Quotes and excerpts must be cited as follows: Oral history interview with Mary Lucier, 2011 Sept. 27-30. Archives of American Art, Smithsonian Institution.
Hopper, Jo N. (Josephine Nivison), 1883-1968 Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1856-1987
bulk 1970-1987
Summary:
The papers of art historian, art critic, and collector Catherine H. Campbell measure 4 linear feet and date from 1856 to 1987, with the bulk of the records dating from 1970 to 1987. The collection sheds light on Campbell's research of nineteenth century painters, engravers, and photographers in Maine and the White Mountains of New Hampshire through correspondence, writings, lecture notes, and research files.
Scope and Contents:
The papers of art historian, art critic, and collector Catherine H. Campbell measure 4 linear feet and date from 1856 to 1987, with the bulk of the records dating from 1970 to 1987. The collection sheds light on Campbell's research of nineteenth century painters, engravers, and photographers in Maine and the White Mountains of New Hampshire through correspondence, writings, lecture notes, and research files.
Personal and professional papers include a Christmas card and two notes from Edward and Jo Hopper. The bulk of the correspondence concerns Campbell's lectures and research.
Lecture and writing files include manuscripts and notes, and drafts of a master's thesis, "Crawford Notch in Fact and Fancy" (1976); some also include correspondence, printed materials, and slide lists. Files for the exhibition The White Mountains: Place and Perceptions (1980) include correspondence, printed materials, lists of paintings, and additional ephemera from the University of New Hampshire.
Research files are primarily comprised of notes on artists and sites in New Hampshire, printed and photographic materials, and correspondence between Campbell and librarians, archivists, collectors, and other researchers about artists and related topics. Also found are photocopied writings and printed materials from the nineteenth century, information about sales of artwork, exhibition ephemera, and sketches by James Buckley. A substantial portion of the research files consists of card files of bibliographic information, research notes, and quotations.
Arrangement:
The collection is arranged as two series.
Series 1: Personal and Professional Papers, 1944, 1946, 1970-1983 (Box 1; 0.5 linear feet)
Series 2: Research Files, 1856-1987, bulk 1970-1987 (Box 1-6; 3.5 linear feet)
Biographical / Historical:
Catherine H. Campbell (1916-1989) was an art historian, collector, and art critic in New Hampshire whose scholarly focus was on nineteenth-century landscape painters, engravers, and photographers living and traveling in New Hampshire and Maine.
Campbell attended SUNY Albany for her bachelor's and master's degrees and worked as an art critic for a local newspaper during those years. While her own artwork was exhibited in Albany and New York City, Campbell was known primarily for her articles written for magazines, newspapers, and art journals. She also lectured at museums and historical societies, and contributed writings for the exhibition, The White Mountains: Place and Perceptions (1980). Campbell published one book, New Hampshire Scenery: A Dictionary of Nineteenth-Century Artists of New Hampshire Mountain Landscapes, in 1985.
Provenance:
The material on reel 3134 was donated in 1971 and 1978 by Catherine H. Campbell. The bulk of the collection was donated in 1990 by Joanna Campbell Dellenbaugh, Campbell's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Catherine H. Campbell papers, 1856-1987. 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 Aline and Eero Saarinen papers measure approximately 14.2 linear feet and date from 1906 to 1977. The bulk of the collection consists of Aline Saarinen's papers which document her relationship with her husband Eero Saarinen and other aspects of their personal lives, as well as Aline's work as an art and architectural critic, author, and television correspondent. Papers include research files for published and planned books (in which can be found scattered original letters of Stanford White, John Quinn and Edward Root) and other projects, NBC correspondent files, writings, committee files, correspondence, photographs, printed material, and miscellaneous personal papers.
Scope and Content Note:
The Aline and Eero Saarinen papers measure approximately 14.2 linear feet and date from 1906 to 1977. The bulk of the collection consists of Aline Saarinen's papers which document her relationship with her husband Eero Saarinen and other aspects of their personal lives, as well as Aline's work as an art and architectural critic, author, and television correspondent. Papers include research files for published and planned books (in which can be found scattered original letters of Stanford White, John Quinn and Edward Root) and other projects, NBC correspondent files, writings, committee files, correspondence, photographs, printed material, and miscellaneous personal papers.
The portion of the collection relating to personal aspects of Aline and Eero Saarinen's lives consists of: Aline Saarinen's diary, guest book, notebooks, personal writings, biographical material, awards and honorary degrees; scattered papers of Eero Saarinen, including biographical material, drawings of furniture designs, various sketches and drawings, and some project timelines and notes; correspondence between Aline and Eero Saarinen (the bulk of which dates from the year they met and married), as well as general and family correspondence received by Aline Saarinen and some miscellaneous and personal correspondence of Eero Saarinen; printed material, mostly clippings, documenting aspects of the life, work, and achievements of both Aline and Eero Saarinen; and photographs, including ones of Aline Saarinen, Eero Saarinen, Aline and Eero Saarinen together, and family members, as well as ones from various trips and of various residences, and various slides.
The bulk of the collection consists of material, including research and writing files, NBC correspondent files, and committee files, stemming from Aline Saarinen's various professional activities. Writings include manuscripts, typescripts, notes, notecards, and clippings of Aline Saarinen's various articles, lectures and speeches on art and architecture, scripts for television, creative and college writing. Research files include material for Saarinen's published book on art collectors, The Proud Possessors, and her planned, but never completed, biography of the architect, Stanford White. Research material for The Proud Possessors includes files of notes, manuscripts, correspondence, photographs and printed material on art collectors, and related material such as scrapbooks of correspondence and clippings in response to the book. Files also include scattered original material, such as correspondence and photographs, belonging to the collectors, John Quinn and Edward Root. Research material on Stanford White includes correspondence, notebooks, writings, printed material, photographs, and copies of architectural drawings. Also found is scattered original material belonging to Bessie White, Stanford White, and the firm of McKim, Mead and White. NBC material consists of files, including correspondence, printed material, notes, scripts, motion picture films and video transfers, and photographs, kept by Aline Saarinen while working as a television correspondent. Also found are miscellaneous research files on artists that may relate to television or other projects and files stemming from her involvement in various arts-related and other committees.
Arrangement:
The collection is arranged into two series:
Missing Title
Series 1: Aline and Eero Saarinen Personal Papers, 1928-1977 (Boxes 1-4, 15, OV 16; 3.7 linear feet)
Series 2: Aline Saarinen Professional Papers, 1906-1969 (Boxes 4-15, OV 16, FC 17-18; 10 linear feet)
Biographical Note:
Aline Bernstein Saarinen was born on March 25, 1914 in New York City. She attended Vassar College, where she took art courses and became interested in journalism, and graduated with a B.A. in 1935. She went on to receive her M.A. in the history of architecture from the Institute of Fine Arts at New York University in 1941. She married Joseph H. Louchheim in 1935, and they had two sons, Donald and Harry (or Hal). They divorced in 1951.
Aline joined the staff of Art News Magazine in 1944 and served as managing editor from 1946 to 1948. She edited and provided commentary for the book, 5000 Years of Art in Western Civilization, which was published in 1946. She served as associate art editor and critic at The New York Times from 1948 to 1953 and then as associate art critic from 1954 to 1959. She received awards for her newspaper work, including the International Award for Best Foreign Criticism at the Venice Biennale in 1951, the Frank Jewett Mather Award for best newspaper art criticism in 1953, and the American Federation of Arts Award for best newspaper criticism in 1956.
In 1953, Aline interviewed the architect Eero Saarinen for an article. Eero was born in 1910 in Kirkkonummi, Finland, and received his B.F.A. in Architecture from Yale University in 1934. He began work as an architect in his father Eliel Saarinen's firm and went on to start his own firm, Eero Saarinen and Associates. Among his best-known works are the Gateway Arch in St. Louis, Missouri, the Trans World Air Lines Terminal Building at John F. Kennedy Airport in New York, and Dulles International Airport in Chantilly, Virginia.
Aline and Eero became romantically involved shortly after they met and were married in December 1953. The following year, they had a son, Eames (named after Eero's friend, the designer and architect Charles Eames). After their marriage, Aline relocated to Bloomfield Hills, Michigan, where she continued to work as associate art critic for The New York Times and where she served as Director of Information Service in the office of Eero Saarinen and Associates (from 1954 to 1963).
In 1957, she received a Guggenheim Fellowship to work on a book about major American art collectors, The Proud Possessors, which was published by Random House in 1958. Thereafter, she began work on a biography of the architect, Stanford White, also for Random House; this work continued for several years, but the book was never completed. Over the years, she wrote numerous freelance articles on art, architecture, socio-cultural history, travel, and theater for magazines such as Atlantic Monthly, Vogue, Saturday Review of Literature, Reader's Digest, and Cosmopolitan.
After Eero's sudden death in 1961, Aline edited the book, Eero Saarinen on His Work (1962). She then embarked upon a new career in television, appearing on shows such as "Today" and "Sunday" where she reported on manners, morals, culture, and the arts, and eventually becoming, in 1964, an NBC News correspondent for such shows as "The Huntley-Brinkley Report" and "The Frank McGee Report" in addition to the shows on which she was already appearing. In 1971, she was appointed chief of the NBC News Paris Bureau, becoming the first woman to hold such a position in television.
In the 1960s, Aline served on various arts-related committees, including the Design Advisory Committee of the Federal Aviation Administration, the Fine Arts Commission, and the New York State Council of the Arts. She received honorary degrees from the University of Michigan in 1964 and Russell Sage College in 1967.
Aline Saarinen died from a brain tumor on July 13, 1972.
This biographical notes draws from the one on Aline Bernstein Saarinen by Seymour Brody in Jewish Heroes and Heroines of America: 150 True Stories of American Jewish Heroism, and from the one on Eero Saarinen in the Guide to the Eero Saarinen Collection at Yale University Library.
Related Material:
Also found in the Archives are: the Museum of Modern Art exhibition correspondence concerning Eero Saarinen, 1958-1959; the Lily Swann Saarinen papers, 1924-1974; an oral history interview with Lily Swann Saarinen, 1979-1981; and an oral history interview on Aline Saarinen with Charles Alan, 1973 February 17.
Other related material includes: Eero Saarinen Collection, Manuscripts and Archives, Yale University Library.
Separated Material:
Two exhibition catalogs and various clippings that were donated as part of the collection were transferred to the Smithsonian American Art Museum Library in 1981.
Provenance:
The Aline and Eero Saarinen papers were donated in 1973 by Charles Alan, Aline Saarinen's brother and executor of her estate, and microfilmed. In 1966 five photographs of Eliel Saarinen's home in Helsinki, Finland were donated by Florence Davis and were subsequently integrated into the collection. The NBC material was donated in 1974 by NBC Studios via Charles Alan. Additional material, which had originally been donated to the Parrish Museum by Aline Saarinen, was donated to the Archives in 1991 by the Museum.
Restrictions:
The collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
NBC TV scripts or film prepared for television: Authorization to publish, quote or reproduce requires written permission from NBC Studios. Contact Reference Services for more information.
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.
Women in the Arts in Southern California Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Mary Fuller McChesney, 1994 Sept. 28. Archives of American Art, Smithsonian Institution.
Stetzel, Bernadine (Bernadine Puffenberger) (2016) Search this
Type:
Sound recordings
Video recordings
Interviews
Citation:
Kristin Congdon research material regarding Ruby C. Williams and Florida folk artists, circa 1997-2019. Archives of American Art, Smithsonian Institution.
The papers of abstract painter, art critic, and art historian, Charmion von Wiegand, measure 0.4 linear feet and date from 1926-1937. The bulk of the collection consists of writings by von Wiegand. Also found are three letters to her father, Karl Henry von Wiegand.
Scope and Contents:
The papers of abstract painter, art critic, and art historian, Charmion von Wiegand, measure 0.4 linear feet and date from 1926-1937. The bulk of the collection consists of writings by von Wiegand. Also found are three letters to her father, Karl Henry von Wiegand.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Charmion von Wiegand (1896-1983) was an abstract painter, art critic, and art historian in New York City, New York. Von Wiegand grew up in Arizona and California and settled in New York after attending Barnard College and Columbia University. She began to paint in the mid-1920s when she started psychotherapy. Additionally, von Wiegand became a correspondent with Hearst newspapers.
Provenance:
Provenance is unknown.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Margaret Scolari Barr relating to Alfred H. Barr, 1974 February 22-May 13. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Adelyn Dohme Breeskin, 1974 June 27. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Mildred Constantine, 1976 May 3-1976 August 26. Archives of American Art, Smithsonian Institution.
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Dore Ashton, 2010 November 21 - 2011 March 9. Archives of American Art, Smithsonian Institution.
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.
Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.
The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1962-1978
Series 2: Correspondence, 1945-2010, undated
Series 3: Writings, 1952-1976, undated
Series 4: Research files, 1849, 1950-1984, 2009, undated
Series 5: Printed Materials, 1931-1981, undated
Series 6: Artwork, 1949, 1952, 1983, undated
Series 7: Photographs of Artwork, circa 1950-2010
Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-2017) was an art critic, author, and educator in New York City. She wrote, contributed, and edited more than 30 books.
Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.
Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003). She died in The Bronx, New York City, New York in 2017.
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.
Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The papers of Betty Carpenter measure 2.8 linear feet and date from circa 1867-1971, with the bulk from 1927-1963. The papers document Betty Carpenter's extensive research of John Orne Johnson (J.O.J) Frost and George E. Lothrop, the primitive style painters whose work she collected. Included are: drafts, notes and manuscripts of Carpenter's unpublished book on Frost; primary source material including letters from Frost to his grandchildren, copies of articles by Frost; photographs of Frost, his family and paintings; scrapbooks compiled by Carpenter and Frost, respectively; exhibition catalogs; printed material such as newspaper clippings on Frost and his hometown Marblehead, Massachusetts; notes on George E. Lothrop and photographs of his paintings.
Scope and Contents:
The papers of Betty Carpenter measure 2.8 linear feet and date from circa 1867-1971, with the bulk from 1927-1963. The papers document Betty Carpenter's extensive research of John Orne Johnson Frost and George E. Lothrop, the primitive style painters whose work she collected. Materials included are correspondence related to Carpenter as well as the Frost Family. Betty Carpenter's letters are with museums, historical societies, publishers, and writers regarding the selling, loaning, book planning and exhibitioning of art work by J.O.J Frost and George Lothrop. There are also letters from the Frost family to Carpenter discussing both J.O.J Frost's life as well as matters of Carpenter's personal friendship with the family. The Frost Family correspondence is comprised of letters from J.O.J Frost to his granddaughters Ethelyn Frost Flagg and Irena Frost Greatorex as well as letters from J.O.J Frost's son Frank A. Frost to his daughter Ethelyn; and miscellaneous letters to J.O.J Frost. Writings primarily consist of manscripts and notes related to catalogs and an unpublished biography on Frost that Carpenter was working on. Additional writings include essays and notes by J.O.J Frost, biographical notes on George Lothrop and notes on American folk art. Also found are exhibition files; personal business records such as expense receipts and documenation of a probate court trial related to the ownership of some of Frost's work; scrapbooks respectively complied by Carpenter and Frost. Printed material such as newspaper clippings and exhibition ephemera, photographs and negatives of Frost, his home and artwork as well as photographs and negatives of Lothrop's paintings. Additionally, there is an artwork series which contains 35 figurative pencil sketches signed "IL Prado", an unidenfied pen and ink sketch and a pen sketch sent to Carpenter on an unsigned postcard.
Arrangement:
The Collection is arranged as eight series. Glass plate negatives are housed separately and closed to researchers.
Series 1: Correspondence, 1912-1968 (0.4 Linear feet: Box 1)
Series 2: Writings, circa 1868-1966 (1.1 Linear feet: Box 1-2)
Series 3: Exhibition Files, 1948-1949 (1 Folder: Box 2)
Series 4: Personal Business, 1943-1964 (6 Folders: Box 2)
Series 5: Printed Material, 1902-1971 (0.5 Linear feet: Box 2)
Series 6: Scrapbooks, circa 1868-1954 (0.5 Linear feet: Box 3)
Series 7: Photographic Material, circa 1852-1965 (0.4 Linear feet: Box 3-4, MGP4)
Series 8: Artwork, circa 1939-1950 (2 Folders: Box 4)
Biographical / Historical:
Betty Carpenter, was an art historian, biographer and collector from Massachusetts. Her collection comprised the work of Massachusetts folk artists John Orne Johnson and George E. Lothrop. In 1943 Carpenter and her husband began collecting Frost's work from his son Frank Frost. From there Mrs. Carpenter developed friendships with Frost's family and in 1948 she helped arrange an exhibition of Frost's work (along with George Lothrop's) at the Institute of Contemporary Art, Boston.
In addition to collecting the work of these two artists, Carpenter gathered primary source material, such as Frost's scrapbooks and diaries, as well as utilizing secondary sources; this, exclusively, in the case of George E. Lothrop on whom information was rather more limited; for the purpose of compiling biographies of the two. After both Carpenter and her husband had died, the art collection was sold at auction and the reposit of the source materials facilitated by an agent of the auction house. The source material, through Parke-Bernet, was eventually given to the Archives.
John Orne Johnson Frost (1852-1928), also known and self referred to as J.O.J Frost, was a self taught artist from Marblehead, Massachusetts. Originally a fisherman and restaurant owner, Frost only began to paint and sculpt at after his first wife Annie Frost's death in 1919. His naive style paintings depict scenes from his youth at sea, and the history of Marblehead and how it developed from its early wilderness beginnings through the American Revolution and the Civil War. George Lothrop (1967-1939), was from Dighton, Massachusetts and also began painting later in life. Lothrop was highly interested in poetry and theater, but by trade worked as a wood carpenter at a piano factory where he would carve frames for many of his paintings. He held a second job as a night security guard at the Howard Watch Company, which is where he did most of his painting. Many of his works are of fanciful or mythical scenes in oil.
Provenance:
Donated 1972 by Peter Carpenter.
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 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.
Betty Carpenter Papers, 1867-1971. 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 Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Scope and Contents:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Arrangement:
The collection is arranged as four series:
Series 1: Biographical Material, 1938-1986 (0.6 linear feet; Box 1, OVs 4-6)
Series 2: Correspondence, 1940-1970 (0.5 linear feet; Box 1)
Series 3: Writings and Lectures, circa 1934-1981 (1 linear foot; Boxes 1-2)
Series 4: Professional Files, 1945-1984 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Adelyn Dohme Breeskin (1896-1986) was an art historian and museum curator in Baltimore, Maryland, and Washington, D.C. She was the first woman to be named director of a major American museum, the Baltimore Museum of Art.
Adelyn Dohme took her first museum job in the print department of the Metropolitan Museum of Art, where she worked with Kathryn B. Child under the supervision of William Mills Ivins. She left the museum in 1920 to marry violinist Elias Breeskin, and the couple had three children before divorcing in 1930.
Following her divorce, Breeskin returned to her native Baltimore and took a position as a curator with the Baltimore Museum of Art. In 1942 she was appointed director of the museum and remained in that position until 1962. As director she gave Milton Avery and Mary Cassatt's graphics their first museum shows.
Breeskin served as commissioner for the American contingent of the Venice Biennale in 1960 and was director of the Washington Gallery of Modern Art from 1962-1964. She then became a special consultant in twentieth-century art for the Smithsonian's National Collection of Fine Art and served as the museum's curator of contemporary painting and sculpture from 1968 to 1974.
Breeskin authored two catalogue raisonnés of Mary Cassatt's work, and conducted extensive research for a monograph on Loren MacIver, although the monograph was ultimately not published. In 1985 Breeskin received the Smithsonian Institutions highest award, the Gold Medal for Exceptional Service, and at the time of her death in 1986, was senior curatorial adviser.
Related Materials:
The Archives of American Art also holds oral history interviews with Adelyn Breeskin conducted by Paul Cummings in 1974, and Julie Haifley in 1979.
Provenance:
Portions of the collection were donated to the Archives of American Art in a series of gifts from Adelyn Breeskin, 1979-1985. Material relating to Loren MacIver was donated 1979-1987 by Breeskin and Robert Frash, who had possession of Breeskin's research materials on MacIver for an exhibition on MacIver he curated in California. Letters from Georgia O'Keeffe, Stanton Macdonald-Wright, and Lawrence Calcagno, an exhibition catalog for Calcagno, and the file on Milton Avery, were donated by the National Museum of American Art on January 28, 1981. The birthday book was a gift from Breeskin's daughter, Gloria Breeskin Peck, in 2015. The sound recordings were transferred from the National Museum of American Art, circa 1984.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Maryland -- Baltimore Search this
Art historians -- Maryland -- Baltimore Search this
Art museum directors -- Maryland -- Baltimore Search this
