Thesis entitled "Harriet Hosmer: Her Era and Art", by Margaret Wendell LaBarre, University of Illinois, 1966 and and index to the thesis compiled by Joseph L. Curran, Jr. of the Watertown Free Public Library in 1973.
Biographical / Historical:
LaBarre did her undergraduate work at the University of Illinois, graduating in 1961. She received her master's degree in 1966 upon completion of her thesis. Joseph L. Curran, Jr. "Hosmeriana: A guide to works by and about Harriet G. Hosmer."
Provenance:
Lent by the Watertown Public Library, Watertown, Mass.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors -- Massachusetts -- Watertown Search this
The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material such as education records, World War II files, and some interviews; correspondence with family, artists, art historians, architects, and professional organizations; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; clippings, exhibition ephemera, invitations, and other printed material; photographs of Hadzi, events and exhibitions, installations, foundries, and studios; some artwork; and audio recordings and motion picture films.
Scope and Contents:
The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material; correspondence; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; printed material; photographs, some artwork, audio recordings, and motion picture films.
Biographical material includes files pertaining to Hadzi's education at Cooper Union (1946-1950) and Polytechnion in Athens, Greece (1950-1951) as well as his high school years at Brooklyn Technical High School (1936-1940); years enlisted in the Army Air Force (1942-1946); and his hobbies of music, mineral collecting, and geology. Also found are address books, honors and awards, interviews, and resumes. Hadzi's professional correspondents include artists, art historians, architects, and professional organizations. Also found is personal correspondence with family, friends, and acquaintances, most extensively during his years in the military.
Diaries and notebooks consist of memoranda books, travel logs, and annotated calendars. Writings include drafts, correspondence, and some printed material from Dimitri Hadzi (1996) by Peter Selz. Material gathered for his incomplete memoir, artist statements, and writings about Hadzi are also present.
Exhibition files shed light on various group and solo exhibitions of Hadzi's work. The files mostly consist of shipping records, correspondence, press releases and other printed matter, photographs, and loan documents. Gallery and museum files include loan and sale agreements, price lists, clippings, newsletters, shipping information, and some papers related to exhibitions.
Project files include sketches and blueprints, correspondence, legal documents, shipping information, and some audiovisual material regarding the installation of Hadzi's sculptures. The files also pertain to recasted sculptures, small-scale projects, and unexecuted commissions. Teaching Files include administrative correspondence, clippings, lecture and discussion notes, course descriptions, and correspondence from Hadzi's tenure as Visual and Environmental Studies professor at Harvard University. Papers related to instructor positions, employment opportunities, and lectures outside of Harvard are also present. Personal business records include sales, inventories, and other financial material; correspondence, shipping information, and price lists from foundries and material distributors; studio logs, correspondence, and notes.
Printed materials consist of exhibition invitations, announcements, post cards, and books; news clippings and articles; printed matter from special events, exhibitions of other artists, press releases, and newsletters. Photographs include portraits and snapshots of Hadzi, depicting him working in studios and foundries, at installation sites and events, and with his family. Also included are photographs of other artists, Hadzi's travel in Japan, and his artwork. Artwork found in this collection consists of six sketchbooks, several small drawings, and one woodblock.
Audiovisual material is extensive and includes documentation of the creation, installation, and exhibition of some of Hadzi's work. The majority of the footage centers on the creation and installation of the Thermopylae sculpture in front of the JFK Federal Building in Boston, Massachusetts in 1968.
Arrangement:
The collection is arranged as 13 series.
Series 1: Biographical Material, 1910s, bulk 1936-2004 (Box 1-3, 33; 2.7 linear feet)
Series 2: Correspondence, 1943-2007 (Box 3-6; 3 linear feet)
Series 3: Diaries and Notebooks, 1939-2006 (Box 6-9; 3 linear feet)
Series 4: Writing Files, 1945-2003 (Box 9; 10 folders)
Series 5: Exhibition Files, 1958-2002 (Box 9-10; 1.2 linear feet)
Series 6: Project Files, 1957-2002 (Box 11-15, 33; 4.7 linear feet)
Series 7: Teaching Files, 1955-2000 (Box 15-16; 12 folders)
Series 8: Museum and Gallery Files, 1947-2008 (Box 16-17; 1.8 linear feet)
Series 9: Personal Business Records, 1949-2007 (Box 17-20; 2.5 linear feet)
Series 10: Printed Material, 1949-2007 (Box 20-24, 33; 3.7 linear feet)
Series 11: Photographs, circa 1930s-2006 (Box 24-25, 33; 1.5 linear feet)
Series 12: Artwork, circa 1939-1998 (Box 25; 11 folders)
Series 13: Audiovisual Material (Box 26-40; 11.1 linear feet)
Biographical / Historical:
Dimitri Hadzi (1921-2006) was an Greek American sculptor who lived and worked in Rome from the 1950s to 1975, and then in Cambridge, Massachusetts from 1975 to 2006. Born to Greek immigrants, Hadzi attended Brooklyn Technical High School before enlisting in the Army Air Force in 1942. After the World War II, Hadzi studied painting and sculpture at Cooper Union and graduated with honors in 1950. He was awarded a Fulbright fellowship to study at the Polytechnion, Athens, Greece, and subsequently moved to Rome where he remained until the mid-1970s. Hadzi worked mostly with stone and bronze, from which he created semi-abstract shapes and structures drawn from his Greek heritage. His work was selected for the Venice Biennale in 1956, and and his first solo-exhibition came two years later at the Galeria Schneider, Rome, Italy. Throughout his career, Hadzi held solo exhibitions at the Massachusetts Institute of Technology, The Philips Collection, Athens Gallery in Greece, Rikugie Gallery in Japan, and many others. His group exhibitions include Recent Sculptor USA (1959), Museum of Modern Art, New York; Annual Exhibition, The Whitney Museum (1961); Seven Sculptors at Harvard, Harvard University (1983); and American Academy of Arts & Letters Centennial Portfolio, Pace Prints, New York (1998). Hadzi's public commissions include those at the Massachusetts Institute of Technology (1963), St. Paul's Church, Rome, Italy (1966-1976), Dallas Center, Texas (1980). His artwork is held in permanent collections of the Hirshhorn Museum and Scultpure Garden, Solomon R. Guggenheim Museum, Hakone Museum of Sculpture in Japan, and the Montreal Museum of Art, among others. Hadzi was professor of Visual and Environmental Studies at Harvard University from 1975-1989, and was named Professor Emeritus in 1989.
Provenance:
Donated 1989 and 1998 by Dimitri Hadzi and in 2008 and 2011 by Cynthia Hadzi, Dimitri Hadzi's widow.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- Massachusetts -- Cambridge Search this
Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Scope and Contents:
The papers of Massachusetts-based designer, sculptor, painter, filmmaker, and educator Richard E. Filipowski measure 4.1 linear feet and date from circa 1940 to 1998. The papers document his career through biographical material, correspondence, writings, teaching files, project files, printed material, photographic material, artwork, and a sound recording.
Biographical material consists of a Bauhaus questionnaire, marriage license, various identification documents, Canadian selective service documents, resumes, and other miscellaneous material.
Correspondence mostly relates to Filipowski's teaching and sculpture, including letters from Herbert M. Agoos, Lawrence B. Anderson, Pietro Belluschi, Stuart Davis, Garrett Eckbo, Walter Gropius, Gyorgy Kepes, Laszlo Moholy-Nagy, and others.
Writings consist of Filipowski's lectures on art, notes, and other material. There is also one sound recording of a lecture.
Teaching files are mostly from the Institute of Design, Harvard University, and Massachusetts Institute of Technology. The series includes syllabi, faculty meeting minutes, notes and drafts for lectures, school catalogs and schedules, and files on student exhibitions and projects, including two films, Do Not Disturb and Hearts and Arrows.
Project files contain correspondence, business records, printed material, sketches and photographs on commissions in architecture, sculpture and furniture design. There are also files on programs which Filipowski assisted in planning and organizing, including the Boston Art Festival and a few exhibitions.
Printed material consists of exhibition catalogs, announcements, and clippings mostly about Filipowski.
Photographs, slides, and negatives are of Filipowski and others, sculpture, furniture designs, and works of art by his students from Harvard and MIT.
Art work includes sketches, sketchbooks, cardboard studies for sculptures, and Christmas card designs.
Arrangement:
This collection is arranged as eight series.
Series 1: Biographical Material, 1941-1974 (Box 1; 7 folders)
Series 2: Correspondence, 1941-1998 (Box 1, OV 6; 0.6 linear feet)
Series 3: Writings, 1951-1969 (Box 1; 0.4 linear feet)
Series 4: Teaching Files, 1943-1970 (Box 2, OV 6; 0.7 linear feet)
Series 5: Project Files, 1944-1976 (Boxes 2-3, OV 6-7; 0.6 linear feet)
Series 6: Printed Material, 1941-1989 (Box 3, OV 7; 0.4 linear feet)
Series 7: Photographic Material, circa 1940-1989 (Boxes 3-4, OV 8; 0.7 linear feet)
Series 8: Artwork, circa 1940-circa 1985 (Boxes 4-5, OV 6, 8; 0.7 linear feet)
Biographical / Historical:
Richard E. Filipowski (1923-2008) was a designer, sculptor, painter, filmmaker and educator mostly based in Massachusetts. Richard Filipowski was born in Poland in 1923 and he and his family moved to Ontario, Canada in 1927. He studied under Laszlo Moholy-Nagy at the Institute of Design (formerly known as the New Bauhaus) from 1942 to 1946 and taught there after graduating, 1946-1950. Filipowski was invited by Walter Gropius to organize and teach Design Fundamentals at Harvard University's Graduate School of Design where he stayed until 1952. He then taught as an Associate Professor of Visual Design in the Department of Architecture at the Massachusetts Institute of Technology, 1953-1989.
Filipowski also took on numerous commissions for sculptures and artwork. One especially noteworthy commission was a sculpture for an Ark created for the Temple B'Rith Kodesh in Rochester, New York. The sculpture was intricately wrought and welded from bronze and silver alloys and it remained a source of inspiration for other later sculptures and commissions which had a similar style of metal-working. Many of his works were also marked by his Bauhaus training. Filipowski passed away in 2008.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Richard E. Filipowski conducted by Roger Brown on September 25, 1989 through March 14, 1990.
Provenance:
The papers were donated to the Archives of American Art by Richard E. Filipowski in multiple installments from 1989 to 1998.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview of Tom Patti conducted 2010 January 18 and 19, by William Warmus, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Patti's residence, in Miami Beach, Florida.
Patti talks about growing up in Pittsfield, Massachusetts, in a working-class neighborhood, and playing in and around the General Electric Corp. landfill, the major employer in the area; losing vision in one eye after a childhood accident; he recalls running with a tough crowd during high school and making homemade tattoos for his friends; his probation officer during high school, who encouraged his interest in art; meeting Norman Rockwell, who encouraged him to attend Pratt Institute in Brooklyn, New York; majoring in industrial design at Pratt, where he worked with Rowena Reed Kostellow; the idealism and social consciousness of the 1960s; exposure to the ideas of visionary architects such as Moshe Safdie and Buckminster Fuller; the New York art/social scene in the 1960s, including Max's Kansas City; meeting Marilyn Holtz, whom he later married; a trip to Colombia to discuss shelter development, and exposure to severe poverty; a resulting focus on people-centered shelter ideas; graduate work at Pratt, and the value of his studies in an academic environment; working with inflatable shelters, experimenting with different materials, including using glass; returning to the Berkshires in Massachusetts, working odd jobs, running a small glass school for children; becoming aware of the studio glass movement and attending a glassblowing workshop at Penland School of Crafts in Penland, North Carolina, in 1971; continued work with glass, including Vitrolite and other scavenged materials; growing public recognition in the 1970s; an internship at Haystack Mountain School of Crafts, Deer Isle, Manie, where he met Steve Feren, with whom he worked for several years; acquisition of work by the Corning Museum of Glass, Corning, New York, in 1976; first one-man gallery show in 1977; purchase of work by the Museum of Modern Art, New York, New York; series Solar Riser and the importance of a meditative/spiritual component of his work; setting up a studio in Plainfield, Massachusetts; first museum exhibition at the George Walter Vincent Smith Art Museum in Springfield, Massachusetts; speaking at the World Crafts Council conference in Vienna in the late 1970s; continued travel and recognition in Europe in the 1980s; "Genic Doran Divider-Sentinel," (1982-84), commissioned sculpture for General Electric in Pittsfield, which led to his focus on laminated materials; early 1990s studio expansion to work on a larger scale; commission work with Cesar Pelli for Owens Corning Fiberglas in 1993; one-person show at Serge Lechazynski's gallery in Biot, France; travels in Europe and Israel; serving on the board of the Norman Rockwell Museum in Stockbridge, Massachusetts; consulting work with the glass and materials industry; "Spectral-Luma Ellipse" (2000); "Spatial Boundary" (2001), commissioned by Ann and Graham Gund; continued smaller-scale work; designing the window for Sienna Gallery in Lenox, Massachusetts, owned by his daughter; recent commissions including "Morton Square" in 2004, the Roosevelt Avenue Intermodal Station (2004), both in New York City, and "Miami Rain" (2009), Miami, Florida; and the importance of transparency, opacity, and translucency in his work. He also recalls Joseph Parriott, Sybil Moholy-Nagy, Rudolf Arnheim, Art Wood, Thomas Buechner, Doug Heller, Penelope Hunter-Stiebel, Laurie Wagman and Irvin Borowsky, and Malcolm Rogers.
Biographical / Historical:
Tom Patti (1943- ) is a glass artist, sculptor, and designer in Pittsfield, Massachusetts and Miami Beach, Florida.
General:
Originally recorded on 6 memory cards. Duration is 4 hr., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
A scrapbook, possibly two combined into one, containing photographs, correspondence, clippings, and printed material, most likely assembled and heavily annotated by Bartlett, documenting his career as a sculptor and teacher as well as his travels in Europe, in particular, Italy. A small portion of the scrapbook concerns the career of Bartlett's son, sculptor Paul Wayland Bartlett.
Biographical / Historical:
Truman Howe Bartlett (1835-1923) was a sculptor in Boston, Mass.
Provenance:
Donated 2009 by Gertrude (Trudy) Conroy, who inherited the scrapbooks from her father.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The papers of ceramicist, educator, and sculptor William Wyman measure 6.8 linear feet and date from 1914 to 2015 with the bulk of the collection dating from 1946 to 1992. The collection documents Wyman's career through biographical materials, including a sound recording, personal and professional correspondence, writings and notes including notes on Wyman's glaze formulas, professional activity files documenting Wyman's exhibitions, projects, and teaching, personal business records documenting sales and consignments, printed material about Wyman's career, personal photographs and photos of works of art, and some artwork including sketchbooks.
Scope and Contents:
The papers of ceramicist, educator, and sculptor William Wyman measure 6.8 linear feet and date from 1914 to 2015 with the bulk of the collection dating from 1946 to 1992.
Biographical materials consist of address and appointment books, diplomas and certificates, identification and military records, and a sound recording of a conversation between Wyman and his apprentice Pamela Hoss. Correspondence is between Wyman and his wife Lisbeth Wyman, his partner Marilyn Pappas, colleagues, curators and collectors, and galleries regarding exhibitions, teaching, apprentices, and personal relationships.
Writings and notes include Wyman's glaze formulas, notebooks kept by Wyman while attending Columbia and Alfred Universities, and a few writings by others. Wyman's professional activity files include exhibition, membership, project, and teaching files. Personal business records include sales and consignment records, records of sales to collector Sandra Grotta, income and expense books, artwork transaction books, Maria Friedrich and the Impressions Gallery records, and files regarding Wyman's estate and other legal records.
Printed materials primarily relate to Wyman's exhibitions and career. Photographic materials include photos of Wyman and colleagues, personal photographs, and photos of works of art, along with three photo albums relating to Wyman's artwork and his time in the U.S. Marines during World War II. Artwork found in the collection includes a few prints, seven sketchbooks, drawings, and sketches of ceramics projects, portraits, figure drawings, and structural drawings.
Collection material created after Wyman's death was managed by Pappas and typically relates to articles about his career, sales and exhibitions of his artwork, and other business affairs.
Arrangement:
The collection is arranged as eight series.
Series 1: Biographical Materials, 1922-1992 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1914-2015 (0.8 linear feet; Boxes 1-2)
Series 3: Writings and Notes, 1949-1980 (0.8 linear feet; Boxes 2-3, 8)
Series 4: Professional Activity Files, circa 1950-2014 (0.3 linear feet; Box 2, OV 10)
Series 5: Personal Business Records, 1946-2011 (2.0 linear feet; Boxes 2-4)
Series 6: Printed Materials, 1948-2001 (0.5 linear feet; Boxes 4-5, 8)
Series 7: Photographic Materials, circa 1939-circa 1980 (1.2 linear feet; Boxes 5-6, 8)
Series 8: Artwork, 1929-1979 (0.7 linear feet; Boxes 6-7, OV 9)
Biographical / Historical:
William Wyman (1922-1980) was a ceramicist, educator, and sculptor active in Massachusetts.
Wyman was born in Boston in 1922. After serving in World War II as a U.S. Marine, he enrolled in the Massachusetts College of Art graduating in 1950. He went on to receive his Master of Arts degree from Columbia University in 1951 and later attended Alfred University during their 1953 summer session. Wyman became a professional ceramicist after finishing his education, establishing Herring Run Pottery with Michael Cohen in 1962. In 1965, Wyman spent three months in Honduras as a consultant for the Agency for International Development (A.I.D.) to develop pottery. Wyman was later inspired by the Mayan ruins he saw in Honduras to create works he called "temples."
Wyman taught at the University of Maryland, DeCordova Museum, Massachusetts College of Art, School of the Museum of Fine Arts, Boston, and Florida International University, and was also an instructor for numerous workshops held across the country. From 1975 to 1978, Wyman was the recipient of National Endowment for the Arts grants to procure apprentices and to fund ceramic and sculpture projects.
Wyman died of a brain tumor in 1980.
Related Materials:
Also in the Archives of American Art is an oral history interview of Michael Cohen, cofounder of Herring Run Pottery, conducted August 11, 2001 at his home in Pelham, M.A. by Gerry Williams for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The William Wyman papers were donated in 1982, 1983, and 2017 by Marilyn R. Pappas, Wyman's friend and partner.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
