The collection documents the career of painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community. Materials found in the collection include letters, writings, sketches and sketchbooks, printed material and photographs.
Scope and Content Note:
The collection consists primarily of correspondence, writings, artwork, printed material, and photographs documenting Sotomayor's career, his interest in Latin American art and artists, and his association with the San Francisco arts community.
The collection is arranged as six series:
Series 1: Correspondence, 1931-1988, undated (box 1, 21 folders)
Series 2: Writings, 1932-1946, undated (box 1, 11 folders)
Series 3: Artwork, 1935, undated (box 1, 23 folders)
Series 4: Printed Material, 1935-1987 (boxes 1-2, 12 folders)
Series 5: Photographs, circa 1920-1984, undated (box 2, 13 folders)
Series 6: Oversized Material, 1941, 1958, undated (2 OV folders)
Antonio Sotomayor was born in Bolvia and came to San Francisco in 1923. He was educated at the Escuela de Belleas Arts in La Paz and the Hopkins Institute of Art in San Francisco. Primarily known for his murals and paintings, Sotomayor was also an illustrator, caricaturist, designer, ceramicist, and educator. Over the course of his career his work was exhibited in the United States, France, Italy, Spain, Mexico, and South America and he became known as the popular "artist laureate" of San Francisco where he lived with his wife, Grace. He died of cancer in 1985 at the age of 82.
The Antonio Sotomayor papers were donated to the Archives of American Art by Grace Sotomayor in 1998.
The collection is open for research. Patrons must use microfilm copy.
The Antonio Sotomayor 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.
The papers of Enrique Riverón measure 3.3 linear feet and date from 1918-1990s. The collection contains correspondence, writings, diary entries, scrapbooks, printed material, and photographs documenting Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, Riverón's teaching career at Wichita University in Kansas.
Scope and Content Note:
The Enrique Riverón papers measure 3.3 linear feet, date from 1918-1990s and document Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, his teaching career at Wichita University in Kansas. The collection includes correspondence, the majority of which concerns Riverón's exhibitions; writings, primarily Riverón's recollections of his trips to Paris and Madrid and his memories of people he met in Latin America, Europe, and the United States; printed material documenting exhibitions and Riverón's work for magazines such as Cine-Mudial and Bally-Hoo; and photographs.
The collection is organized into eight series.
Series 1: Biographical Material, circa 1929-1960 (Box 1; 2 folders)
Series 2: Correspondence, 1918-1991 (box 1, 0.6 ft.)
Series 3: Writings, 1923-1980s, undated (box 1, 0.2 ft.)
Series 4: Scrapbooks, 1920s-1990s, undated (boxes 1, 3, and 4, 0.7 ft.)
Series 5: Artwork, 1958-1983, undated (boxes 1 and 5, 0.4 ft.)
Series 6: Printed Material, circa 1930-1992 (boxes 2 and 5, 0.7 ft.)
Series 7: Photographs, 1918-1992, undated (boxes 2, 5 and 6, 0.6 ft.)
Series 8: Miscellany, 1927-1989, undated (box 6, 7 folders)
Painter, sculptor, cartoonist, and illustrator Enrique Riverón was born in 1902 in Cienfuegos, Cuba and belonged to the first generation of Cuban modernists, experimenting with Cubism and pursuing abstraction from very early on in his career. During his early twenties Riverón traveled to France, Italy, Belgium, and Spain to study under scholarships and attend the Academia de San Fernando in Madrid. In 1926 Riverón's first major one-man exhibition took place at the Association Paris Amerique Latine where the catalog introduction was written by noted Mexican writer Alfonso Reyes.
In 1927 Riverón returned to Havana and had a one-man show of his European work at the Asociación de Pintores y Escultores, as well as several other shows in Havana and New York. He moved to the United States in 1930 and became a United States citizen in 1943.
In addition to being known for his naturalistic drawings of street life in Paris and Cuba, Riverón began working with collage in the 1930s and was, for a number of years, a cartoonist for newspapers in Havana and other publications such as The New Yorker and Cine Mundial which was published in New York and widely circulated in Latin America. He also worked in Hollywood for a time as an illustrator for Walt Disney Pictures.
From 1940 on, Riverón focused on painting and sculpture. He moved to Miami from Wichita, Kansas, in 1964. Enrique Riverón died in 1998.
The Archives of American Art also has a collection of Enrique Riverón letters to Mario Carreño, 1981-1990, in which Riverón writes of their mutual friends, his memories of Cuba, health issues, politics, pricing paintings, collages, and his longings for Paris and New York.
The Enrique Riverón papers were donated to the Archives of American Art by Patricia Riverón Lee, daughter of Riverón, in 1996.
The collection is open for research. Use requires an appointment.
The Enrique Riverón 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.
Interview of Thomas Hart Benton conducted 1973 July 23-24, by Paul Cummings, for the Archives of American Art. Benton speaks of his childhood in Missouri and Washington, D.C., working as a newspaper cartoonist, and classes at the Chicago Art Institute (1907-1908) and the Academie Julian in Paris (1908). He discusses the New York art world, painting scenes for silent movies, the "Stieglitz Society," the synchromist and regionalist movements, John Weichsel and the People's Art Guild, teaching at the Art Students League and the Kansas City Art Institute, murals and mural techniques, lithographic illustrations, drawings, and World War II propaganda posters. He recalls Thomas Craven, Rex Ingram, Stanton Macdonald-Wright, Jackson Pollock, Alma Reed, Boardman Robinson, and others.
Biographical / Historical:
Thomas Hart Benton (1889-1975) was a painter and mural painter.
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 46 min.
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
ACCESS RESTRICTED; written permission required.
Mural painting and decoration -- 20th century Search this
The bulk of the correspondence (approximately 75 percent) is written to Frederic Newlin Price, W. Frank Purdy and Ferargil Galleries by artists, dealers, and museums and other art and educational institutions. Artist correspondence is well represented with a significant number of letters from, or relating to, artists represented by the gallery including Bartlett Arkell, Randall Davey, Hunt Diedrich, Ernest Lawson, Agnes Potter Lowrie, Barse Miller, Maxfield Parrish, John Pike, Paul Sample, Wells M. Sawyer, and many others. Some correspondence relating to Price's involvement with Swarthmore College can also be found here.
Found at the end of the incoming correspondence is a folder relating to an exhibition "The Circus Comes to Ferargil Galleries," and a folder of circa 19 letters regarding the authentication and disposition of Gilbert Stuart's Lansdowne portrait of George Washington.
Outgoing correspondence consists primarily of copies of letters and memoranda written in response to the incoming material. The bulk of the outgoing correspondence ends in 1956 with one letter each from 1958 and 1963.
See Appendix for a partial list of correspondents in Series 1, noting illustrated letters.
Incoming correspondence is arranged alphabetically by correspondent; outgoing correspondence follows, and is arranged chronologically.
Appendix: Partial List of Correspondents in Series 1:
Addision Gallery of American Art
Aiken, Charles Avery
American Artists Group, Inc.
Anderson, C. W.
Andrews, Charles Sperry (includes illustrated letter)
Arms, John Taylor
Art Institute of Chicago
Ashe, Edmund Marion
Ashton, Leonard C.
Benton, Thomas Hart and Rita Piacenza Benton
Bok, Hannes (includes illustrated letters)
Braun, Edith E.
Brewer, Floyd E.
Brooks, Alfred Mansfield
Bye, Arthur Edwin
Byerley, Blanche A.
Buell, Alice Standish
Calder, Alexander Stirling
Columbus Gallery of Fine Arts
Conner, John R.
Curry, John Steuart
Davies, Arthur B.
Diederich, Hunt (includes illustrated letters)
Dix, John A.
Eilshemius, Louis M. (illustrated letter)
Folinsbee, John F.
Ford, Julia Ellsworth
Freed, Ernest (includes illustrated letter)
Gantt, James B.
Gill, Sue May
Hale, Philip L.
Healy, Arthur K.D.
Heinz, Charles L.
Hills, Laura C.
Hollingsworth, Jr., William
Holt, Jr., Henry
Humphrey, Eleanor B.
Jennewein, C. P.
Jones, J. Pope
Judson, Sylvia Shaw
Katz, A. Raymond
Kingsbury, Alison Mason
Kreis, Henry (illustrated letter)
Ladd, Anna Coleman
La Montagne, Harry
Lathrop, William L.
Lowrie, Agnes Potter
MacLeod, Alexander Samuel
Nichols, Henry Hobart
Oehlschlaeger, Frank J.
Paxton, William M.
Pike, John (includes illustrated letters)
Prendergast, Charles E.
Price, M. Elizabeth
Reed, Alma M.
Savage, Eugene Francis
Sawyer, Wells. M.
Shonnard, Eugenie F.
Spencer, Robert and Margaret F. Spencer
Tarbell, Edmund C.
Tolegian, Manuel J.
Townsend, Harry (includes illustrated letter)
van Soelen, Theodore
Woodruff, James W.
Yeats, Jack Butler
Use of original papers requires an appointment.
The Ferargil Galleries 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.
Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Terra Foundation for American Art