographs of his works, a poster, and airline tickets.
Biographical / Historical:
Painter and sculptor. Born in France, Duchamp exhibited at the Armory Show in 1913 and came to the U.S. in 1915, staying with art patrons Walter and Louise Arensburg. During the First World War, he worked with the Dada group in New York. Duchamp became a U.S. citizen in 1955.
Provenance:
Mrs. Marcel Duchamp placed the scrapbooks on deposit at the Philadelphia Museum of Art, although she still retained ownership. The Philadelphia Museum of Art no longer has the original, but only a copy made from AAA microfilm. Family member, Jacqueline Matisse Monnier, Duchamp family member, retains the original.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Demi conducted 1997 November 20, by Juan A. Martínez, in Demi's home/studio, Miami, Florida, for the Archives of American Art.
Demi speaks of her birthplace, Camaguey, Cuba; the death of her father in 1960, and being sent to Puerto Rico in 1971; her move to New York, and arrival in Miami in 1978; her theater studies at Miami Dade Community College. She recalls an opening at the Meeting Point Gallery in Coral Gables in 1980, where she met her husband, painter Arturo Rodriguez. She talks about her first painting in 1984, the role Arturo plays in her life, her first exhibition at the Cuban Museum of Arts and Culture in 1987, and the importance of touching the human spirit.
Biographical / Historical:
Demi (1955- ) is a painter from Miami, Florida. Demi (who uses only her first name) is a self-taught artist born in Cuba. Her husband is the painter Arturo Rodriguez.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav file. Duration is 1 hr., 9 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Topic:
Artists -- Florida -- Miami -- Interviews Search this
Expatriate artists -- Florida -- Miami -- Interviews Search this
Screenplay for a documentary film biography of Belgian painter and instructor Jan Cox. Produced by Cinete pvba, Belgium, under the name of "Jan Cox, a Painter's Odyssey".
Biographical / Historical:
Painter Jan Cox lived in Belgium and Holland from 1919 to 1949. For the next twenty years he worked and exhibited in the United States . For part of this period he taught at the Museum of Fine Arts, Boston. In 1969, he returned to Belgium, where he remained for the rest of his life. Cox was involved in the Jeune Peinture Belge and COBRA.
Provenance:
Contact with the donor was made by Adriaan Raemdonck, executor of the Jan Cox estate.
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.
Rights:
Authorization to publish, quote or reproduce must be obtained from Bert Beyens and Pierre De Clercq.
An interview with Cundo Bermúdez conducted 1997 December 13, by Juan A. Martínez, in Bermudez's home/studio, Miami, Florida, for the Archives of American Art.
Biographical / Historical:
Cundo Bermúdez (1914-2008) was a Cuban American painter. Born in Havana, 1914.
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 45 min.
Poor sound quality.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators. Funding for this interview provided by the Smithsonian Institution's Latino Pool Fund.
Topic:
Painters -- Florida -- Miami -- Interviews Search this
Artists -- Florida -- Miami -- Interviews Search this
Expatriate artists -- Florida -- Miami -- Interviews Search this
6 Linear feet ((partially microfilmed on 5 reels))
Type:
Collection descriptions
Archival materials
Date:
1920-1981
Scope and Contents:
Biographical materials, journals, sketchbooks, drawings, and photographs.
REEL 1310: A journal detailing Berman's life and career, giving his views on painting and art, and containing daily entries.
REEL 1339: 238 letters from Berman's brother, Eugene, and from his wife, Sylvia; three undated drawings, probably by Eugene; printed material; and postcards.
REEL 1497: A handwritten manuscript of a book written in French, FRANCE IGNOREE ET PERDUE, illustrated with photographs and postcards by Berman. The book was not finished.
REEL 1343: Five diaries, three of which were kept by Berman on a trip to Asia with his wife, 1955-1956.
REEL 1418: Two sketchbooks and several sketches of rural and seaside scenes, some annotated regarding colors to be used for the painting.
UNMICROFILMED: Personal documents; awards; biographical information; a genealogy; letters; memoirs; travel diaries; journals; a note book; a sketch; poems; eulogies; sales records; loan agreements; lists of Leonid's paintings; receipts for art supplies; mailing lists; funeral registers; clippings; printed material; exhibition catalogs; and photographs.
Biographical / Historical:
Painter; New York, N.Y. Full name was Leonid Berman. Dropped his surname to avoid confusion with his brother, Eugene Berman, who was also a painter.
Provenance:
Donor/Lender, Sylvia Marlowe Berman, is the widow of Leonid Berman. Correspondence, reel 1339, originally lent 1977 and subsequently given 1978. Material, reel 1497, originally lent 1979 and subsequently given 1982.
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.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
REEL D10: A memoir of Francis Martin Drexel, said to have been written for his children, ca. 1830. He writes of his youth, going from town to town in Italy, Switzerland, and Austria, and of Paris, to find work painting coaches, portraits, etc. He details his emigration to the U.S. leaving Amsterdam on the JOHN OF BALTIMORE, with much about the contract between Captain Richards and passengers, reneging, dishonesty of fellow passenger Mr. Bayer, and his early years in Philadelphia.
UNMICROFILMED: Research material mainly on 18th c. French artists, including correspondence, notes, transcripts, articles, photographs, etc., ca. 1948-1963, about or arising from Benisovich's research into the lives and work of Jacques Louis David, Jean Etienne Liotard (incl. typescript of a biography), Frans Post, Nicolas Antoine Taunay (incl. typescript of biography and catalogue), Adolph Ulrich Wertmuller, Francisco de Miranda, Francis Martin Drexel, et al. His correspondence was mostly with editors, scholars, and museum and library staff. Some letters related to sales of art, others to personal matters.
Biographical / Historical:
Art historian; New York, N.Y. Benisovich came to the U.S. from Russia and studied at N.Y.U. A member of the College Art Association, he wrote N.A. TAUNAY, 1753-1830, UNDERCURRENTS IN FRENCH PAINTING.
Provenance:
Katherine Drexel Penrose typed Francis Martin Drexel's memoir from the original in 1901.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Africa, French-speaking West -- Description and Travel
Date:
1922-1992
Scope and Contents:
Scrapbooks contain letters, photographs, and printed materials documenting Jones' career as an artist and educator.
Scrapbooks contain letters, 1928-1992, primarily regarding Jones' exhibitions, Howard University, and her art education in Paris, including a letter and photograph from Emile Bernard; photographs of Jones in her Washington, D.C. and Paris studios, her work, and her extensive travels through Africa and Haiti; printed material, including exhibition announcements, catalogs, and clippings, 1922-1992, of reviews, interviews, and articles on the European and African influences in her work. Also included are her resume, materials submitted for the Rosenwald Fellowship, and notes relating to her coordination of the 1974 exhibition "Paintings by Women Artists of the Caribbean and Afro-American Women Artists."
Biographical / Historical:
Lois Mailou Jones (1905-1998) was a painter, designer, educator in Boston, Mass. Jones studied at the Boston Museum School of Fine Arts and the Academie Julian in Paris. She was professor of design and watercolor at Howard University from 1930-1977. In 1953 she married Vergniaud Pierre-Noel.
Provenance:
Lent for microfilming by Lois Mailou Jones, 1990 and 1992.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview with Lorenzo Homar conducted by Luis Cancel, 1997 Oct. 27, for the Archives of American Art's Puerto Rican Artists Video Project.
Artists include: Ricardo E. Alegria, Felix Rodríquez Báez, Myrna Báez, Edna Coll, Lorenzo Homar, Antonio Maldonado, José A. Torres Martino, Antonio Martorell, Delta Bravo de Picó, and Noemi Ruíz.
Biographical / Historical:
Interviewee Lorenzo Homar (1913/09/10-2004/02/16) was a Puerto Rican printmaker, painter, and calligrapher.
Restrictions:
This interview is not transcribed. The video recording is open for research. Contact Reference Services for more information.
Letters, printed material, slides, and photographs documenting Hoyer's career. The letters (1935-1982) to Hoyer and his daughter, Olga Pegelow, mainly discuss Hoyer's exhibitions and Pegelow's gifts of his work to museums. Printed material consists of exhibition catalogs (1938-1976), reviews, exhibit announcements, articles, press releases, and Hoyer's scrapbook. There are 6 photographs of Hoyer and his work, 18 color slides of his paintings, and one original pencil drawing. The collection also contains Hoyer's resume, 4 pocket notebooks noting addresses, color notations, and sketches. Receipts and financial papers list Hoyer's paintings donated to The Art Institute of Chicago.
Biographical / Historical:
Painter of primitive-style landscapes. Born in Copenhagen, Denmark. He settled in Chicago in 1915, where he lived until his death. Hoyer worked for the Federal Art Project's easel division from 1938 to 1942. His work was exhibited throughout America, including The Museum of Modern Art, N.Y.C., and The Art Institute of Chicago.
Provenance:
The donor, Olga Pegelow, is Hoyer's daughter.
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:
Landscape painters -- Illinois -- Chicago Search this
Topic:
Landscape painting -- 20th century -- United States Search this
