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Painting Techniques of Henry Ossawa Tanner

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2011-08-02T20:35:10.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_hWxErF_nzd4

Oscar Bluemner papers

Creator:
Bluemner, Oscar, 1867-1938  Search this
Names:
Bourgeois, Stephan, 1881-1964  Search this
Bruce, Edward, 1879-1943  Search this
Fiene, Ernest, 1894-  Search this
Friedman, Arnold, 1874-1946  Search this
Hirsch, Stefan, 1899-1964  Search this
Hochschild, Walter  Search this
Lewisohn, Margaret  Search this
Liebman, Aline Meyer, 1879-1966  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Rothbart, Albert  Search this
Stieglitz, Alfred, 1864-1946  Search this
Vogelstein, Ludwig, 1871-1934  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Diaries
Photographs
Date:
1886-1939, 1960
Summary:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Scope and Content Note:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.

Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein.

Bluemner' extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries contain Bluemner's handwritten notes about newly-completed paintings and current work. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting.

Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed.

Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1886-circa 1937 (Box 1, OV 9; 0.2 linear feet)

Series 2: Correspondence, 1889-1936 (Box 1; 0.2 linear feet)

Series 3: Painting & Theory Diaries, 1911-1936 (Box 1-2, 7; 1.2 linear feet)

Series 4: Writings & Notes, 1891-1892, 1909-1937 (Box 2-4, 8; 2.2 linear feet)

Series 5: Annotated Books & Catalogs, 1907-1933 (Box 4-5; 1.0 linear feet)

Series 6: Art Motifs & Travel Sketches, 1902-1936 (Box 5-6, 8; 1.4 linear feet)

Series 7: Artwork, 1892-circa 1930s (Box 6; 4 folders)

Series 8: Printed Material, 1906-1939, 1960, undated (Box 6; 0.3 linear feet)

Series 9: Photographs, 1891, 1903, circa 1930s (Box 6; 5 folders)
Biographical Note:
Oscar Bluemner (1867-1938) was born Friedrich Julius Oskar Blümner in Prussia in 1867. As a child he received some formal art training. He enrolled in the architecture department of the Konigliche Technische Hochschule (Royal Technical Academy), Berlin, and received his architecture degree in 1892. A few months later he moved to the United States and worked in Chicago as a draftsman at the World's Columbian Exposition. After the exposition, Bluemner attempted to find work in both Chicago and New York City, but could not find steady employment. In 1903 he created the winning design for the Bronx Borough Courthouse, and for the next few years had various intermittent jobs as an architect in New York. Around this time Bluemner also began writing down his thoughts on aesthetics, art history, and art theory, which he would continue to do for the rest of his life in various journals, diaries, and notebooks.

In 1908 Bluemner met Alfred Stieglitz at Stieglitz's gallery, known as "291", and by 1910 he had decided to pursue painting full-time rather than architecture. From 1911 to 1912 he worked on a set of Neo-Impressionist paintings and, using the money he won in a suit regarding the Bronx Courthouse design, he went on a seven-month trip to Europe, touring museums and galleries, and exhibiting his own work in Germany. Upon returning to the United States, Bluemner exhibited in the 1913 Armory Show, and in 1915 had a one-man show at 291. Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near-poverty. In 1916 he moved to New Jersey, living as an itinerant, until finally settling in South Braintree, Massachusetts, after his wife's death in 1926. Over the next few years, Bluemner had several prominent one-man shows at the Whitney Studio Galleries and at the Marie Harriman Gallery in New York. He was briefly employed for the Public Works of Art Project in 1934 and the Federal Art Project in 1936, but due to failing health was forced to stop painting. Oscar Bluemner committed suicide in 1938.
Related Material:
Also found in the Archives of American Art is the John Davis Hatch papers, 1790-1995, which include correspondence, printed material, and research files regarding Oscar Bluemner.

Additional Oscar Bluemner materials are available at the Avery Architectural and Fine Arts Library, Columbia University, and within the Vera Bluemner Kouba Collection, Stetson University, Deland, Florida.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The material on reel N737 was lent by Graham Gallery in 1968. The rest of the collection was donated between 1970-1985 by John David Hatch, a close friend of Bluemner and an art historian.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Philosophy  Search this
Works of art  Search this
Painting -- Technique  Search this
Architects -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- History  Search this
Art criticism  Search this
Art, Chinese  Search this
Art, Japanese  Search this
Genre/Form:
Sketches
Writings
Diaries
Photographs
Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blueosca
See more items in:
Oscar Bluemner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blueosca
Online Media:

Oral history interview with Tyrus Wong, 1965 January 30

Interviewee:
Wong, Tyrus, 1910-2016  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Buck, Frank E. (Frank Eugene)  Search this
Jeakins, Dorothy  Search this
Jones, Joe  Search this
Macdonald-Wright, Stanton  Search this
Murry, Jerre  Search this
Newell, Gordon  Search this
O'Hara, Eliot  Search this
Stanley, George M.  Search this
Winter, Carl  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Painting, Modern -- 20th century -- California  Search this
Painting, Asian  Search this
Sculptors -- United States -- Interviews  Search this
Asian American artists -- Interviews  Search this
Painters -- California -- Interviews  Search this
Designers -- California -- Interviews  Search this
Printmakers -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13010
(DSI-AAA_SIRISBib)216544
AAA_collcode_wong65
Theme:
Asian American
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216544

Emil J. Bisttram papers, 1902-1982

Creator:
Bisttram, Emil, 1895-1976  Search this
Subject:
Berninghaus, Oscar E. (Oscar Edmund)  Search this
Dows, Olin  Search this
Macdonald-Wright, Stanton  Search this
Ufer, Walter, Mrs  Search this
Saarinen, Eero  Search this
Higgins, Victor  Search this
Phillips, Bert Geer  Search this
Jonson, Raymond  Search this
Public Works of Art Project  Search this
Treasury Relief Art Project  Search this
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Topic:
Federal aid to the arts -- Arizona  Search this
Art and state -- Arizona  Search this
Federal aid to the arts -- New Mexico  Search this
New Deal, 1933-1939  Search this
Art and state -- New Mexico  Search this
Painting, Abstract  Search this
Taos School of Art  Search this
Design  Search this
Symmetry  Search this
Proportion (Art)  Search this
Record number:
(DSI-AAA_CollID)9018
(DSI-AAA_SIRISBib)211207
AAA_collcode_bistemil
Theme:
Art Movements and Schools
Lives of American Artists
Government Sponsorship of the Arts
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211207

Oral history interview with Yvonne Jacquette, 2010 Oct. 19-21

Interviewee:
Jacquette, Yvonne, 1934-  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Subject:
Burckhardt, Rudy  Search this
Denby, Edwin Hooper  Search this
Grooms, Mimi Gross  Search this
Katz, Alex  Search this
Kushner, Robert  Search this
Moore College of Art  Search this
New York (State).  Search this
Parsons School of Design  Search this
Pennsylvania Academy of the Fine Arts  Search this
University of Pennsylvania  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Type:
Sound recordings
Interviews
Topic:
Mosaics  Search this
Mural painting and decoration  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)15920
(DSI-AAA_SIRISBib)297211
AAA_collcode_jacque10
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_297211

Oral history interview with Yvonne Jacquette

Interviewee:
Jacquette, Yvonne  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Moore College of Art  Search this
New York (State).. Metropolitan Transportation Authority.Arts for Transit  Search this
Parsons School of Design -- Faculty  Search this
Pennsylvania Academy of the Fine Arts -- Faculty  Search this
University of Pennsylvania -- Faculty  Search this
Burckhardt, Rudy  Search this
Denby, Edwin Hooper, 1873-  Search this
Grooms, Mimi Gross  Search this
Katz, Alex, 1927-  Search this
Kushner, Robert, 1949-  Search this
Extent:
3 Items (Sound recording, master: 3 sound files (2 hr., 55 min.), digital, wav file)
91 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 Oct. 19-21
Scope and Contents:
An interview of Yvonne Jacquette conducted 2010 Oct. 19 and 21, by James McElhinney, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jacquette's home and studio, in New York, N.Y.
Jacquette talks about a current competition for art in a Metropolitan Transit Authority (MTA) subway station at 34th Street and 11th Avenue in New York City; mosaics and fresco; materials and methods; other MTA commissions; her late husband Rudy Burckhardt; teaching at Moore College of Art in Philadephia, the Pennsylvania Academy of the Fine Arts, the University of Pennsylvania, and Parsons School of Design; flying over proposed subjects to get an aerial view; spending summers in Maine; other artists in Maine; her interest in painters who "developed spiritually"; travel to Japan with Burckhardt; collaborating with Burckhardt on the film, "Night Fantasies," (1990); acceptance of women artists; galleries; women artists she admires, and other topics. She recalls Robert Kushner, Edwin Denby, Alex Katz, Mimi Gross, and others.
Biographical / Historical:
Yvonne Jacquette (1934-) is a painter and printmaker in New York, N.Y. James McElhinney is an artist and educator in New York, N.Y.
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 access restricted; written permission is required. Contact Reference Services for more information.
Occupation:
Artists -- Maine  Search this
Topic:
Mosaics  Search this
Mural painting and decoration  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jacque10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jacque10

Oral history interview with Frank S. Okada, 1990 Aug. 16-17

Interviewee:
Okada, Frank S. (Frank Sumio), 1931-2000  Search this
Interviewer:
Johns, Barbara  Search this
Subject:
Bunce, Louis  Search this
Charles, Ray  Search this
Chin, Frank  Search this
Davis, Sammy  Search this
Derbyshire, Leon  Search this
Dusanne, Zoe  Search this
Horiuchi, Paul  Search this
Inada, Lawson Fusao  Search this
Ivey, William  Search this
Jones, Quincy  Search this
Kusama, Yayoi  Search this
Martin, David Stone  Search this
Nomura, Kenjiro  Search this
Okada, John  Search this
Peck, James Edward  Search this
Shahn, Ben  Search this
Tobey, Mark  Search this
Tsutakawa, George  Search this
Cornish School of Allied Arts (Seattle, Wash.)  Search this
University of Oregon  Search this
Cranbrook Academy of Art  Search this
Type:
Sound recordings
Interviews
Topic:
Asian American artists -- Interviews  Search this
Asian American art  Search this
Japanese American art  Search this
Art, Japanese American influences  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Painters -- Washington (State) -- Seattle -- Interviews  Search this
Painting, Japanese  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Painting, Zen  Search this
Painting, Chinese  Search this
Sculptors -- United States -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11693
(DSI-AAA_SIRISBib)216548
AAA_collcode_okada90
Theme:
Asian American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216548
Online Media:

Oral history interview with Frank S. Okada

Interviewee:
Okada, Frank S. (Frank Sumio), 1931-2000  Search this
Interviewer:
Johns, Barbara  Search this
Names:
Cornish School of Allied Arts (Seattle, Wash.)  Search this
Cranbrook Academy of Art -- Students  Search this
University of Oregon -- Faculty  Search this
Bunce, Louis, 1907-1983  Search this
Charles, Ray, 1930-2004  Search this
Chin, Frank, 1940-  Search this
Davis, Sammy, 1925-  Search this
Derbyshire, Leon  Search this
Dusanne, Zoe, 1884-1977  Search this
Horiuchi, Paul, 1906-  Search this
Inada, Lawson Fusao  Search this
Ivey, William, 1919-1992  Search this
Jones, Quincy, 1933-  Search this
Kusama, Yayoi, 1929-  Search this
Martin, David Stone  Search this
Nomura, Kenjiro, 1896-1956  Search this
Okada, John  Search this
Peck, James Edward, 1907-  Search this
Shahn, Ben, 1898-1969  Search this
Tobey, Mark  Search this
Tsutakawa, George  Search this
Extent:
87 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1990 Aug. 16-17
Scope and Contents:
An interview of Frank Okada conducted 1990 Aug. 16-17, in Seattle, Wash., by Barbara Johns, for the Archives of American Art Northwest Asian American Project. Okada discusses his parents' background; his family including his brothers, John, author of "No-No Boy," and Charlie, a graphic designer; traveling to Japan for the Pacific Northwest Artists and Japan exhibition; being in an internment camp; painting in Eugene, Ore. and Seattle, Wash.; his painting techniques; studying under Leon Derbyshire; his connection with the jazz scene in Seattle in the late 1940s and 1950s including musicians Sammy Davis, Ray Charles, and Quincy Jones; attending Cornish School of Art, Seattle; meeting Mark Tobey; comparision of his painting style to Tobey's; his stint in the Army; attending Cranbrook Academy of Art and studying with painter Fred Mitchell; his Whitney fellowship in New York; study of Japanese, Chinese, and Zen paintings; working for Boeings in the early 1960s; traveling to France on a Guggenheim; teaching at University of Oregon in Eugene; his minimalist work; influence of Japanese art in his painting. Okada mentions Lawson Inada (Asian American poet), Frank Chin (Asian American playwright), artists David Stone Martin, James Edward Peck, Yayoi Kusama, George Tsutakawa, Paul Horiuchi, Ben Shahn, Kenjiro Nomura, Louis Bunce, Bill Ivey, and art gallery owner Zoe Dusanne.
Biographical / Historical:
Frank S. Okada (1931-2000) was a painter from Seattle, Wash. Taught at Univ. of Oregon from 1969-1999.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 38 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Asian American artists -- Interviews  Search this
Asian American art  Search this
Japanese American art  Search this
Art, Japanese American influences  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Painters -- Washington (State) -- Seattle -- Interviews  Search this
Painting, Japanese  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Painting, Zen  Search this
Painting, Chinese  Search this
Sculptors -- United States -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.okada90
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-okada90

Virtue Paying Homage at the Tomb of Washington

Medium:
Medium: silk embroidery on silk foundation, paint Technique: embroidered on plain weave foundation; some painted details
Type:
embroidery & stitching
Embroidered picture
Object Name:
Embroidered picture
Made in:
USA
Date:
ca. 1800
Credit Line:
Gift of Anonymous Donor from the Fraser/Martin Collection
Accession Number:
1974-100-15-a,b
Restrictions & Rights:
CC0
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq494f5f54a-b988-4b00-9041-f8a51171aaf1
EDAN-URL:
edanmdm:chndm_1974-100-15-a_b

Adolf Dehn papers

Creator:
Dehn, Adolf, 1895-1968  Search this
Names:
American Artists Group  Search this
Associated American Artists  Search this
Atelier Desjobert  Search this
Kennedy Galleries  Search this
University of Missouri Press  Search this
Bohrod, Aaron  Search this
Castellón, Federico, 1914-1971  Search this
Christ-Janer, Albert, 1910-1973  Search this
Dehn, Mura  Search this
Dehn, Virginia E. (Virginia Engleman), 1922-2005  Search this
Eastman, Max, 1883-1969  Search this
Freeman, Joseph  Search this
Gag, Wanda, 1893-1946  Search this
Goetsch, Gustav F. (Gustav Frederick), 1877-1969  Search this
Grosz, George, 1893-1959  Search this
Hayter, Stanley William, 1901-1988  Search this
Kuh, Frederick, 1895-1978  Search this
Lake, Eileen Hall  Search this
Marsh, Reginald, 1898-1954  Search this
Mitchell, Olivia Dehn  Search this
Olds, Elizabeth, 1896-1991  Search this
Rattner, Abraham  Search this
Robinson, Boardman, 1876-1952  Search this
Shane, Fred, 1906-  Search this
Smith, William Arthur, 1918-1989  Search this
Spruance, Benton, 1904-1967  Search this
Thayer, Scofield, b. 1889  Search this
Zigrosser, Carl, 1891-  Search this
Photographer:
Kertész, André  Search this
Extent:
6.6 Linear feet
Type:
Collection descriptions
Archival materials
Manuscripts
Sketches
Etchings
Scrapbooks
Photographs
Poems
Date:
1912-1987
Summary:
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.
Scope and Content Note:
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.

Found within the biographical materials are several address books, official travel documents, exhibition price lists, and a biographical sketch.

Correspondence, both personal and business, makes up the bulk of this collection. Dehn maintained long friendships with many fellow artists and his correspondence includes letters from Aaron Bohrod, Federico Castellon, Albert Christ-Janer, Wanda Gág, Gustav Goetsch, George Grosz, Reginald Marsh, Elizabeth Olds, Abraham Rattner, Boardman Robinson, Frederick Shane, William Smith, and Benton Spruance. Additional notable correspondents include print dealer and curator Carl Zigrosser; journalists Max Eastman, Joseph Freeman, Frederick Kuh; editor Scofield Thayer, and his former wife, the Russian dancer Mura Dehn (neé Tsiperovitch). Business correspondence includes letters from art schools, associations, museums, and galleries affiliated with Dehn, including the Weyhe Gallery; Associated American Artists, a gallery that promoted American art to the middle classes; and the Kennedy Gallery, which represented the Dehn estate upon the artist's death. There is also correspondence from companies and organizations that commissioned commercial work from Dehn, such as greeting card publisher, American Artists Group . Finally the correspondence of Virginia Dehn includes letters to and from the University of Missouri Press related to the publication of Adolf Dehn Drawings and condolence cards and letters from friends and associates after the Adolf Dehn's death in May 1968.

Writings include manuscripts for Adolf Dehn's manual on painting technique, Watercolor, Gouache, and Casein Painting (Studio Publications, 1955), as well as his entries on technique and watercolor painting for Encyclopedia Britannica. Writings by others includes the catalog Adolf Dehn Drawings, prepared by his wife Virginia Dehn, and published in 1971 by the University of Missouri Press. There is also a journal with handwritten poems attributed to Eileen Hall Lake.

Printed materials consists of exhibition announcements and catalogs from galleries featuring Dehn's work including the Weyhe Gallery and Associated American Artists; art school brochures and newsletters from programs which Dehn attended or taught; and newspaper and magazine clippings including examples of his editorial cartoons, which appeared in The Liberator, The New Yorker, and Vanity Fair, among other publications as well as clippings of news items related to the artist. This series also includes examples of Dehn's commercial work, such as book covers, calendars, and Christmas cards. Additional similar printed materials can be found in the scrapbooks. Artwork consists of only a few sketches attributed to Dehn, others to Eileen Lake Hall, and an etching by S.W. Hayter.

Dehn is well documented through numerous photographs, both alone and with others, including a portrait by the renowned photographer André Kertész. Additional vintage photographs include Dehn with family members, friends, and a series of photographs taken with his wife, Virginia Dehn at Atelier Desjobert, where he had been making lithographs since the 1920s.
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Material, circa 1920-1968 (Box 1; 10 folders)

Series 2: Correspondence, 1919-1982 (Boxes 1-4; 3.75 linear feet)

Series 3: Writings, circa 1920-1971 (Boxes 4-5; 0.25 linear feet)

Series 4: Financial Records, 1936-1965 (Box 5; 0.5 linear feet)

Series 5: Printed Materials, circa 1915-1987 (Boxes 5-6; 1.2 linear feet)

Series 6: Scrapbooks, 1912-1968(Boxes 6-7; 0.5 linear feet)

Series 7: Artwork, circa 1920-1945 (Box 6; 3 folders)

Series 8: Photographs, circa 1912-1961 (Boxes 6 and 8; 7 folders)
Biographical Note:
Adolf Dehn (1895-1968) was well-known for his drawings, lithographs and watercolors which satirically chronicled the social and political milieu of his times, as well as poetic landscapes, many of which depicted the rolling hills and farmlands of his native Midwest. Although he worked mostly in New York, Dehn also spent substantial time traveling and working in Europe, the Middle East, South America, and the American mid-west.

Dehn was born on a farm in Waterville, Minnesota on November 22, 1895, he began his formal art education in 1914 at the Minneapolis School of Art (currently known as the Minneapolis College of Art and Design). As a student, his drawings were featured in the school's humor journal, The Minne-Ha-Ha and by 1917 he had published his first drawing in one of his favorite political journals, The Masses. Later that year he and fellow Minneapolis School of Art student Wanda Gág were among a select group of art students nationwide who won scholarships to the Art Students League of New York. After only eight months in New York, however, Dehn was drafted into the Army to serve in the final months of World War I, but he proclaimed himself as a conscientious objector and was sent to Camp Wadsworth in South Carolina for several months.

Dehn returned to New York, where his friend and mentor Boardman Robinson introduced him to lithography through the master printer George Miller and brought him to the Weyhe Gallery to meet Carl Zigrosser, an avid supporter of American printmakers. However, he soon left New York for Europe in September 1921 where he spent most of the following eight years. There he traveled with his sketchbooks to the cafes and opera houses of Berlin, Paris, and Vienna, as well as on hiking trips in the Alps. He became friends with the poet E.E. Cummings, Scofield Thayer, editor of The Dial, who published many of his drawings, and met the German artist, George Grosz, whose work he so admired. In addition to The Dial, his satirical drawings of jazz-age entertainments and European cafe life also appeared in , The Liberator, Jugend, Vanity Fair, and Simplicissimus. Finally during his stint in Europe, Dehn met and married the Russian dancer Mura Tsiperovitch. They were married in Vienna in 1926, but divorced sometime in the early 1930s.

Unfortunately Dehn's return to the United States coincided with the Great Depression of 1929 and sales of his work were slim. However in the 1930s, The New Yorker and Vogue began to publish his work. He continued to work in lithography and returned to Paris to work at the Atelier Desjobert, the print studio with whom he worked most closely throughout his life. In the late 1930s, Dehn began working in watercolors, mostly rural landscapes, and had a one man show of works in his new medium at Weyhe Gallery in 1938. In 1939 Dehn traveled through the Southwest and Mexico on his first Guggenheim Fellowship (he was awarded his second in 1951).

By the 1940s Dehn was an active member of both the American Artists Group and Associated American Artists; both organizations sought to popularize contemporary American Art, primarily through reproductions of fine art prints and commercial use of artists' designs on greeting card, calendars, and even wall paper. Appreciation for his lithographs and watercolors grew, and along with it his recognition. He also taught art classes a few summers; in the late 1930s at Stephens College, Columbia, Missouri where his friend Albert Janner-Christ was head of the art department and in the early 1940s at the Colorado Springs Fine Arts Center, where friend and mentor Boardman Robinson was the director. In 1955 he published Watercolor, Gouache, and Casein Painting, a manual on technique. Throughout the rest of his life he continued to travel, not only returning to Europe, but also visiting Afganistan, Cuba, Haiti, and a trip to Venuzuala on assignment from Standard Oil to document the oil industry there. On many of his later trips, he was accompanied by his wife, fellow artist, Virginia Engleman Dehn, whom he had married in November 1947.

Near the end of his long career, Dehn was elected in 1961 to the National Academy of Design as a full academician. He was later elected to the National Academy of Arts and Letters. After his death in 1968, his wife Virginia worked with the University of Missouri Press on the catalog Adolf Dehn Drawings (Columbia: University of Missouri, 1971).
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 287 contains printed materials, including exhibition announcements, catalogs, magazines, and newspaper and magazine clippings. After filming, these materials were transferred to the Smithsonian American Art Museum/National Portrait Gallery Library. Reels 2938-2939 include 750 letters from Adolf Dehn to various family members. This material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Adolf Dehn papers were donated in several installments from 1966 to 1985 by Adolf Dehn and his wife Virginia. Dehn's sisters, Viola Dehn Tiala and Olivia Dehn Mitchell, separately donated additional materials in 1971 and 1972. Olivia Dehn Mitchell also loaned the Archives letters from Adolf in 1983 for microfilming. Finally in 1989, Lillian Morrison, a friend and editor, donated a published book of Mura Dehn's poetry and a four page draft of a letter signed by Adolf Dehn.
Restrictions:
Use of originals requires an appointment.
Rights:
The Adolf Dehn papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting -- Technique  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Graphic arts -- New York (State) -- New York  Search this
Genre/Form:
Manuscripts
Sketches
Etchings
Scrapbooks
Photographs
Poems
Citation:
Adolf Dehn papers, 1912-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dehnadop
See more items in:
Adolf Dehn papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dehnadop

Edward Augustus Brackett notebook

Creator:
Brackett, Edward Augustus, 1818-1908  Search this
Names:
Durivage, Francis A. (Francis Alexander), 1814-1881  Search this
Extent:
1 Volume
Type:
Collection descriptions
Archival materials
Volumes
Date:
circa 1845
Scope and Contents:
Notebook of painting instructions presented to E[dward] A[ugustus] Brackett by his sculptor friend, Durivage, signed and dated "Boston, November 10, 1845." The notes pertain to such topics as drawing from nature, perspective, shadows, head and figure painting, and proportions of figures. Sketches of the primary palette and of the head are also included. The last entry, in a different handwriting, is entitled, "Notes on Painting" and the last date appearing is 1888. A note in pencil on the front cover says "translation from French."
Biographical / Historical:
Edward Augustus Brackett was a portrait sculptor born in Vassalboro, Maine, who worked in Cincinnati, New York, and Boston.
Provenance:
A handwritten note in the front of the notebook indicates that it was "presented to the Worcester Art Museum by Frank D. Brackett son of E. A. Brackett."
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Topic:
Painting -- Technique  Search this
Painting -- Study and teaching  Search this
Identifier:
AAA.decrfa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-decrfa

Jean Crotti papers

Creator:
Crotti, Jean, 1878-1958  Search this
Names:
Blancpain, Paul  Search this
Braque, Georges, 1882-1963  Search this
Christian, 1895-1969  Search this
Cocteau, Jean, 1889-1963  Search this
Coudour, Henri  Search this
Crotti, Andre  Search this
Duchamp, Marcel, 1887-1968  Search this
Duchamp, Suzanne, 1889-1963  Search this
Dufy, Raoul, 1877-1953  Search this
Everling, Germaine  Search this
Gleizes, Albert, 1881-1953  Search this
Guillaume, Paul, 1891-1934  Search this
Matisse, Henri, 1869-1954  Search this
Nokache, Armand  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pach, Walter, 1883-1958  Search this
Picabia, Francis, 1879-1953  Search this
Picasso, Pablo, 1881-1973 -- Photographs  Search this
Renoir, Pierre, 1885-1952  Search this
Reynolds, Mary, 1891-1950  Search this
Salmon, André, 1881-1969  Search this
Seuphor, Michel, 1901-1999  Search this
Severini, Gino, 1883-1966  Search this
Varese, Louise  Search this
Varèse, Edgard, 1883-1965  Search this
Villon, Jacques, 1875-1963  Search this
Waldemar George, 1893-  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Poems
Essays
Sound recordings
Photographs
Interviews
Date:
1913-1973
bulk 1913-1961
Summary:
The scattered papers of French Dada painter Jean Crotti measure 1.7 linear feet and date from 1913-1973, with the bulk of the material dated 1913-1961. Found within the papers are autobiographical notes and essays; correspondence with family and colleagues, among them Jean Cocteau, Andre Crotti, Suzanne Duchamp, Marcel Duchamp, Albert Gleizes, Christian a.k.a. Georges Herbiet, Henri Matisse, Francis Picabia, and Jacques Villon; notes and writings by Crotti and others; art work by Crotti and Paul Guillaume; a scrapbook; and additional printed material. Photographs are of Crotti, Suzanne Duchamp, Georges Braque, Pablo Picasso, and other family and friends; and of Crotti's art work. There are audio recordings on phonograph records of three interviews with Crotti and one with Mr. and Mrs. Paul Blancpain.
Scope and Content Note:
The papers of French Dada painter Jean Crotti measure 1.7 linear feet and date from 1913 to 1973, with the bulk of the materials dating from 1913-1961. Among the papers are autobiographical essays, correspondence with friends and family, including many letters from Marcel Duchamp, notes and writings by and about Crotti, printed materials, one scrapbook, drawings by Crotti and others, photographs of Crotti and his family and friends, photographs of artwork, and three audio recordings of interviews with Crotti.

Biographical material consists of autobiographical notes and an autobiographical manuscript Ma Vie.

Correspondence is with family members and colleagues. Correspondents include his brother Andr?©, wife Suzanne Duchamp, and other family members. There are eleven folders of correspondence between Suzanne's brother Marcel Duchamp and the Crotti family. A 1918 letter from Duchamp to Crotti is illustrated by Duchamp. Additional letters to Jean Crotti are from Jean Cocteau, Albert Gleizes, Georges Herbiet a.k.a. "Christian", Henri Matisse, Francis Picabia, and Jacques Villon. Three folders of letters from Georges Herbiet a.k.a. "Christian" include references to Francis Picabia and Germaine Everling and discussions of art criticism and Picabia's role in avant-garde art movements. Herbiet also describes a new painting procedure that he claims to have invented using a product that is impervious to acids, water, oil, or alcohol. There is a single letter from Jean Crotti to Pablo Picasso following their meeting in Cannes in which Crotti discusses a design with spheres and includes a sketch of his idea. There are also single letters to Crotti from Raoul Dufy, Walter Pach, and actor Pierre Renoir.

Notes and writings include poems, a script, and miscellaneous writings by Crotti concerning his art theories including "Tabu" and gemmail. Writings about Crotti are by miscellaneous authors including writers Waldemar George, Andr?© Salmon, and artists Armand Nakache, Am?©d?© Ozenfant, and Michel Seuphor.

Art work includes seven folders of drawings and an etching plate by Crotti, 83 drawings by Paul Guillaume, and portrait drawings of Crotti by Henri Coudour and Francis Picabia.

A scrapbook contains clippings, a letter from Paul Guillaume and a letter to Elizabeth Crotti from a friend describing a 1932 Jean Crotti exhibition in the Balzac Galleries in New York City, and a typescript "Una Collezione a Parigi" by Gino Severini.

Additional printed material includes clippings, exhibition announcements and catalogs for Crotti and others, reproductions of art work, and books Jean Crotti (1930) and Jean Crotti et la Primaut?© du Spirituel (1959) by Waldemar George.

Photographs are of Crotti, his family, friends, colleagues, and art work by Crotti and by Suzanne Duchamp. Of particular interest are photographs of composer Edgard Var?¨se and his wife Louise with Suzanne Duchamp, Jean Crotti, and art advocate Mary Reynolds in 1924, photographs of Crotti and Georges Braque examining a gemmail art work, and photographs of Crotti and Suzanne Duchamp talking with Pablo Picasso at Cannes and at the home of Bertrande Blancpain in 1957.

Sound recordings include two phonograph records of interviews with Jean Crotti, including topics "Assignment Switzerland" and "Assignment World." A third phonograph record contains an instantatneous disk recording of correspondence between Mr. and Mrs. Paul Blancpain as well as an additional interview with Crotti.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1954-1955 (Box 1; 3 folders)

Series 2: Correspondence, 1916-1961 (Box 1; 43 folders)

Series 3: Notes and Writings, 1924-1958 (Box 1; 27 folders)

Series 4: Art Work, 1913-1925 (Box 1, 3; 12 folders)

Series 5: Scrapbook, 1931-1935 (Box 1; 1 folder)

Series 6: Printed Material, 1921-1973 (Box 1, 2, 3; 0.5 linear feet)

Series 7: Photographs, 1920-1957 (Box 2; 25 folders)

Series 8: Sound Recordings, 1955 (Box 3; 1 folder)
Biographical Note:
Jean Crotti (1870-1958) was a Dadist painter who worked primarily in Paris, France and New York. He was married to Suzanne Duchamp, Marcel Duchamp's sister, and friends with notable avant-garde and Dada European and American painters of the period. He is also known for creating the "Gemmail" technique of layering colored glass that produced unique color combinations when illuminated.

Jean Crotti was born April 24, 1878 in Bulle, near Fribourg, Switzerland, the son of a painting contractor. The family moved to Fribourg in 1887.

Beginning in 1898, Crotti struggled with questions of a religious and spiritual nature while at the School of Decorative Arts in Munich. Dissatisfied there, he moved to Paris in 1901, where he spent a year studying at the Acad?©mie Julian under Tony-Robert Fleury and Jules Lefebvre. Still dissatisfied in 1902, he established a small independent studio in the Rue Fontaine.

Crotti exhibited a canvas at the Salon des Ind?©pendants in 1907, and was accepted as a member of the Salon d'Automne in 1909. From 1910 to 1912, he was influenced by Cubism and its offshoot, Orphism.

To escape from wartime Paris in 1914, Crotti and his first wife, Yvonne Chastel, moved to New York City where Crotti had his first solo exhibition at the Bourgeois Gallery. In 1915, Crotti met Francis Picabia and also shared a studio with Marcel Duchamp who was a major influence. Crotti began his Dada period and was included in an exhibition of French paintings at the Montross Gallery in New York, with Duchamp, Albert Gleizes, and Jean Metzinger.

Crotti separated from his first wife, Yvonne Chastel, in 1916 and returned to Paris alone. By 1917, Crotti's marriage had dissolved and he married Suzanne Duchamp in 1919. Crotti met Suzanne Duchamp, also a painter, through his friendship with her brother Marcel Duchamp. During this time, Crotti completed and exhibited paintings associated with the Dada movement. One of his more notable works was entitled Explacatif, bearing the word "Tabu" that expressed Crotti's concepts of mystery and infinity with spiritual overtones.

In 1935 Crotti began to research a new technique using layers of colored glass, referred to as "gemmail." The term is a contraction of "gem" referring to the colored glass and "enamel" referring to the method of affixing the pieces of glass to each other. After much experimentation, an "enamel" fixative was found that would permanently hold the glass pieces in place while still allowing light to shine through all the layers. Several prominent artists including Georges Braque and Pablo Picasso became interested in using this medium. Crotti had the process patented, but in 1955 ceded the rights to Roger Malherbe who adapted it to commercial uses.

Jean Crotti died on January 30, 1958 in Paris, France.
Separated Material:
Two sketches and a print were also lent by Andr?© Buckles in 1981 for microfilming on reels 2394-2395 and returned. This material is not described in the container listing of this finding aid.
Provenance:
The Jean Crotti papers were donated in two installments in 1981 by Andr?© Buckles and Alice Buckles Brown, Crotti's great-nephew and great-niece.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Jean Crotti papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting -- Technique  Search this
Art criticism  Search this
Dadaism  Search this
Avant-garde (Aesthetics)  Search this
Painters -- France -- Paris  Search this
Painters -- France -- Paris -- Interviews  Search this
Genre/Form:
Scrapbooks
Drawings
Poems
Essays
Sound recordings
Photographs
Interviews
Citation:
Jean Crotti papers, 1913-1973, bulk 1913-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.crotjean
See more items in:
Jean Crotti papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-crotjean
Online Media:

Francis Criss papers

Creator:
Criss, Francis, 1901-1973  Search this
Names:
New School for Social Research (New York, N.Y.) -- Faculty  Search this
United States. Works Progress Administration  Search this
Extent:
1.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
1916-1975
bulk 1940-1969
Summary:
The Francis Criss papers comprise 1.9 linear feet of material dating from 1916 to 1975 (bulk 1940-1969). The collection documents the painting and teaching career of modernist painter Francis Criss mainly through correspondence, handwritten notes for class lectures, exhibition files, newsclippings, scrapbooks, and photographs. Oversized reproductions of his commercial artwork are also found.
Scope and Content Note:
The Francis Criss papers comprise 1.9 linear feet of material dating from 1916 to 1975 (bulk 1940-1969). The collection documents the painting and teaching career of modernist painter Francis Criss mainly through correspondence, handwritten notes for class lectures, exhibition files, newsclippings, scrapbooks, and photographs. Oversized reproductions of his commercial artwork are also found.

The collection is divided into two separate parts. The first represents the papers originally microfilmed as a loan in 1970 that includes biographical information; teaching and lecture notes compiled by Criss for courses he taught at several New York art schools, including the New School and the School of Visual Arts. Also found is correspondence with museums and magazines, Cornell University, the Henry McCarter Estate, and Theodore L. Shaw; exhibition announcements and catalogs; exhibition files and photographs for the Philadelphia Art Alliance exhibition in 1953 and the Visual Arts Gallery Retrospective in 1966; a record of paintings, murals, and projects; clippings; personal photographs and photographs of works of art.

The second part of the collection represents the portion of the 1976 gift that was not microfilmed in 1970. Found is business and personal correspondence with arts organizations, colleagues, former students, and fellow artists. Also included within this accession are Criss' handwritten notes and syllabi for courses he taught and printed material, such as exhibition announcements, invitations, and catalogs. Photographs are of Criss, his studio, several family members, and photographs of artwork Criss produced between 1935-1964, including those for the U.S. Army Medical Corps.

Also found are three dismantled scrapbooks. Scrapbook #1 documents Criss' later career as a commercial artist in New York City, primarily in the 1940s, a decade in which he experienced his greatest success. This scrapbook contains a series of large scale reproductions of his illustrations. Scrapbooks #2 and #3 also include examples of Criss' commercial work, as well as illustrations by other artists, and Criss' handwritten notes and instructions on drawing and painting techniques. A small series of miscellany includes several ledger pages detailing art supply expenses, a small unidentified collage, a copy of a 1957 appraisal report titled The Role of the School of Visual Arts, and other miscellaneous items.
Arrangement:
The collection is arranged in two parts. Part 1 represents the papers originally microfilmed as a loan in 1970 on reel N70-34. Part 2 is comprised of the 1976 gift.

Researchers should note that many of the papers filmed as a loan on Reel N70-34 in 1970 were also donated in their original form as part of the 1976 gift. However, certain documents may only be found on the microfilm. For this reason, the Archives maintained and arranged the collection in two separate parts. Part 1 represents the papers originally microfilmed as a loan in 1970 on reel N70-34. Part 2 is comprised of the 1976 gift. The arrangement of the first part of the collection reflects the original order of filming of the loan, with original documents found only on microfilm noted as See or See Also References. The remaining materials donated in 1976 have been arranged into series according to type of material.

Part 1: Papers filmed as a loan on Reel N70-34, 1916-1969 (Box 1, Reel N70-34, 0.4 linear feet)

Part 2: 1976 Gift, 1935-1975, undated (Boxes 2-6, 1.5 linear feet)
Biographical Note:
Modernist painter Francis Criss was born in London in 1901 to a Jewish family of Russian descent. At the age of three, his family moved to the United States and settled in Philadelphia. Criss began his art training nine years later at the Graphic Sketch Club and continued his studies at the Pennsylvania Academy of the Fine Arts, the Barnes Foundation, the Art Students League in New York, and, later, with private instruction under Jan Matulka. In 1920, Criss was awarded the prestigious Cresson scholarship by the Pennsylvania Academy of the Fine Arts which allowed him to further his studies in Europe. Around 1931, he began to exhibit paintings in a style that came to define his work -- clean lines, simple forms, and flat color of cityscapes and portraits. Criss' first public success as an artist was his inclusion in the inaugural 1932 Whitney Biennial Exhibition; the museum purchased his painting, Astor Place (1932) for its permanent collection. In 1934, Criss was awarded a Guggenheim Fellowship to study in Italy.

Throughout the 1930s and early 1940s, Criss was involved with the Works Progress Administration (WPA) and the American Artists' Congress, which he helped to organize in 1936. He was also a charter member of the "American Group" with artists that included Philip Evergood, Julian Levy, Jack Levine, William Gropper, Yasuo Kuniyoshi, the Soyers, Chaim Gross, and Abraham Rattner. Critics described his work as both Surrealist and Precisionist and it is often compared to that of Giorgio De Chirico, George Ault, Charles Demuth and Charles Sheeler.

Criss' career began to wane in the 1940s when he turned his attention to commercial art and teaching in order to support his family. Criss taught painting privately and at the Knox-Albright Museum, Brooklyn Museum Art School, The Art Students League, the New School, and the School of Visual Arts. He rarely returned to his own painting during the remainder of his life. Criss died at the age of 72 in 1973.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-34) including notes, exhibition material, photographs of works of art, clippings and a scrapbook. Lent material was returned to the lender and is described as series 1 of the collection container inventory.
Provenance:
In 1970, Francis Criss loaned portions of his papers to the Archives of American Art for microfilming. In 1976, Criss' daughter, Katherine Criss Cappello, donated most of the previously microfilmed materials with additional papers to the Archives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Francis Criss papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Commercial art -- 1940-1950  Search this
Art -- Technique  Search this
Modernism (Art)  Search this
Art -- Study and teaching  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Francis Criss papers, 1916-1975 (bulk 1940-1969). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.crisfran
See more items in:
Francis Criss papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-crisfran

Emil Armin papers

Creator:
Armin, Emil, 1883-  Search this
Names:
Levy, Beatrice S. (Beatrice Sophia), 1892-1974  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
1922-1977
Scope and Contents:
Biographical data; correspondence, mostly letters and greeting cards received, 1926-1958, ca. 50 items, including an etching by Beatrice S. Levy dated 1932,; the last chapter ("Reanimating the Life of the World" pgs. 198-252) of a doctoral thesis by Ethel Joyce Hammer, ATTITUDES TOWARDS ART IN THE 1920'S IN CHICAGO (1975); a 3 p. undated price list for wood carvings, watercolors and oil paintings by Armin; a notebook, 1937-1971, containing a few poems, copies of letters, notes on painting techniques, curriculum vitae, and a lists of oils, 1917-1970, watercolors, 1914-1971, pastels, 1964-1965, prints, ca. 1921-1966, and carvings, 1920-1971 by Armin (title of work, size, date and buyer information is often included); 2 sketchbooks, 1916 and 1919 (22 x 10 cm. or smaller) containing pencil & watercolor sketches of people and landscapes, signed and dated; a scrapbook containing clippings, 1920's; 18 exhibition announcements, invitations and catalogs, 1931-1977; ca. 150 magazine articles and newspaper clippings, 1920-1967 and undated; and 6 photographs of Armin, 1945, 1963? and undated.
Biographical / Historical:
Painter; Chicago, Illinois. Died 1971.
Provenance:
Donated 1985 by Hilda D. Armin, widow of Emil Armin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Illinois -- Chicago  Search this
Topic:
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Greeting cards  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.armiemil
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-armiemil

Leonard Bocour papers and business records

Creator:
Bocour, Leonard, 1910-1993  Search this
Names:
Bocour Artist Colors (Firm)  Search this
Extent:
11.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Diaries
Date:
1933-1993
Summary:
The papers of American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour measure 11.8 linear feet and date from 1933 to 1993. Found within the papers are biographical material; miscellaneous correspondence with artists and colleagues, including Helen Frankenthaler, Chaim Gross, Philip Guston, Alex Katz, Jack Levine, Morris Louis, David Oxtoby, and Philip Pearlstein; diaries, daily calendars, notes and writings; personal business records and the business records of Bocour Artist Colors, Inc.; transcripts of interviews with Bocour; and printed material.
Scope and Content Note:
The papers of American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour measure 11.8 linear feet and date from 1933 to 1993. Found within the papers is biographical material, including identity cards, membership cards, and award certificates. Miscellaneous correspondence is primarily with artists and colleagues, including Helen Frankenthaler, Chaim Gross, Philip Guston, Alex Katz, Jack Levine, Morris Louis, David Oxtoby, and Philip Pearlstein and discuss exhibitions and other art-related topics. Also found are diaries and annotated daily calendars; personal business records regarding personal finances, donations, and lectures; business records for Bocour Artist Colors, Inc., including contracts, business correspondence, financial documentation, and printed material; notes and writings including address books and writings by Bocour and others; transcripts of interviews with Bocour that discuss his early career; and printed material including clippings, exhibition announcements and catalogs, booklets, and brochures.
Arrangement:
The collection has been arranged into eight series primarily according to type of material. Materials within each series have been arranged chronologically, except for the Receipts for "Private Deals" and the Business Card File which are arranged alphabetically. Oversized material from various series has been housed in Box 13 and OV 14 and is noted in the Series Description/Container Listings Section at the appropriate folder title.

Series 1: Biographical Material, 1940s-1990s (Box 1; 4 folders)

Series 2: Miscellaneous Correspondence, 1950s-1990s (Box 1-4, 13, OV 14; 3.8 linear feet)

Series 3: Diaries and Annotated Calendars, 1955-1987 (Box 4-5; 19 folders)

Series 4: Personal Business Records, circa 1961-1992 (Box 5-7, 13; 2.2 linear feet)

Series 5: Business Records for Bocour Artist Colors, Inc., circa 1942-1992 (Box 7-9, 13; 2.3 linear feet)

Series 6: Notes and Writings, 1960-1993, undated (Box 9-10; 0.8 linear feet)

Series 7: Interview Transcripts, 1970s-1980s (Box 10; 5 folders)

Series 8: Printed Material, 1933-1993, undated (Box 10-13; 1.8 linear feet)
Biographical Note:
American art collector, paint manufacturer, lecturer, and painter, Leonard Bocour (nèe Leonard Bogdanoff) was born in 1910 in New York City. He studied at the National Academy of Design and at the Art Students League. In 1928, he met German artist Emil Ganso who taught him how to make artists' colors.

In 1932, Bocour established Bocour Hand Ground Artist Colors and sold paint directly to artists, greatly increasing his contacts and acquaintances in the art community. In this Depression era, Bocour often gave away paint to struggling artists who later became successful. Because artists would sometimes trade art work for tubes of paint, Bocour was able to build an impressive art collection that he would later loan for exhibition. He also donated numerous works of art to schools and museums.

Over the years, Bocour maintained a close relationship with artists, most notably Helen Frankenthaler, Philip Guston, Jack Levine, Morris Louis, and Philip Pearlstein. In the late 1930s, Bocour decided to increase his business by selling through retailers and wholesalers, gradually building a successful business.

From 1945 to 1955, Bocour joined the Skowhegan School of Painting and Sculpture in Maine and for many years taught a summer technical course. In 1947, he developed Magna, an acrylic resin miscible with oil or turpentine that had the same consistency as oil paint, but dried in a fraction of the time. In 1960, Bocour introduced Aqua-Tec which is an acrylic polymer emulsion miscible with water.

From 1952 to 1970, Samuel Golden was Bocour's partner in the capacity of production manager. A merger with Zipatone, Inc. was carried out in 1982, but was dissolved in 1987. Zipatone, Inc. moved the company to Chicago, but Bocour remained in New York as president and consultant.

Beginning in the early 1960s, Bocour lectured at art schools and various arts organizations, discussing drawing, painting, and different art media as well as demonstrating his own products. He was a member of the National Art Materials Trade Association (NAMTA) and was president of the Art Material Manufacturers' Association, inducted into its Hall of Fame in 1974. Leonard Bocour died on Labor Day 1993.
Related Material:
Additional Leonard Bocour papers may be found at the Syracuse University Library, Special Collections Research Center.
Provenance:
The Leonard Bocour papers and business records were donated by his widow, Ruth Bocour, in 1994.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Leonard Bocour papers and business records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Collectors and collecting -- New York (State) -- New York  Search this
Paint industry and trade -- New York (State) -- New York  Search this
Drawing -- Technique  Search this
Painting -- Technique  Search this
Painting -- Equipment and supplies  Search this
Genre/Form:
Interviews
Diaries
Citation:
Leonard Bocour papers and business records, 1933-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bocoleon
See more items in:
Leonard Bocour papers and business records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bocoleon

Billy Al Bengston papers

Creator:
Bengston, Billy Al  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
James Corcoran Gallery  Search this
John Berggruen Gallery (San Francisco, Calif.)  Search this
Martha Jackson Gallery  Search this
Alexander, Peter, 1939-  Search this
Altoon, John, 1925-  Search this
Andre, Carl, 1935-  Search this
Chamberlain, John, 1927-2011  Search this
Diebenkorn, Richard, 1922-1993  Search this
Flavin, Dan, 1933-  Search this
Goode, Joe, 1937-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Motherwell, Robert  Search this
Plagens, Peter  Search this
Ruscha, Edward  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Date:
circa 1940s-1989
bulk 1960-1988
Summary:
The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Scope and Content Note:
The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 1; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 1-2; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)
Biographical Note:
Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.
Related Material:
Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.
Provenance:
The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Billy Al Bengston papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Works of art  Search this
Painters -- California  Search this
Art galleries, Commercial  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Genre/Form:
Interviews
Photographs
Citation:
Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bengbill
See more items in:
Billy Al Bengston papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bengbill

Writings & Notes

Collection Creator:
Bluemner, Oscar, 1867-1938  Search this
Extent:
2.2 Linear feet (Box 2-4, 8)
Type:
Archival materials
Date:
1891-1892, 1909-1937
Scope and Contents note:
Found in this series are Oscar Bluemner's extensive writings and notes about his paintings and techniques, and his views on art history and art theory. Included are various lists, essays, notes, and notebooks, many of which also include sketches and color illustrations as well as printed material which Bluemner attached to his notes.

Among the writings is Bluemner's "List of New Sketches and Notes for New Work" in which he recorded his paintings from the early 1930s. Each painting is documented with a record number, date, and sketch, along with detailed notes on the color and composition. There are additional lists of works of art, all written by Bluemner, including a list of his works in a Bourgeois Gallery show in 1921. Also found here are writings for publications and lectures including a "Foreword" for an unidentified publication and an essay for a 1927 Georgia O'Keeffe exhibition catalog, titled "A Painter's Comment", which he annotated at a later date.

This series also includes a group of notes and homemade notebooks on Bluemner's painting techniques, many of which he identified as "Easel Notes" because he kept them in his studio as painting manuals. The notes discuss materials and techniques for watercolor, oil painting, and casein painting, and procedures for framing and shipping his works. Also found within the notes are Bluemner's theories, instructions, formulas, illustrations, and material samples.

Bluemner's writings include his notes about artwork by other artists and paintings and artwork in museums, including the Metropolitan Museum of Art and the Museum of Fine Arts, Boston. He created four volumes of notes taken during a tour of Europe in 1912, all of which are dated and arranged by European city. Many of the notes include detailed sketches.

Bluemner maintained extensive notes on Chinese and Japanese art history and styles. Included among these notes are annotated clippings and reproductions, as well as sketches, drawings, and watercolors of paintings he had seen in books and at museums. Additional annotated books & catalogs are found in Series 5.

This series contains a large collection of interesting and complicated notes Bluemner described as "criteria for new work extracted from all note-folios for a book on painting." He pulled notes from his diaries, procedure and easel notes, lists, etc. and reorganized them around 1934. The notes document many of his complex art theories including the concept of "Ponere" which he defined as "to pose, to place in a space", and this term is used throughout his writings. Also discussed are line, space, materials, sources for paintings, and color theory. They include prose, lists, sketches and illustrations, color and material samples, and news clippings. He often used complicated color coding, abbreviations, and symbols to organize his ideas. Of particular interest among the notes is Bluemner's "Pocket Book on New Work" written in 1934 ( Box 3, folder 27) as a "compendium of all folios written." Some of these notes are in German and Latin.
Arrangement note:
Writings and notes are arranged according to Bluemner's original arrangement. Folder titles in quotation marks are Bluemner's original titles for his writings; titles in brackets were created by the archivist. Most of the categories of material are preceded by an envelope, originally containing the items, on which Bluemner wrote a title for the contents, dates, and extensive notes. Additional envelopes are found in the last folder of this series and include envelopes with a note stating that the contents were destroyed in 1936. It is believed, based on notes on the envelopes, that Bluemner rearranged these papers and removed certain items while he was preparing to give them to John Davis Hatch. Every attempt has been made to keep the pages in Bluemner's original order.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blueosca, Series 4
See more items in:
Oscar Bluemner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-blueosca-ref69

1976 Gift

Collection Creator:
Criss, Francis, 1901-1973  Search this
Extent:
1.5 Linear feet (Boxes 2-6)
Type:
Archival materials
Date:
1935-1975, undated
Scope and Contents note:
Part 2 includes business correspondence regarding finances, contract work and membership in several arts organizations and with government agencies including the Works Project Administration that document Criss' involvement with the Federal Art Project during the 1930s and 1940s. Personal correspondence includes handwritten notes and greeting cards from students and colleagues expressing their get well wishes during Criss' illness in 1965. Also found are several letters of condolences to Criss' wife, Miriam after her husband's death in 1973. Writings consist of loose pages of Criss' handwritten notes for his art lectures and syllabi for illustration courses he taught between 1953 and 1957. Included are exhibition announcements and invitations from several art museums and galleries including the Corcoran Gallery of Art, National Gallery of Art, Pennsylvania Academy of Fine Arts, the Metropolitan Museum of Art, and other art institutions. Exhibition catalogs include Painting in the United States from a show hosted by the Carnegie Institute in 1944 and Eric Isenburger, an exhibition at M. Knoedler and Company in 1950. Also included is a list of works for an unidentified exhibition in which Criss' painting Fascism was among the works shown. Color and black and white photographs are of Criss' wife Miriam and their children and of work Criss created for the U.S. Army Medical Corps.

Found are three dismantled scrapbooks. Scrapbook #1 documents Criss' commercial art in the 1940s and contains a series of large scale reproductions of his illustrations. Scrapbooks #2 and #3 also include examples of Criss' commercial work, as well as illustrations by other artists, and Criss' handwritten notes and instructions on drawing and painting techniques. Miscellany includes several ledger pages detailing art supply expenses, a small unidentified collage, a copy of a 1957 appraisal report titled The Role of the School of Visual Arts, and other miscellaneous items.
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Francis Criss papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Francis Criss papers, 1916-1975 (bulk 1940-1969). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.crisfran, Series 2
See more items in:
Francis Criss papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-crisfran-ref39

Notes

Collection Creator:
Thayer, Polly, 1904-2006  Search this
Type:
Archival materials
Date:
1932-circa 2004
Scope and Contents:
This subseries contains mostly handwritten notes by Thayer that were originally scattered throughout the collection. The subjects of the notes are varied and reference painting techniques and studio ideas, daily tasks and activities, lists, errands, gallery contacts, and general musings.
Arrangement:
This series is arranged chronologically.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Polly Thayer (Starr) papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Polly Thayer (Starr) papers, 1846-2008, bulk 1921-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thaypoll, Subseries 5.2
See more items in:
Polly Thayer (Starr) papers
Polly Thayer (Starr) papers / Series 5: Writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-thaypoll-ref259

Writings

Collection Creator:
Nesbitt, Esta  Search this
Extent:
1.3 Linear feet (Box 1-2, 12, OV 15)
Type:
Archival materials
Date:
1959-circa 1973
Scope and Contents:
Writings are in the form of bound and unbound journals, notebooks, and loose notes. Illustrations, clippings, articles, journal entries, and poetry are interspersed throughout the series, with personal and professional content mixed together. Titles listed below were derived from Nesbitt's handwritten titles on the journal covers.

Illustrated Journals contain artwork, sketches, diagrams, annotated clippings, and written entries. Subjects are mainly painting techniques, materials, and ideas. Other subjects touched on include Chinese characters, calligraphy, shadow paintings, the future of art, energy, morphs, memory, and meaning. The transformation of art using different techniques and materials is also a common theme. Projects discussed include the 1972-1973 projects Balls, Flower, and Big Foot.

Many of these subjects are also subjects of Nesbitt's journals, which also include entries of a personal nature dealing with dreams, Nesbitt's family, life, death, and reality. Other subjects include Chinese characters and scrolls, and Samuel Beckett's characters Molloy and Malone. Also, notes related to phone calls, appointments, travel, project tasks, teaching, family life, and funding concerns are found in her journals.

Notebooks contain notes and clippings related to artists' materials, religion, Chinese philosophy and civilization, changes in consciousness, psychology, film techniques, transmission of sound, and documentation practices. The notebook labeled "Film and Slide Techniques and Ideas" also contains ideas, lists, diagrams, and test notes. Projects "Everyman as Anyman, or Putting On, On, On, On, On," burnt Xeroxes, and stair patterns are also mentioned.

Transcripts include notes and conversations transcribed from tapes. Topics include xerography, project "Xerox Xplore," exhibition "Xerography: Extensions in Art," and copyrights and permissions for publication. The original recordings from which the transcripts were made are not part of the collection.
Arrangement:
Additional writings can be found in the Correspondence, Xerography Research Files, and Projects and Exhibitions series.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Esta Nesbitt papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta, Series 3
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-nesbesta-ref3

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