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Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979

Creator:
Fleischman, Lawrence Arthur, 1925-1997  Search this
Subject:
Sellers, Charles Coleman  Search this
Ryder, Albert Pinkham  Search this
Burchfield, Charles Ephraim  Search this
Rattner, Abraham  Search this
Richardson, Edgar Preston  Search this
Richardson, Constance  Search this
Pollack, Peter  Search this
Watkins, Franklin Chenault  Search this
Bailey, Grace  Search this
Arms, John Taylor  Search this
Allston, Washington  Search this
Evergood, Philip  Search this
Eakins, Thomas  Search this
Culver, Charles B. (Charles Beach)  Search this
Bohrod, Aaron  Search this
Bailey, Truman E.  Search this
Krentzin, Earl  Search this
Gentle, Esther  Search this
Fleischman, Barbara  Search this
Marin, John  Search this
University of Michigan. Museum of Art  Search this
United States Information Agency  Search this
Whitney Museum of American Art  Search this
Archives of American Art  Search this
Kraushaar Galleries  Search this
American Federation of Arts  Search this
National Gallery of Art (U.S.)  Search this
Detroit Institute of Arts  Search this
Corcoran Gallery of Art  Search this
M. Knoedler & Co.  Search this
Kennedy Galleries  Search this
Henry Francis du Pont Winterthur Museum  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Midtown Galleries (New York, N.Y.)  Search this
Milwaukee Art Center  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Type:
Typescripts
Photographs
Citation:
Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Art patrons Michigan Detroit  Search this
Artists' studios -- Photographs  Search this
Philanthropists  Search this
Art -- Collectors and collecting -- United States  Search this
Theme:
Patronage  Search this
Record number:
(DSI-AAA_CollID)10245
(DSI-AAA_SIRISBib)213339
AAA_collcode_fleilawr
Theme:
Patronage
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213339
Online Media:

John I.H. Baur papers

Creator:
Baur, John I. H. (John Ireland Howe), 1909-1987  Search this
Names:
Whitney Museum of American Art  Search this
Extent:
3.4 Linear feet
13 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1946-1979
Scope and Contents:
Writings, talks, lectures, and contributions to publications, notably his work on the book, NEW ART IN AMERICA; correspondence, writings, memos, and clippings concerning museums (other than the Whitney Museum of American Art), galleries, colleges, the American Federation of Arts, and others; correspondence, printed material, and miscellany relating to committees and organizations, such as the American Studies Association and the International Association of Art Critics; correspondence and printed material concerning exhibition jury service; and miscellany.
ADDITION: Artists' files, photographs, correspondence, notes, writings, including an annotated draft for Baur's book, REVOLUTION & TRADITION IN MODERN AMERICAN ART.
Biographical / Historical:
Museum curator, museum director, and writer; New York, N.Y. Curator Brooklyn Museum of Art, 1936-1952; curator, director, and director emeritus, Whitney Museum of American Art, 1952-1987. Author of several books on American art.
Provenance:
Donated 1989 by Louise C. Bauer, the widow of the artist, John I. H. Baur.
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.
Occupation:
Art historians  Search this
Museum directors  Search this
Museum curators  Search this
Identifier:
AAA.baurjohn
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98ced6b82-5961-4f06-937f-f1dfe483bdd7
EDAN-URL:
ead_collection:sova-aaa-baurjohn

Lloyd Goodrich papers

Creator:
Goodrich, Lloyd, 1897-1987  Search this
Names:
American Art Research Council  Search this
American Federation of Arts  Search this
Artist Tenants Association (New York, N.Y.)  Search this
Artists Equity Association  Search this
Association of Art Museum Directors  Search this
National Council on the Arts and Government  Search this
Whitney Museum of American Art  Search this
Dows, Olin, 1904-1981  Search this
Eakins, Thomas, 1844-1916  Search this
Evergood, Philip, 1901-1973  Search this
Homer, Winslow, 1836-1910  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Newman, Elias, 1903-  Search this
Rich, Daniel Catton, 1904-1976  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
35.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Interviews
Scrapbooks
Date:
1884-1987
bulk 1927-1987
Summary:
The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.
Scope and Contents:
The papers of art historian, writer, and museum administrator Lloyd Goodrich measure 35.7 linear feet and date from 1884 to 1987 with the bulk of the material dating from 1927 to 1987. Materials include biographical material, extensive correspondence, writings and research files, organization and committee files, exhibition files, printed material, a scrapbook, and photographic material. The collection is particularly rich in research files on Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, and Reginald Marsh, as well as correspondence with additional notable artists and art figures.

Scattered biographical materials include biographical sketches, an interview transcript, personal business records, documents relating to Goodrich's service on art juries, and awards and honors.

Correspondence is with friends, family, artists, museums, collectors, galleries, and arts organizations. Correspondents include The Arts Magazine, Whitney Museum of Art, Olin Dows, Philip Evergood, Yasuo Kuniyoshi, Reginald Marsh, Kenneth Hayes Miller, Elias Newman, Daniel Catton Rich, and Raphael Soyer among many others. Research related correspondence arranged here concerns work on a catalogue raisonné of Winslow Homer. This material was originally arranged in the correspondence files by Goodrich prior to the later donation that included additional research files on Homer found in Series 3. There are also condolence letters from notable figures in American art.

Writings and research files include major writings, such as books and articles, and book reviews, essays, exhibition text, catalog entries, and lectures. In addition to the writings, Goodrich's research files for the writings are arranged here and include research, notes, correspondence, photographs, illustrations, printed materials, and bibliographies. There are also book agreements. There are extensive files for Goodrich's books on Winslow Homer (see also correspondence in Series 2) and Reginald Marsh; articles, catalog entries, and other writings on Winslow Homer, Albert Pinkham Ryder, Kuniyoshi, Reginald Marsh, and American art in general; lectures and talks; research files on other artists, and notes and notebooks.

Organization and committee files document Goodrich's service on boards, commissions, committees, organizations, and associations, such as the American Federation of Arts, the Association of Art Museum Directors, the Carnegie Study in American Art, the National Council on the Arts and Government, American Art Research Council, Artists Equity Association, Artist Tenants Association, the selection committee of the American National Exhibition (1959), and others are found within organization and committee files. Agendas, correspondence, meeting minutes, and printed material are found within the files.

Exhibition files are found only for several Winslow Homer shows. Printed materials include clippings, publicity materials, and printed copies of his writings. Photographic material includes scattered photographs of Goodrich and others, and extensive negatives of works of art, likely by Homer. Also found are x-rays of paintings by Ralph Blakelock.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1946-1984 (Boxes 1; 0.4 linear feet)

Series 2: Correspondence, 1920-1987 (Boxes 1-3; 1.8 linear feet)

Series 3: Writings and Research Files, 1884-1987 (Boxes 3-17, 38; 14.5 linear feet)

Series 4: Organization and Committee files, 1933-1982 (Boxes 17-31, 37; 14.5 linear feet)

Series 5: Exhibition Files, 1944-1986 (Boxes 31-32; 0.6 linear feet)

Series 6: Printed Material, circa 1920s-1979 (Boxes 32-33; 0.8 linear feet)

Series 7: Scrapbook, 1952-1959 (Box 33; 2 folders)

Series 8: Photographic Materials, circa 1910-1987 (Boxes 33-37; 3.1 linear feet)
Biographical / Historical:
Lloyd Goodrich (1897-1987) was a prominent and influential art historian, writer, and director of the Whitney Museum of Art in New York City, New York, from 1958-1968.

Lloyd Goodrich was born in Nutley, New Jersey in 1897. He studied under Kenneth Hayes Miller at the Art Students League from 1913-1915 and also took courses at the National Academy of Design. Rather than pursue a career as an artist, however, he decided that his real talent was writing about art. He began his long and prolific writing career in 1923-24 and married Edith Havens in 1924. Inspired by the work and writings of European art scholars and a desire to address the need for a body of scholarship on American Art, Goodrich began to research and write about American artists Kenneth Hayes Miller, Winslow Homer, and Thomas Eakins.

Goodrich's first article on Winslow Homer was published in 1924 by The Arts, a magazine financed by Gertrude Vanderbilt Whitney and edited by Forbes Watson, who soon hired Goodrich as associate editor. By 1929, Goodrich was also working as assistant art critic for the New York Times while continuing work at The Arts as contributing editor. One year later, The Arts commissioned Goodrich to write a book on Kenneth Hayes Miller. And, around the same time Goodrich became interested in Thomas Eakins, and with the encouragement and financial support from his boyhood friend, artist Reginald Marsh, he began work on a monograph about Eakins.

In 1930, Goodrich joined the staff of Gertrude Vanderbilt Whitney's new American art museum in New York City, the Whitney Museum of American Art. The museum provided him with the funds he needed to research and complete his book on Thomas Eakins, which he achieved in 1933. In 1935, he became curator of the museum, and associate director in 1948. He served as director from 1958-1968. The bequest of the Edward Hopper collection to the Whitney was the result of Goodrich's reputation as a scholar of Edward Hopper. After retiring, Goodrich continued his association with the Whitney as advisory director and director emeritus.

Goodrich was instrumental in starting the American Art Research Council in 1942, a group of museums devoted to collecting scholarly records about American art. He sat on the advisory panels for the New York State Council on the Arts and the Fine Arts Advisory Committee to the White House. In 1933, he was in charge of the New York regional office of the Public Works of Art Project. He also served as chairman of the National Council on the Arts and Government from 1948 to 1954 and was a major force in the creation of the National Endowment for the Arts and Humanities. He was a member of the Artists Equity Association, Artist Tenants Association, and numerous other arts organizations and a strong advocate for the promotion and support of American art and artists.

Throughout his long and distinguished career as a writer and museum administrator, Lloyd Goodrich worked to build a body of scholarship related to the history of American art and artists. He published several important monographs, including works on Thomas Eakins, Edward Hopper, Albert Pinkham Ryder, Winslow Homer, and Reginald Marsh, and organized major exhibitions about these and many other artists during his 57-year association with the Whitney Museum of American Art. At the time of his death, Goodrich was considered a preeminent figure in the American art world, and one of the foremost authorities on Eakins, Ryder, and Homer, artists on which he kept extensive research files throughout his life.

Lloyd Goodrich died March 27, 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lloyd Goodrich, 1962-1963 by Harlan Phillips for the Archives of American Art.

Additional Lloyd Goodrich papers are located at the Whitney Museum of American Art Archives, and the Philadelphia Museum of Art Archives.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4468) including a photocopy of the manuscript "Albert Pinkham Ryder: The Man and His Art," Goodrich's contribution to the book "Albert Pinkham Ryder: Painter of Dreams" co-authored with William I. Homer. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Lloyd Goodrich papers were given to the Archives of American Art in several different acquisitions. Lloyd Goodrich first donated material in 1983. David Goodrich, Lloyd Goodrich's son, gave more material between 1988 and 2007 while additional papers were lent for microfilming by William I. Homer in 1990. Finally, the Whitney Museum of American Art donated papers in 1996, and Polly Thistlethwaite gave further material in 2015.
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 historians -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Museum curators -- New York (State) -- New York  Search this
Museum administrators -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Museum directors -- New York (State) -- New York  Search this
Function:
Art museums -- New York (State)
Genre/Form:
Photographs
Transcripts
Interviews
Scrapbooks
Citation:
Lloyd Goodrich papers, 1884-1987, bulk 1927-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goodlloy
See more items in:
Lloyd Goodrich papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ada7dc76-ac75-437a-b234-9f02adf2d57c
EDAN-URL:
ead_collection:sova-aaa-goodlloy
Online Media:

Lawrence and Barbara Fleischman papers

Creator:
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Names:
American Federation of Arts  Search this
Corcoran Gallery of Art  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Kennedy Galleries  Search this
Kraushaar Galleries  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Midtown Galleries (New York, N.Y.)  Search this
Milwaukee Art Center  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
United States Information Agency  Search this
University of Michigan. Museum of Art  Search this
Whitney Museum of American Art  Search this
Allston, Washington, 1779-1843  Search this
Arms, John Taylor, 1887-1953  Search this
Bailey, Grace  Search this
Bailey, Truman E., 1902?-1959  Search this
Bohrod, Aaron  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Culver, Charles B. (Charles Beach), 1908-1967  Search this
Eakins, Thomas, 1844-1916  Search this
Evergood, Philip, 1901-1973  Search this
Fleischman, Barbara  Search this
Gentle, Esther, 1900-  Search this
Krentzin, Earl, 1929-  Search this
Marin, John, 1870-1953  Search this
Pollack, Peter, 1909-1978  Search this
Rattner, Abraham  Search this
Richardson, Constance, 1905-  Search this
Richardson, Edgar Preston, 1902-1985  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Sellers, Charles Coleman, 1903-  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Typescripts
Photographs
Date:
1837-1984
bulk 1935-1979
Summary:
The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.
Scope and Contents:
The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)
Biographical / Historical:
Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.
Related Materials:
Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.
Separated Materials:
The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.
Provenance:
The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.
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.
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 -- United States  Search this
Topic:
Painting, American  Search this
Art patrons Michigan Detroit  Search this
Artists' studios -- Photographs  Search this
Philanthropists  Search this
Art -- Collectors and collecting -- United States  Search this
Genre/Form:
Typescripts
Photographs
Citation:
Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fleilawr
See more items in:
Lawrence and Barbara Fleischman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92905ad60-9c85-493f-90b7-272f1486ef69
EDAN-URL:
ead_collection:sova-aaa-fleilawr
Online Media:

Avis Berman research material on Elie Nadelman

Creator:
Berman, Avis  Search this
Names:
Nadelman, Elie, 1882-1946  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
circa 1998-2002
Summary:
Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Scope and Contents:
Avis Berman research material on Elie Nadelman measures one linear foot and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Arrangement:
Due to its small size the collection is arranged in a single series.
Biographical / Historical:
Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y.. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers University, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States. Since 2001, Avis Berman has overseen the Roy Lichtenstein Foundation's oral history project.
Related Materials:
Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on Juliana Force, circa 1930-2020, research material on art and artists, 1976-1994, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.
Provenance:
Donated in 2021 by Avis Berman.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.
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
Topic:
Women art historians  Search this
Folk art  Search this
Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis5
See more items in:
Avis Berman research material on Elie Nadelman
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6baa174-578f-490b-b9d3-8fe306c67e31
EDAN-URL:
ead_collection:sova-aaa-bermavis5

Still Life with Cello and Bass Fiddle

Artist:
Max Beckmann, German, b. Leipzig, 1884–1950  Search this
Medium:
Oil on canvas
Dimensions:
36 1/4 × 55 in. (92.1 × 139.8 cm)
Type:
Painting
Date:
1950
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.429
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
German Expressionism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py22ab9f11a-b8ab-43a8-ae1b-619f25df1f6c
EDAN-URL:
edanmdm:hmsg_66.429

French Pastries

Artist:
Wayne Thiebaud, American, b. Mesa, Arizona, 1920–2021  Search this
Medium:
Oil on canvas
Dimensions:
16 1/8 x 24 1/8in. (41 x 61.3cm)
Type:
Painting
Date:
1963
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.4909
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Pop Art (American)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py24c981cb4-11d8-41d5-b64e-21b4abe84796
EDAN-URL:
edanmdm:hmsg_66.4909

Trough

Artist:
Friedel Dzubas, American, b. Berlin, Germany, 1915–1994  Search this
Medium:
Synthetic polymer on canvas
Dimensions:
96 1/4 x 98 3/8 in. (244.5 x 249.9 cm)
Type:
Painting
Date:
1972
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase with funds donated by the Smithsonian Resident Associates Program, 1975
Accession Number:
75.9
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py21de8b6ab-e215-447a-8405-2a0b3d801882
EDAN-URL:
edanmdm:hmsg_75.9

Gretchen Rogers Papers

Collection Creator:
Rogers, Gretchen W., 1881-1967  Search this
Extent:
0.6 Linear feet (Boxes 1-2, OV 3)
Type:
Archival materials
Date:
1901-1986
Scope and Contents:
Biographical materials consist of awards and certificates, membership records, a sales receipt, and a medal from the Panama-Pacific International Exposition (1915). Correspondence is with the American Federation of Arts, Corcoran Gallery of Art, Detroit Institute of Art, Alice Ruggles Sohier, and Edmund Tarbell. Hand-drawn scenes and cut out paper dolls and animals were made by Rogers. An unpublished children's book written and illustrated by Rogers is entitled Peep-Weep. Photographs include a portrait of Rogers in a ballgown and snapshots of Rogers driving. Also found is a photo of an exhibition featuring Roger's painting at the Art Institute of Chicago in 1914. Printed materials consist of exhibition announcements, catalogs, and clippings. A scrapbook includes correspondence, printed material, and sketches.
Collection 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.
Collection 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.
Collection Citation:
Gretchen W. Rogers papers, 1901-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rogegret, Series 1
See more items in:
Gretchen W. Rogers papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bec7986a-8d02-4ef0-af5c-1ae3063f7759
EDAN-URL:
ead_component:sova-aaa-rogegret-ref6

American Federation of Arts, "Neo Dada" Exhibition

Collection Creator:
Zabriskie Gallery  Search this
Container:
Box 88, Folder 13
Type:
Archival materials
Date:
1992-1994
Collection 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.
Collection 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.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Zabriskie Gallery records
Zabriskie Gallery records / Series 7: Institution Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9038c6ead-91aa-4c5b-b642-16d3f1554a97
EDAN-URL:
ead_component:sova-aaa-zabrgall-ref3321

American Federation of Art

Collection Creator:
Zabriskie Gallery  Search this
Container:
Box 88, Folder 14
Type:
Archival materials
Date:
1995-1998
Collection 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.
Collection 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.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
See more items in:
Zabriskie Gallery records
Zabriskie Gallery records / Series 7: Institution Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93ccf2f55-9b30-4899-b3f8-d806b1ad6d3a
EDAN-URL:
ead_component:sova-aaa-zabrgall-ref3322

American Federation of Arts

Collection Creator:
Kanemitsu, Matsumi  Search this
Container:
Box 1, Folder 22
Type:
Archival materials
Date:
1963-1964
Collection 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.
Collection 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.
Collection Citation:
Matsumi Kanemitsu papers, circa 1947-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Matsumi Kanemitsu papers
Matsumi Kanemitsu papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98532d521-0252-4ac6-b8c1-f35276dd008e
EDAN-URL:
ead_component:sova-aaa-kanemats-ref37

Avis Berman research material on Elie Nadelman, circa 1998-2002

Creator:
Berman, Avis, 1949-  Search this
Subject:
Nadelman, Elie  Search this
Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Folk art  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)22101
AAA_collcode_bermavis5
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22101

Avis Berman research material on Elie Nadelman

Collection Creator:
Berman, Avis  Search this
Extent:
1 Linear foot
Type:
Archival materials
Date:
circa 1998-2002
Scope and Contents:
Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Collection 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.
Collection 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.
Collection Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis5, Series 1
See more items in:
Avis Berman research material on Elie Nadelman
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c83f3e93-939b-47bf-87b1-0cbf7df19e28
EDAN-URL:
ead_component:sova-aaa-bermavis5-ref3

Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005

Creator:
Koppelman, Chaim, 1920-  Search this
Subject:
Stamos, Theodoros  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat  Search this
Kandinsky, Wassily  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy  Search this
Ozenfant, Amédée  Search this
Pond, Clayton  Search this
Rebay, Hilla  Search this
Picasso, Pablo  Search this
Siegel, Eli  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Audubon Artists (New York, N.Y.)  Search this
Associated American Artists  Search this
American Federation of Arts  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Type:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13589
(DSI-AAA_SIRISBib)268639
AAA_collcode_koppchai
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_268639
Online Media:

American Federation of Arts Film Programs

Collection Creator:
Baxter Art Gallery  Search this
Container:
Box 14, Folder 6-7
Type:
Archival materials
Date:
1975-1982
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 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.
Collection Citation:
Baxter Art Gallery records, 1962-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Baxter Art Gallery records
Baxter Art Gallery records / Series 5: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95ad13a04-cb7d-4543-a837-6f4ba4284714
EDAN-URL:
ead_component:sova-aaa-baxtart-ref206

Oral history interview with Thomas M. Messer

Interviewee:
Messer, Thomas M.  Search this
Interviewer:
Cummings, Paul  Search this
Names:
American Federation of Arts  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Roswell Museum  Search this
Solomon R. Guggenheim Museum  Search this
Extent:
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1970 Sept. 22
Scope and Contents:
An interview of Thomas M. Messer conducted 1970 Sept. 22, by Paul Cummings, for the Archives of American Art. Messer speaks of his childhood in Czechoslovakia; his early interest in art and music; coming to the United States; his education at Boston University; directing a museum, in Roswell, N.M., for three years; going to the American Federation of Arts and becoming director there; moving on to the Institute of Contemporary Art in Boston; the development of his interest in Latin American art and culture; becoming the director of the Guggenheim Museum; his philosophy on museum acquisitions; the current art market; what makes exhibitions successful or unsuccessful; and the future of museums.
Biographical / Historical:
Thomas M. Messer (1919- ) is a museum director from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 9 min.
Provenance:
This interview is part of the Archives' 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.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Art museum directors -- United States -- Interviews  Search this
Function:
Art museums -- United States
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.messer70
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f675f8d6-a6ef-49e1-ba20-408ac8a5fd98
EDAN-URL:
ead_collection:sova-aaa-messer70
Online Media:

Oral history interview with Thomas M. Messer

Interviewee:
Messer, Thomas M.  Search this
Interviewer:
Decker, Andrew  Search this
Names:
American Federation of Arts  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Národní galerie v Praze  Search this
Solomon R. Guggenheim Museum  Search this
Guggenheim, Harry Frank, 1890-1971  Search this
Guggenheim, Peggy, 1898-1979  Search this
Kandinsky, Wassily, 1866-1944  Search this
Klee, Paul, 1879-1940  Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1994 Oct.-1995 Jan
Scope and Contents:
An interview of Thomas M. Messer conducted 1994 Oct.-1995 Jan., by Andrew Decker, for the Archives of American Art, at the Americas Society, New York, N.Y.
Messer speaks about his youth in pre-World War II Czechoslavakia, his directorship of the American Federation of Arts; the Roswell Museum in Roswell, N.M.; the Institute of Contemporary Art in Boston; and the Solomon R. Guggenheim Museum. He discusses his collecting interests in connection with the development of the Guggenheim, particularly Paul Klee and Wassily Kandinsky; his working relationship with Harry, Peter, and Peggy Guggenheim; numerous exhibitions; and the acquisitions of several major collections. Finally, he comments on post-retirement projects, particularly at the National Gallery of Prague.
Biographical / Historical:
Thomas M. Messer (1920- ) is a museum director in New York, N.Y.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 7 hrs., 23 min.
End of interview session Jan. 24, 1995 (Tape 6, side B) not recorded due to equipment malfunction.
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.
Topic:
Art museum directors -- United States -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.messer94
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw957ef0735-6683-46b1-93aa-e18758e8ec21
EDAN-URL:
ead_collection:sova-aaa-messer94
Online Media:

Chaim and Dorothy Koppelman papers

Creator:
Koppelman, Chaim, 1920-2009  Search this
Names:
American Federation of Arts  Search this
Associated American Artists  Search this
Audubon Artists (New York, N.Y.)  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat, 1920-1964  Search this
Kandinsky, Wassily, 1866-1944  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy, 1923-1997  Search this
Ozenfant, Amédée, 1886-1966  Search this
Picasso, Pablo, 1881-1973  Search this
Pond, Clayton, 1941-  Search this
Rebay, Hilla, 1890-1967  Search this
Siegel, Eli, 1902-  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Date:
circa 1930s-2006
bulk 1942-2005
Summary:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.

Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.

Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.

Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.

Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.

Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman. Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:

Missing Title

Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)

Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)

Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)

Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)

Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)

Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)

Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)

Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)

Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)

Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)

Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.

Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.

After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.

Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."

Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award. In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.

In December 2009, Koppelman died at age 89 in New York City.

Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.

Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.

Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."

She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.

Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koppchai
See more items in:
Chaim and Dorothy Koppelman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw988e54036-6f92-4d0d-89e9-c638ba3bf216
EDAN-URL:
ead_collection:sova-aaa-koppchai
Online Media:

"May Stevens and Benny Andrews: The Politics of Self-Portraiture" American Federation of Arts" (2018)

Collection Creator:
Hills, Patricia  Search this
Container:
Box 35, Folder 20
Type:
Archival materials
Date:
circa 2018
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection 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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Patricia Hills papers
Patricia Hills papers / Series 8: Writings / 8.1: Essays, Articles, and Book Chapters
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97e212d17-1a79-434c-b146-a14e3d912316
EDAN-URL:
ead_component:sova-aaa-hillspat-ref1275

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