Search Results

Creator:

Whittredge, Worthington, 1820-1910  Search this

Subject:

Brady, Mathew B.  Search this

Metropolitan Fair (1864:New York, N.Y.)  Search this

Type:

Drawings

Photographs

Paintings

Sketchbooks

Citation:

Worthington Whittredge papers, circa 1840s-1965, bulk 1849-1908. Archives of American Art, Smithsonian Institution.

Topic:

Landscape painters -- New York (State) -- New York  Search this

Painting, American  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9364

(DSI-AAA_SIRISBib)211560

AAA_collcode_whitwort

Theme:

Diaries

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211560

Creator:

Shinn, Everett, 1876-1953  Search this

Subject:

Young, Mahonri Mackintosh  Search this

Gibson, Charles Dana  Search this

Sloan, John  Search this

Dreiser, Theodore  Search this

Eddy, H. B.  Search this

Calder, Alexander Stirling  Search this

De Wolfe, Elsie  Search this

Fitch, Clyde  Search this

Luks, George Benjamin  Search this

Bigelow, Poultney  Search this

Scovel, Florence  Search this

Sale, Chic  Search this

Rains, Claude  Search this

Nolan, Philip  Search this

Glackens, William J.  Search this

Wollcott, Alexander  Search this

Warrick, Ruth  Search this

Henfold, Oliver  Search this

Hegan, Colonel  Search this

Haggin, Ben Ali  Search this

Grove, William  Search this

Marlowe, Julia  Search this

Lawson, Ernest  Search this

Henri, Robert  Search this

Washington Park Studio  Search this

Type:

Photographs

Sketchbooks

Scrapbooks

Notes

Illustrated letters

Poems

Citation:

Everett Shinn collection, 1877-1958. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Illustrators -- New York (State) -- New York  Search this

Theaters -- Stage-setting and scenery  Search this

Painters -- New York (State) -- New York  Search this

Stage designers -- New York (State) -- New York  Search this

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9402

(DSI-AAA_SIRISBib)211599

AAA_collcode_shinever

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211599

Creator:

Soyer, Moses, 1899-1974  Search this

Subject:

Baskin, Leonard  Search this

Newman, Arnold  Search this

Soyer, Raphael  Search this

Gross, Chaim  Search this

Soyer, David  Search this

Soyer, Ida  Search this

Burliuk, David  Search this

Cikovsky, Nicolai  Search this

Dobkin, Alexander  Search this

Bishop, Isabel  Search this

Evergood, Philip  Search this

Type:

Photographs

Sketches

Citation:

Moses Soyer papers, circa 1905-1974. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Painters -- New York (State) -- New York  Search this

Painting, American  Search this

Social realism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9462

(DSI-AAA_SIRISBib)211660

AAA_collcode_soyemose

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211660

Creator:

Bouché, Louis, 1896-1969  Search this

Subject:

Pène du Bois, William  Search this

Bacon, Peggy  Search this

Bouché, Henri L.  Search this

Bouché, Ernest  Search this

Bouché, Jane  Search this

Bouché, Marian Wright  Search this

Davidson, Jo  Search this

Marsh, Reginald  Search this

Schmidt, Katherine  Search this

Brook, Alexander  Search this

Penguin Club (New York, N.Y.)  Search this

Wanamaker Gallery  Search this

Type:

Photographs

Sketches

Scrapbooks

Travel diaries

Drawings

Citation:

Louis Bouché papers, 1880-2007. Archives of American Art, Smithsonian Institution.

Topic:

Muralists -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9572

(DSI-AAA_SIRISBib)211773

AAA_collcode_boucloui

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211773

Creator:

Johnson, Eastman, 1824-1906  Search this

Subject:

Benson, Eugene  Search this

Lanman, Charles  Search this

McEntee, Jervis  Search this

Leutze, Emanuel  Search this

Wolf, Henry  Search this

Ordway, Alfred T.  Search this

Citation:

Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.

Topic:

Portrait painters -- New York (State) -- New York  Search this

Painting, Modern -- 19th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9806

(DSI-AAA_SIRISBib)212244

AAA_collcode_johneast

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212244

Creator:

Emmet family  Search this

Subject:

Emmet, Lydia Field  Search this

Emmet, Robert  Search this

Emmet, Julia Colt Pierson  Search this

De Glehn, Jane Erin Emmet  Search this

De Glehn, Wilfrid-Gabriel  Search this

Morgan, Elizabeth Emmet  Search this

Rand, Ellen Emmet  Search this

MacMonnies, Frederick William  Search this

Millay, Edna St. Vincent  Search this

James, Henry  Search this

Lunt, Alfred  Search this

Fontanne, Lynn  Search this

Casals, Pablo  Search this

La Farge, Bancel  Search this

Beaux, Cecilia  Search this

Metcalfe, Susy  Search this

Doyle, Nancy  Search this

Ormond, Violet Sargent  Search this

Monod, Lucien  Search this

White, Stanford  Search this

Quilter, Roger  Search this

Sargent, Emily  Search this

Saint-Gaudens, Augustus  Search this

Sargent, John Singer  Search this

Sherwood, Robert E. (Robert Emmet)  Search this

Sherwood, Rosina Emmet  Search this

Sherwood, Rosamond  Search this

Berkshire Museum  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Danforth Museum  Search this

Type:

Scrapbooks

Sketchbooks

Photographs

Video recordings

Drawings

Diaries

Sound recordings

Citation:

Emmet family papers, 1792-1989, bulk 1851-1989. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching -- France -- Paris  Search this

Works of art  Search this

Painting, American -- New York (State)  Search this

Illustrators -- New York (State)  Search this

Playwrights  Search this

Portrait painters -- New York (State) -- New York  Search this

Singers  Search this

World War, 1914-1918  Search this

World War, 1939-1945  Search this

Women artists  Search this

Women painters  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)10250

(DSI-AAA_SIRISBib)213367

AAA_collcode_emmefami

Theme:

Diaries

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213367

Creator:

Greenstone, Marion  Search this

Names:

Pratt Institute -- Faculty  Search this

Johnson, Ray, 1927-1995  Search this

Kitaj, R. B.  Search this

Raffael, Joseph, 1933-  Search this

Extent:

4.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Scrapbooks

Motion pictures

Date:

1929-2014

Summary:

The papers of painter and educator Marion Greenstone measure 4.6 linear feet, and date from 1929-2014. The collection documents Greenstone's career through biographical materials, mixed professional and personal correspondence, writings and notebooks, exhibition and gallery files, teaching files, personal business records, printed material, sketches and sketchbooks, and photographs. The papers also include three motion picture films comprised of homemade footage created by Greenstone.

Scope and Contents:

The papers of painter and educator Marion Greenstone measure 4.6 linear feet, and date from 1929-2014. The collection documents Greenstone's career through biographical materials, mixed professional and personal correspondence, writings and notebooks, exhibition and gallery files, teaching files, personal business records, printed material, sketches and sketchbooks, and photographs. The papers also include three motion picture films comprised of homemade footage created by Greenstone.

Biographical materials include records from Greenstone's education, a birth certificate, organization membership papers, an interview transcript, and a transcript from a talk she gave in Bari, Italy, circa 1955. This grouping also includes three motion picture films. Correspondence is comprised of mixed professional and personal letters with friends, other artists, museums, and galleries. Of particular note is her communications with several fellow Cooper Union art department graduates including Ronnie (R. B.) Kitaj, Joseph Raffael, and Paul Thek. Writings and notebooks include artist statements, drafts of articles and reviews by Greenstone, course notebooks from her studies, daily notebooks, and travel diaries. Exhibition and gallery files consist of correspondence, loan agreements, shipping documents, as well as some price lists, photographs, and publicity material. Teaching files primarily pertain to her tenure at the Pratt Institute, consisting of lecture and classroom notes, student correspondence, administrative papers, and identification cards. Personal business records contain sales records, inventories, communications with art services and consultants, papers pertaining to grant and fellowship applications, and some commission files. Printed materials consist of exhibition material, press releases, some of Greenstone's reference material, articles and clippings both about Greenstone and written by the artist, and newsletters. Artwork includes several sketchbooks and loose sketches; some small paintings are included as well. Photographs are primarily snapshots and slides of the artist, friends, family, travel, and artwork.

Arrangement:

This collection is arranged as 9 series.

Series 1: Biographical Material, 1931-2006 (Box 1, FC 7; 0.5 linear feet)

Series 2: Correspondence, 1954-2000 (Box 1; 10 folders)

Series 3: Writings and Notebooks, 1947-2003 (Box 1-2; 0.8 linear feet)

Series 4: Exhibition and Gallery Files, 1959-1992 (Box 2; 0.4 linear feet)

Series 5: Teaching Files, 1969-1992 (Box 2-3; 12 folders)

Series 6: Personal Business Records, 1951-1999 (Box 3; 12 folders)

Series 7: Printed Material, 1929-2014 (Box 3-4; 1 linear foot)

Series 8: Artwork, 1945-1992 (Box 4, OV 6; 0.5 linear feet)

Series 9: Photographs, 1954-1990s (Box 5; 0.4 linear feet)

Biographical / Historical:

Marion Isaacson Greenstone (1925-2005) was a painter and educator in New York, New York.

Greenstone received her B.A. from Brooklyn College, completed an M.A. at Columbia University, and earned a diploma from Cooper Union. In addition to living in New York, Greenstone also took residences in Italy and Canada, exhibiting frequently in both countries well into the 2000s. Her initial time in Italy was under a Fulbright grant in 1954. While there, Greenstone studied painting and lectured on art. By the end of the decade she had moved with her husband to London, Ontario and gained noteriety there for her artwork. By the late 1960s Greenstone was back in New York working as a teacher for the Pratt Institute. Her activities were then divided between teaching, creating art, and exhibiting her work. During her career, Greenstone's work was included in museum and gallery group shows in the United States, Canada, and Italy, including ones held at the Schneider Gallery in Rome, Brooklyn Museum, and Royal Canadian Academy. She held solo exhibitions in Canada at the Park Gallery, Dorothy Cameron Gallery, and University of Western Ontario; and in the United States at the Bridge Gallery, Sixth Estate Gallery, and Long Island University. Her work can be found in various private and public collections including the Ontario Gallery of Art, Continental Telephone Crop., and the Art Gallery of London. After retiring in 1992 she traveled extensively throughout Europe with her husband, Myron, and others, and continued exhibiting and creating artwork until her death in 2005.

Provenance:

The collection was donated in 2007 by Cora Hahn, Marion Greenstone's sister.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Abstract expressionism  Search this

Women artists  Search this

Genre/Form:

Sketchbooks

Scrapbooks

Motion pictures

Citation:

Marion Greenstone Papers, 1929-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.greemario

See more items in:

Marion Greenstone papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw965250158-b9f7-4665-ba9b-8379c8286dce

EDAN-URL:

ead_collection:sova-aaa-greemario

Creator:

Smith, Suzanne Mullett  Search this

Names:

American Art Research Council  Search this

American University (Washington, D.C.). Fine Arts Dept. -- Faculty  Search this

Alan, Charles, 1908?-1975  Search this

Dove, Arthur Garfield, 1880-1946  Search this

Jewell, Edward Alden, 1888-1947  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Phillips, Duncan, 1886-1966  Search this

Stieglitz, Alfred, 1864-1946  Search this

Extent:

3.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1913-1992

Summary:

The papers of Suzanne Mullett Smith measure 3.3 linear feet and date from 1913 to 1992. The papers document her career as a painter and art historian through artist statements, a resume, correspondence, personal photographs, sketches and sketchbook, and other professional material; class and course notes, articles, and other writings; clippings, exhibition announcements and catalogs and other printed material; research material related to Arthur Dove conisting of correspondence, notes, Master's Thesis, exhibition announcements and catalogs, and photographs of Dove's works.

Scope and Contents:

The papers of Suzanne Mullett Smith measure 3.3 linear feet and date from 1913 to 1992. The papers document her career as a painter and art historian through artist statements, a resume, correspondence, personal photographs, sketches and sketchbook, and other professional material; class and course notes, articles, and other writings; clippings, exhibition announcements and catalogs and other printed material; research material related to Arthur Dove conisting of correspondence, notes, Master's Thesis, exhibition announcements and catalogs, and photographs of Dove's works.

Professional material includes artists statements and a resume, work with American University and the National Society of Arts and Letters, and correspondence including letters to her husband, Gordon H. Smith. Also included are some of her sketches and sketchbooks and photographs of Smith, Smith with family and friends, and Smith's wedding album.

Writings consist of class notes from Smith's studies at American University and a number of articles written by her. Articles include "A Testimony of Healing," "Art and the War, " and "(Jose Clemente) Orozco Paints."

Printed material consists of newspaper and magazine clippings, a scrapbook of clippings, and exhibition announcements and catalogs.

Research material on Arthur Dove consist of Smith's thesis statement, draft and 1944 version of her Master's thesis, correspondence with Dove, research notes, newspaper and magazine clippings, exhibition announcements and catalogs, photographs of Dove's works, a catalog of Dove's artwork, and an index card inventory. Also included are a number of microfilm reels of material on Dove.

Arrangement:

The collection is arranged into four series.

Series 1: Professional Activity Files, 1913-1989 (0.8 linear feet; Box 1, 4, OV 6)

Series 2: Writings, 1923-1975 (0.6 linear feet; Boxes 1-2)

Series 3: Printed Material, 1923-1992 (0.2 linear feet; Box 2)

Series 4: Arthur Dove Research Material, 1932-1988 (1.6 linear feet; Boxes 2-5)

Biographical / Historical:

Suzanne Mullett Smith (1913-1989) was an art historian, author, and painter who lived primarily in the Washington, D.C. area. She wrote her 1944 American University Master's Thesis on Arthur Dove, entitled "Arthur G. Dove: A Study in Contemporary Art." In 1976, she completed a revised edition of this thesis.

Provenance:

Material on reels 2425-2426 donated 1972 by Nathaly Baum. Material on reel 1043 lent for microfilming 1976 by Smith, and except for the 1976 revised thesis, was subsequently donated along with the unmicrofilmed material 1992 by Daisy Mullet Smith, Smith's daughter.

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.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art historians -- Washington (D.C.)  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Painting, American  Search this

Women art historians  Search this

Citation:

Suzanne Mullett Smith Papers, 1913-1992. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.smitsuza

See more items in:

Suzanne Mullett Smith papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d3d783cc-d18e-468a-b6ff-559853d88223

EDAN-URL:

ead_collection:sova-aaa-smitsuza

Creator:

Reinhardt, Adolph Friedrich, 1913-1967  Search this

Subject:

Brooklyn College  Search this

United States. Works Progress Administration  Search this

Type:

Scrapbooks

Citation:

Ad Reinhardt papers, 1927-1968. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Art, Modern  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5659

(DSI-AAA_SIRISBib)208493

AAA_collcode_reinad

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208493

Creator:

Flack, Audrey  Search this

Names:

Arizona State University  Search this

Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this

Cooper Union for the Advancement of Science and Art  Search this

Guild Hall of East Hampton  Search this

Louis K. Meisel Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Janson, Anthony F.  Search this

Extent:

34.6 Linear feet

0.897 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Date:

1950-2022

Summary:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Scope and Contents:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)

Biographical / Historical:

Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.

Provenance:

The collection was donated by Audrey Flack in 2009 and 2022.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Citation:

Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.flacaudr

See more items in:

Audrey Flack papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3

EDAN-URL:

ead_collection:sova-aaa-flacaudr

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Gallery owners -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Creator:

MacCameron, Robert Lee, 1866-1912  Search this

Names:

Rodin, Auguste, 1840-1917  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1896-1913

Summary:

The papers of painter Robert Lee MacCameron measure 0.4 linear feet and date from 1896 to 1913. The papers document MacCameron's career as a painter through correspondence and writings.

Scope and Contents:

The papers of painter Robert Lee MacCameron measure 0.4 linear feet and date from 1896 to 1913. The papers document MacCameron's career as a painter through correspondence and writings.

Correspondence consists primarily of letters with clients concerning portrait commissions and letters from museum directors and curators. Also included are three letters from artist Charles Dana Gibson, letters from MacCameron to his wife Louise, and drafts of other letters.

MacCameron's writings include two journals, writings by MacCameron on religion and photography, and typescripts of writings on Rodin and other subjects.

Arrangement:

The collection is arranged into two series.

Series 1: Correspondence, 1897-1913 (0.2 linear feet; Box 1)

Series 2: Writings, 1896-1912 (0.2 linear feet; Box 1)

Biographical / Historical:

Chicago-born, New York City based painter Robert Lee MacCameron (1866-1912) was a sought after portrait artist who received commissions from Presidents McKinley and Taft, Auguste Rodin, and many others.

MacCameron began his artistic career as an illustrator in Chicago. Encouraged to pursue art he moved to New York City and then studied in Paris with Jean-Leon Gerome and James Abbott McNeill Whistler at the Ecole des Beaux-Arts. By 1912 he had returned to New York City and focused primarily on society portraits of the upper class.

Provenance:

Donated 2004 by Robert MacCameron, the grandson of Robert Lee MacCameron.

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.

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 -- New York (State) -- New York  Search this

Citation:

Robert Lee MacCameron papers, 1896-1913. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.maccrobe

See more items in:

Robert Lee MacCameron papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94be09284-6200-4bdd-9810-6555e7b67328

EDAN-URL:

ead_collection:sova-aaa-maccrobe

Creator:

Baumbach, Harold, 1903-  Search this

Names:

Gottlieb, Adolph, 1903-1974  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1934-1976

Scope and Contents:

The papers of Harold Baumbach measure 0.4 linear feet and date from 1934 to 1976. The papers document Baumbach's career as a painter and printmaker through correspondence, including with Adolph Gottlieb, slides and transparencies of Baumbach and some of his artwork, clippings, exhibition announcements and catalogs, and various art newsletters edited by Maud Kemper Riley.

Biographical / Historical:

Harold Baumbach (1903-2002) was a painter and printmaker from New York, New York.

Born in New York City in 1903, Baumbach was a self-taught painter who began exhibiting his work in the 1930s. Baumbach started with landscape painting, but gradually moved to a more abstract style. From 1946 to 1966 he taught painting techniques at Brooklyn College and was one of the founders of the journal Art Front.

Baumbach died in 2002.

Provenance:

Donated 1977 by Harold Baumbach.

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.

Occupation:

Painters -- New York (State) -- New York  Search this

Printmakers -- New York (State) -- New York  Search this

Identifier:

AAA.baumharo

See more items in:

Harold Baumbach papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f52c62f-282f-45b9-ac0e-9e9a91cc23cd

EDAN-URL:

ead_collection:sova-aaa-baumharo

Creator:

Church, Frederic Edwin, 1876-1975  Search this

Extent:

0.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1882-2012

Summary:

The papers of painter F. Edwin Church (1876-1975) measure 0.7 linear feet and date from circa 1882-2012. The papers include correspondence relating primarily to loans and sales of Church's Japanese art collection and his own artwork, sketches and a study on panel for a painting, and biographical information including genealogical information and photos of Church and his family.

Scope and Contents:

The papers of painter F. Edwin Church (1876-1975) measure 0.7 linear feet and date from circa 1882-2012. The papers include correspondence relating primarily to loans and sales of Church's Japanese art collection and his own artwork, sketches and a study on panel for a painting, and biographical information including photos of Church and his family. Also found is correspondence relating to family genealogy, which is especially significant since Church had the same name as Hudson River School artist Frederic Edwin Church (1826-1900).

Arrangement:

The collection is arranged as one series.

Biographical / Historical:

F. (Frederic) Edwin Church (1876-1975) was a painter in New York, New York, best known for his portraits.

Church attended the Art Students League and the Académie Julien in Paris and was awarded the Clark Prize in 1916 by the National Academy of Design for best figurative composition.

His works included gilded-age portraits, impressionist landscapes, and still lifes. He used botanical and bird motifs in many of his backgrounds, indicative of the Japanese influence in his work.

Church signed his works F. Edwin Church in order to distinguish himself from the unrelated Hudson River School artist Frederic Edwin Church (1826-1900).

Related Materials:

Also found in the Archives of American Art are the Frederic Edwin Church letters to Charles F. Olney, 1891-1896.

Provenance:

Donated in 2022 by Jan Wiley, scholar and authorized representative of the Church family. Wiley worked with Mary Grothe, F. Edwin Church's granddaughter, to organize and compile the material.

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.

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 -- New York (State) -- New York  Search this

Citation:

F. Edwin Church papers, circa 1882-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.churfedw

See more items in:

F. Edwin Church papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dbdee65f-ef66-4934-af63-f71f25294cfd

EDAN-URL:

ead_collection:sova-aaa-churfedw

Creator:

Martinelli, Ezio, 1913-1980  Search this

Extent:

2.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1944-1973

Summary:

The papers of sculptor and painter Ezio Martinelli measure 2.4 linear feet and date from circa 1944-1973. They illustrate his career through biographical material, correspondence, personal business records, and printed and photographic material.

Scope and Contents:

The Ezio Martinelli papers measure 2.4 linear feet and date from circa 1944-1973. Biographical materials contain Martinelli's resume. Correspondence is with various museums, galleries, and other organizations. Personal business records contain receipts for artwork shipments and travel documents. Printed material consists of exhibition catalogs, news clippings, and various publications. Photographic material consists of photographs of Martinelli and his artwork.

Arrangement:

This collection consists of five series.

Series 1: Biographical Material, circa 1971 (.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1957-1972 (.3 Linear feet: Box 1)

Series 3: Personal Business Records, circa 1962-1966 (.1 Linear feet: Box 1)

Series 4: Printed Material, circa 1945-1970 (1.1 Linear feet: Boxes 1-2)

Series 5: Photographic Material, circa 1944-1969 (.8 Linear feet: Boxes 2-3, OV 4)

Biographical / Historical:

Ezio Martinelli (1913-1980) was a painter and sculptor who worked mainly in New York.

Martinelli was born on November 27 in West Hoboken New Jersey. He studied at the Academy of Fine Arts, Bologna. He then returned to the United States and from 1932 to 1936 studied at the National Academy of Design in New York with Leon Kroll and Gifford Beal studying drawing with Ivan Olinsky and sculpture with Robert Aiken.

Martinelli taught at the Philadelphia Museum School, Sarah Lawrence College, Parsons School of Design, the American Academy at Rome, and the Skowhegan School of Painting and Sculpture. He participated in the Federal art project Works Progress Administration (WPA) from 1937 to 1941 as an easel painter and unit supervisor. His works can be found in multiple museums and organizations including the United Nations, The Art Institute of Chicago, the Brooklyn Museum of Art, The Whitney Museum of American Art, and the New York Public Library.

Martinelli died in 1980 in Saugerties, New York.

Related Materials:

Ezio Martinelli's papers can also be found at Syracuse University.

Provenance:

Papers were donated in 1972 and 1974 by Ezio Martinelli.

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.

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 -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Citation:

Ezio Martinelli papers, circa 1944-1973, Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.martezio

See more items in:

Ezio Martinelli papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98da528df-b940-4764-882f-747622502f65

EDAN-URL:

ead_collection:sova-aaa-martezio

Creator:

Glasco, Joseph, 1925-1996  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1925-2019

Summary:

The papers of Joseph Glasco measure 5.3 linear feet and date from 1925 to 2019. The papers document his career as a painter and sculptor through biographical material, correspondence, writings, professional activity material, printed material, and photographic materials.

Scope and Contents:

The papers of Joseph Glasco measure 5.3 linear feet and date from 1925 to 2019. The papers document his career as a painter and sculptor through biographical material, correspondence, writings, professional activity material, printed material, and photographic materials.

Biographical material consists of school records, leases, and a biographical account.

Correspondence consists of letters from family members including Glasco's mother, siblings, and some of his nieces and nephews. Also included are letters with various art museums and galleries in which Glasco exhibited his works. Some of the correspondence files include sketches and photographs.

Writings consist of some notes and notepads by Glasco. Also included are writings on Glasco by others. The writings by other are primarily draft articles for publication that also include edits and comments made by Glasco.

Professional activity includes materials related to exhibitions with Meredith and Long company and with the Whitney Museum. Also included is an award of excellence, an exhibition checklist, some sketches, and inventory of items donated to the Hirshhorn Museum. There is also a scrapbook (compiled by the artist's mother) containing report cards, military service records, and photographs, newspaper and magazine clippings related to his art career.

Printed material consists of articles on Glasco, newspaper clippings and exhibition announcements and catalogs related to exhibitions Glasco participated in.

Photographic material consists of photographs of Glasco, his friends and family, and his artwork. Also included are transparencies and slides of his artwork.

Arrangement:

The collection is arranged into six series.

Series 1: Biographical Material, 1925-1989 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1943-1996 (2.1 linear feet; Boxes 1-3)

Series 3: Writings, 1974-1986 (0.2 linear feet; Box 3)

Series 4: Professional Activity Files, 1925-1993 (0.3 linear feet; Box 3, 6)

Series 5: Printed Material, 1948-2019 (0.5 linear feet; Box 3, 6)

Series 6: Photographic Material, 1944-1996 (2.1 linear feet; Boxes 4-6)

Biographical / Historical:

Joseph Glasco (1925–1996) was an American abstract expressionist painter, draftsman and sculptor who worked primarily in Galveston Texas and New York City. Glasco was born in Pauls Valley, Oklahoma in 1925, and grew up in Tyler, Texas. Glasco began his studies at the University of Texas at Austin, but was soon drafted into the army during World War II. Following the war he continued his studies at the Jeppson Art Institute in Los Angeles and at the School of Painting and Sculpture in San Miguel de Allende, Mexico. In 1949 he moved to New York and attended the Arts Student League of New York where he formed a friendship with Alfonso Ossorio who introduced him to other notable artists such as Jackson Pollock and Willem de Kooning. In 1972 he settled in Galveston, Texas, and he maintained a studio both there and in New York. Glasco died in 1996.

Provenance:

18 photocopies were donated in 1985 by Joseph Glasco and transferred to the NMAA/PG library after microfilming. A majority of the collection was donated in 2021 by Jospeh Galsco estate advisor, Marti Mayo, and estate trustee, Richard Orrock.

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.

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 -- Texas -- Galveston  Search this

Sculptors -- New York (State) -- New York  Search this

Sculptors -- Texas  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Art, Abstract  Search this

Abstract expressionism  Search this

Citation:

Joseph Glasco papers, 1925-2019. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.glasjose

See more items in:

Joseph Glasco papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92cadbaf2-a976-4445-9f56-ab8a29c36902

EDAN-URL:

ead_collection:sova-aaa-glasjose

Creator:

Kresch, Albert, 1922-2022  Search this

Names:

Jane Street Gallery (New York, N.Y.)  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1940- circa 2000

Scope and Contents:

The papers of painter Albert Kresch measure 2.7 linear feet and date from circa 1940 to circa 2000, with the bulk from the 1970s to 2010. The collection documents Kresch's work as an artist and teacher through biographical material, personal and professional correspondence, writings and notes, sketchbooks and loose drawings, professional records, photographs, and printed material. Correspondence reflects Kresch's friendships with artists Nell Blaine, Leland Bell, Wolf Kahn, Robert de Niro, Sr., Ned O'Gorman, and Stanley Lewis, and other artists associated with the Bowery Gallery, as well as with writer Mitchell Goodman and poet Denise Levertov. Writings include handwritten notes for lectures and teaching as well as unpublished writings on art and pedagogy. The collection also includes transcripts of two interviews with the artist.

Biographical / Historical:

Albert Kresch (1922-2022) was a painter and educator in New York. Kresch was one of the founding members of the Jane Street Gallery in the 1940s.

Provenance:

Donated in 2023 by Elizabeth Kresch, Albert Kresch's daughter.

Restrictions:

This collection is temporarily closed to researchers. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Educators -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Identifier:

AAA.kresalbe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d1c2f49f-ce51-4a39-a38a-e8080b8ba484

EDAN-URL:

ead_collection:sova-aaa-kresalbe

Creator:

Cajori, Charles, 1921-2013  Search this

Names:

New York Studio School of Drawing, Painting and Sculpture  Search this

Tanager Gallery (New York, N.Y.)  Search this

Dodd, Lois, 1927-  Search this

Finkelstein, Louis  Search this

Extent:

7.4 Linear feet

0.07 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Interviews

Video recordings

Transcripts

Date:

1928-2018

Summary:

The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.

Scope and Content Note:

The papers of New York painter, Charles Cajori measure 7.4 linear feet and 0.070 GB and date from 1928-2018. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery, located on the Lower East Side in New York, through biographical material; correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; printed materials; and photographic materials.

Biographical material consists of Charles Cajori's high school records, air force records, passports and other travel documents, material related to his 90th birthday celebration, resumes, exhibition lists, a few drawings, obituaries, memorial service information, conservation reports on paintings, and other material.

Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Barbara Grossman, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art. There are also condolences to Barbara regarding Cajori's death.

Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School. There are also some class notes and essays that are probably from Cajori's college days, as well as some undated writings that include notes on art and artist statements.

Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped as well as born digital interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.

Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. There are files of printed materials on the New York Studio School as well as Tanager Gallery that include exhibition catalogs and clippings.

Photographic material includes photographs, slides, and negatives of Charles Cajori, his studio, family and friends, black and white and color photographs of works of art, events and exhibition installations.

Arrangement:

The collection is arranged as 6 series:

Series 1: Biographical Material, 1928-2018 (Box 5; 0.4 linear feet)

Series 2: Correspondence, 1929-2015 (Boxes 1-2, 5-6; 1.8 linear feet)

Series 3: Writings and Notes, 1940-2012 (Boxes 2, 6, 8; 0.4 linear feet)

Series 4: Interviews, Talks, and Panel Discussions, 1983-2012 (Boxes 2-3, 6; 1.3 linear feet, ER01; 0.070 GB)

Series 5: Printed Material, 1943-2018 (Boxes 3-4, 6, 8, OV 9; 2 linear feet)

Series 6: Photographic Material, circa 1928-2015 (Boxes 6-8; 1.6 linear feet)

Biographical Note:

Painter and teacher Charles Cajori (1921-2013) worked in New York City and Connecticut.

Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture.

Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. Through Tanager Gallery, Cajori became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, he continuously showed his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.

In conjunction with his activities as an artist, Charles Cajori taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, the University of California at Berkeley and Queens College (CUNY) where he taught for 20 years. Cajori was a co-founder of the New York Studio School, where he continued to serve on the faculty and the Board.

Charles Cajori received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953, and a grant from the National Endowment for the Arts in 1981, as well as a Guggenheim Fellowship in 2001.

Charles Cajori was married to the painter Barbara Grossman and they lived in Watertown, Connecticut.

Provenance:

The Charles Cajori papers were donated to the Archives of American Art by Charles Cajori in 2011 and by Barbara Grossman in 2015 and 2021.

Restrictions:

This collection is temporarily closed to researchers due to archival processing and digitization. For more information, please contact Reference Services.

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 -- New York (State) -- New York  Search this

Educators -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Sound recordings

Interviews

Video recordings

Transcripts

Citation:

Charles Cajori papers, 1928-2018. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cajochar

See more items in:

Charles Cajori papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f4683c60-e4b6-49e4-8bc3-1f44de6b3349

EDAN-URL:

ead_collection:sova-aaa-cajochar

Creator:

Baber, Alice  Search this

Extent:

3.6 Linear feet ((ca. 120 items))

Type:

Collection descriptions

Archival materials

Scrapbooks

Interviews

Photographic slides

Date:

1934-1983

Scope and Contents:

Reels 4030-4032 A passport, 1951; 5 biographical accounts; 2 lists of exhibitions; correspondence, 1958-1983; the will of Dexter Baber; an inventory of possessions; income tax returns; loan applications; price lists, 1966-1981; contracts, 1968-1980; consignment agreements, 1976-1981; miscellaneous business records, 1962-1982; notes on poetry; notebooks from classes on religion and writing; course outlines, 1972; notes on color forum, 1972; notes for "Age of Color" article; essays by Baber on Paul Jenkins, on color, and on organic found form; writings about Baber; reviews of Baber's work, 1963-1975;

a scrapbook of printed material, 1973-1978; clippings, 1957-1983; press releases, 1963-1978; exhibition announcements and catalogues, 1958-1983; reproductions of works of art; articles "Women Artists on Tenth Street," by Nancy Ungar, "Conference of Women in the Visual Arts," 1972, and "Report on the Status of Faculty Women at the University of Colorado at Colorado Springs," 1972; manuscript "Index for Nancy Hanks - Undistinguished Families" by Adin Baber; miscellaneous printed material, 1965-1978;

interview transcripts, "Reminiscences of the Tenth Street Days," with Charles Cajori and Lois Dodd, "American Women and Social Change - Women in Politics" with Mary Lou Burg, Jeane J. Kirkpatrick, and Patricia Lindh, "American Women and the Spirit of '76 - Women and Political Office" with Rita Hauser, and Magda Bleier, and "Women and the Law" with Marguerite Rawalt, Susan Ross, and Ruth Osborn;

photographs of Baber, 1957-1977, her family, Baber with Paul Jenkins, 1965, Baber participating in panel discussions and in the Professional Women Artists Project in Central Park, exhibition openings, installations, and of works of art and quilts;

Unfilmed material: untranscribed audio tape of a 1972 interview with Karl Fortess for the Archives of American Art; audio dub of a 1974 television program "Woman: the Artist," with Barbara Braathen; six video 1/2" video reels from "Funtioning in the Art World," 1977, with Sari Diemes, Isabel Bishop, C. Von Wiegand, Lil Picard, M. Citron, and Alice Neel; 61 slides of works of art; thirteen slides of a demonstration march; and twelve slides of a house.

Biographical / Historical:

Painter and printmaker; b. 1928, d. 1982.

Provenance:

Donated 1979-1985 by Alice Baber and Norbert Nelson.

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:

Printmakers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Genre/Form:

Scrapbooks

Interviews

Photographic slides

Identifier:

AAA.babealic

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914a6da4e-b925-47c5-b418-51638c1d9bf3

EDAN-URL:

ead_collection:sova-aaa-babealic

Interviewee:

Landfield, Ronnie, 1947-  Search this

Interviewer:

Cassidy, Stephanie, 1969-  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Extent:

86 Items (sound files (19 hrs., 54 min.), digital, wav)

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Date:

2023 June 1-30

Scope and Contents:

An interview with Ronnie Landfield conducted 2023 June 1-30, by Stephanie Cassidy for the Archives of American Art, at Landfield's studio in New Windsor, New York.­

Biographical / Historical:

Ronnie Landfield (1947- ) is an abstract painter known for the lyricism of his work and sensitive use of color. Landfield is based in New York and has taught at the Art Students League since 1994.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Educators -- New York (State) -- New York  Search this

Topic:

Art, Abstract  Search this

Genre/Form:

Interviews

Sound recordings

Identifier:

AAA.landfi23

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw948513a08-ac6e-469c-bf64-1eccb0babcd5

EDAN-URL:

ead_collection:sova-aaa-landfi23