The papers of Austrian born curator, lecturer, and museum director, René d'Harnoncourt (1901-1968), document d'Harnoncourt's activities, primarily in the 1930s and 1940s, particularly as they relate to Mexican and Native American art. D'Harnoncourt's career, including his arrival in Mexico in 1925, his curation of the exhibitions, Mexican Art (1930-1932), and Indian Art of the United States (1941), and his work for the Department of the Interior's Indian Arts and Crafts Board from 1937-1944, are documented in small amounts of biographical material and correspondence, published writings, printed material, scrapbooks, photographs of d'Harnoncourt and colleagues, and photographs of works of art. The collection also contains a drawing of d'Harnoncourt, and photocopies of caricatures of d'Harnoncourt and others.
Scope and Contents:
The papers of Austrian-American curator, lecturer, and museum director, René d'Harnoncourt (1901-1968), document d'Harnoncourt's activities, primarily in the 1930s and 1940s, particularly as they relate to Mexican and Native American art. D'Harnoncourt's career, including his arrival in Mexico in 1925, his curation of the exhibitions, Mexican Art (1930-1932), and Indian Art of the United States (1941), and his work for the Department of the Interior's Indian Arts and Crafts Board from 1937-1944, are documented in small amounts of biographical material and correspondence, published writings, printed material, scrapbooks, photographs of d'Harnoncourt and colleagues, and photographs of works of art. The collection also contains a drawing of d'Harnoncourt, and photocopies of caricatures of d'Harnoncourt and others.
Biographical material consists of d'Harnoncourt's official Austrian departure documents for his travel to Mexico in 1925; pages of an appointment book from 1932; and notes on d'Harnoncourt's career that index publications in which he is mentioned amongst other things, prepared by Sarah d'Harnoncourt.
Correspondence and memoranda relate primarily to the Mexican Arts exhibition, (1930-1932) sponsored by the American Federation of Arts; the "Art in America" radio program, organized by the American Federation of Arts with the cooperation of the Museum of Modern Art; d'Harnoncourt's part time teaching position at Sarah Lawrence College in Bronxville; and his appointment as General Manager of the Indian Arts and Crafts Board. Later correspondence references research on d'Harnoncourt's work for the Indian Arts and Crafts Board, and includes information on d'Harnoncourt, provided in response to inquiries about him.
Writings by d'Harnoncourt include published articles on Mexican and Indian arts and crafts, a 1969 reprint of d'Harnoncourt's and Frederic H. Douglas's expanded version of the catalog for Indian Art of the United States, a foreword, and two seminar/symposium papers. Unpublished writings comprise two typescripts. The series also includes several writings by others.
Printed material includes announcements and exhibition catalogs, documentation of the "Art in America Program," published books belonging to and/or referencing d'Harnoncourt, Department of Interior publications, including some issued by the Indian Arts and Crafts Board, Museum of Modern art press releases, news clippings relating to d'Harnoncourt and his activities, and miscellaneous printed material.
Additional clippings from a dismantled scrapbook(s) document the Mexican Arts exhibition.
Artwork and artifacts include one original sketch in colored pencil of d'Harnoncourt by Austrian artist, Silverbauer, photocopies of caricatures and doodles by d'Harnoncourt, Miguel Covarrubias, and Caroline Durieux, and two Indian Arts and Crafts Board weaving samples.
Photographs are of d'Harnoncourt, Sarah d'Harnoncourt, and friends and colleagues. They include a photograph of d'Harnoncourt by Manuel Alvarez-Bravo; snapshots of others including Fred Davis; Sarah d'Harnoncourt and folk art specialist, Victor Fosado; fellow Indian Arts and Crafts Board members, architect Henry Klumb, Alice Marriot, and anthropologist, author, and tribal council member, Gladys Tantaquidgeon. Also found are three photographs of Mexican Art exhibition installations; fourteen photographs of Native Americans; three photographs showing covers and/or fronts pieces of d'Harnoncourts books Beast, Bird and Fish, Mexicana, The Hole in the Wall, and The Painted Pig; and photographs of artwork included in the Mexican Art exhibition and an exhibition of Australian Aboriginal Cave Paintings (1947).
The collection is arranged as seven series.
Series 1: Biographical Material, 1925-circa 1978 (5 folders; Box 1)
Series 2: Correspondence and Memoranda, 1929-1981 (5 folders; Box 1)
Series 3: Writings, 1928-circa 1970s (0.4 linear feet; Box 1, OV 4)
Series 4: Printed Material, 1921-1979 (1.1 linear feet; Boxes 1-2, OV 4)
Series 5: Scrapbooks, 1930-1933 (0.3 linear feet; Box 2)
Series 6: Artwork and Artifacts, circa 1926-circa 1950s (3 folders; Box 3)
Series 7: Photographs, 1930-1983 (0.25 linear feet; Box 3, OV 4)
Biographical / Historical:
Austrian born curator, lecturer, and museum director, René d'Harnoncourt (1901-1968), was an authority on Native American art and Mexican arts and crafts. He curated and toured with a traveling exhibition, Mexican Art, from 1930-1932, guest curated the exhibition, Indian Art of the United States, for the Museum of Modern Art in 1941, served on the Department of the Interior's Indian Arts and Crafts Board from 1937-1944, and was Director of the Museum of Modern Art from 1949-1968.
D'Harnoncourt was born in Vienna, Austria, in 1901. He left Austria for Mexico in 1925, and began working for American, Frederick Davis, who owned a shop that sold Mexican antiquities and folk art in Mexico City. At this time, d'Harnoncourt made many important connections, including meeting American Ambassador to Mexico, Dwight Morrow, and his wife, Elizabeth Morrow. D'Harnoncourt illustrated several books in the early 1930s, including The Painted Pig (1930) and Beast, Bird and Fish (1933), both written by Elizabeth Morrow, and The Hole in the Wall (1931) and Mexicana: A Book of Pictures (1931). According to Sarah d'Harnoncourt, her husband considered himself an amateur in the field of book illustration, which he enjoyed as a means of self-amusement.
In 1929, d'Harnoncourt was asked to curate an extensive exhibition of Mexican art to travel to major cities in the United States, sponsored by the American Federation of Arts. D'Harnoncourt toured with this exhibition, Mexican Art, for two years, beginning at the Metropolitan Museum of Art in October, 1930.
D'Harnoncourt visited Austria briefly in 1932, then returned to the United States in 1933 and married Sarah Carr the same year. He became a naturalized United States citizen in 1939.
Between 1933 and 1944, d'Harnoncourt directed the radio program "Art in America," organized by the American Federation of Arts in cooperation with the Museum of Modern Art. He also taught art history at Sarah Lawrence College from 1934-1937. In 1936 he began working for the Indian Arts and Crafts Board of the Department of the Interior, becoming General Manager in 1937, and the Board's Chairman in 1944. As General Manager he curated an exhibition on Indian art for the San Francisco Golden Gate International Exposition in 1939, and installed an expanded version of the exhibition, Indian Art of the United States, as guest curator for the Museum of Modern Art in 1940-1941.
In 1944, d'Harnoncourt joined the Museum of Modern Art as Vice President in charge of Foreign Activities, focusing his work on Latin America, and as Director of the Department of Manual Industries, responsible for the preservation of Native American art and culture. In 1949 he was appointed Director of the Museum of Modern Art, and served in this capacity until his death in an automobile accident in 1968.
An oral history of René d'Harnoncourt, interviewed by Isabel Grossner in 1968, can be found at Columbia University, Oral History Research Office, 801 Butler Library, 535 West 114 Street, New York, NY 10027.
The bulk of René d'Harnoncourt's papers are in the Museum Archives of the Museum of Modern Art. The Museum's 59.25 linear feet document, in particular, d'Harnoncourt's years with the Museum from 1944-1968. That collection also includes papers donated by Sarah d'Harnoncourt which relate to d'Harnoncourt's time in Mexico, from 1925-1932, and his work in the United States from 1933-1944. While these holdings may overlap occasionally with the papers in the Archives of American Art (some items at the Archives of American Art, for instance, may be photocopies of originals at the Museum), the bulk of the Archives' d'Harnoncourt papers appear to be distinct from those at the Museum.
The Archives of American Art also holds microfilm of material lent for microfilming (reels 2919-2931) including papers generated by d'Harnoncourt during his professional affiliation with the Museum of Modern Art, such as, personal files, three appointment notebooks, professional files including Latin American correspondence, exhibition files, files documenting outside affiliations, and departmental and special event files. Loaned materials were returned to the lender and are not described in the collection container inventory.
D'Harnoncourt's widow, Sarah d'Harnoncourt, donated the René d'Harnoncourt papers to the Archives of American Art in 1975, 1981, and 1984. An additional eleven linear feet of material was lent by the Museum of Modern Art's for microfilming in 1983.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Reels 2919-2931: Authorization to publish requires written permission from Museum of Modern Art, New York, N.Y. MoMA requires full citation to include microfilm reel and frame numbers, and reference to MoMA as the owner of the Rene d'Harnoncourt papers. Contact Reference Services for more information.
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An interview of Sylvia Orozco conducted 2004 Jan. 26-Feb. 2, by Cary Cordova, for the Archives of American Art, in Mexic-Arte Gallery, Austin, Tex.
Orozco speaks of her family history, having the best drawing in second grade, the earliest recollection of being an artist; Camp Fire Girls; painting for high school pep squad and protest signs; growing up in Cuero, Tex.; integration in high school; Texas A and I; the Raza Unida movement; University of Texas; the Conferencia del Plastica Chicana, held September 13-16, 1979 in Austin, Tex.; MECha, the Movimiento Estudiantil Chicano de Aztlan; the effect of her work as a curator on her ability to do her own artwork; CONACYT, National Council of Arts and Technology; her passion for Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros; meeting Pio Pulido; LUChA, the League of United Chicano Artists; organizing an exhibition on Manuel Alvarez Bravo at the Texas Memorial Museum; the beginnings of Mexic-Arte Gallery; the group Women and Their Work; the installation "Counter Colon-ialismo"; alternative spaces and museums; and future plans for Mexic-Arte Gallery. Orozco also recalls Santa Barraza, Kelly Fearing, Mike Frary, Sam Coronado, Barbina Modesta Treviño, Nora Gonzalez-Dodson, Linda Pace, Rita Starpattern, Gilbert Cardenas, and others.
Biographical / Historical:
Sylvia Orozco (1954- ) is an artist from Austin, Tex. Cary Cordova (1970-) is an art historian from Austin, Tex.
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 55 min.
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.
Transcript available on the Archives of American Art website.
This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.
The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Fifty silver gelatin print photographs which Arnold Crane took of other photographers. Among the subjects are Berenice Abbott, Bill Brandt, Gyula Halász Brassei, Harry Callahan, Imogen Cunningham, Manuel Alvarez Bravo, Robert Doisneau, Walker Evans, André Kertész, Man Ray, Arthur Rothstein, Aaron Siskind, W. Eugene Smith, Edward Steichen, Paul Strand, Minor White.
Biographical / Historical:
Photographer, and photograph collector; Chicago, Illinois.
Donated 1978 by Herbert Molner, a photograph collector.
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.
Manuel Álvarez Bravo : Jeu de Paume, Paris, October 16, 2012-January 20, 2013 : Fundación Mapfre, Madrid, February 11-May 19, 2013 / [exhibition and catalogue produced by the Jeu de Paume, Paris, and Fundación Mapfre, Madrid ; exhibition curators, Laura González Flores, Gerardo Mosquera ; catalogue editorial director, Muriel Rausch ; catalogue coordination, Mónica Fuentes Santos]