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Stanton L. Catlin papers

Creator:
Catlin, Stanton L. , 1915-1997  Search this
Names:
Columbia Records, Inc.  Search this
Hunter College -- Faculty  Search this
Syracuse University -- Faculty  Search this
Universidad de Chile -- Faculty  Search this
Ades, Dawn  Search this
Ashton, Dore  Search this
Boulton, Alfredo  Search this
Motherwell, Robert  Search this
Obregón, Alejandro, 1920-  Search this
Paternosto, César, 1931-  Search this
Paz, Octavio, 1914-  Search this
Rasmussen, Waldo  Search this
Rockefeller, David, 1915-  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Sandoval, Judith Hancock de  Search this
Sebastián, Santiago  Search this
Torruella Leval, Susana  Search this
Williams, Amancio  Search this
Extent:
56.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Transcripts
Diaries
Place:
Czech Republic -- Description and Travel
Date:
1911-1998
bulk 1930-1994
Summary:
The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.
Scope and Contents:
The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.

Biographical material includes six address books, two annotated calendars, four day books, curriculum vitae, interview transcripts, records of Catlin's personal book collection, and his work as a student. Correspondence is with Catlin's family and prominent artists and colleagues, such as Dawn Ades, Dore Ashton, Alfredo Boulton, Robert Motherwell, Alejandro Obregon, César Paternosto, Octavio Paz, Waldo Rasmussen, David and Nelson Rockefeller, Susana Torruella Leval, Judith Sandoval, Santiago Sebastian, and Amancio Williams. Correspondence with Columbia Records concerns Catlin's Grammy Award for best album.

There are writings and notes by Catlin and others on Latin American art, and three journals kept by Catlin during his time in the Czech Republic and Minnesota.

Teaching files document some of Catlin's work as an art history professor at Hunter College, Syracuse University, and the University of Chile. The project files document his work as a consultant or contributor on various projects abd the professional files include records of Catlin's positions as art gallery curator and director, professional memberships, conference participation, and other professional activities. Research and subject files consist of annotated material related to Latin American art, European art, and various artforms and artists.

Exhibition files are found for Art of Latin America Since Independence (1966) and other exhibitions of Latin American art. Printed materials include books with an inscription, clippings, exhibition announcements and catalogs, magazines, and publications. There are photographs of Catlin, family and friends, colleagues, and artwork.
Arrangement:
The collection is arranged as 10 series.

Missing Title

Series 1: Biographical material , 1933-1989 (1 linear foot; Box 1)

Series 2: Correspondence, 1914-1994 (4.5 linear feet; Box 2-6)

Series 3: Writings and Notes, 1930-1993 (4.5 linear feet; Box 6-10, OV 57)

Series 4: Teaching Files, 1941-1991 (1.5 linear feet; Box 10-12)

Series 5: Project Files, 1940-1993 (3.5 linear feet; Box 12-16)

Series 6: Professional Files, 1939-1994 (13.1 linear feet; Box 16-28, OV 58, 60)

Series 7: Research and Subject Files, 1938-1998 (8.0 linear feet; Box 28-36)

Series 8: Exhibition Files, 1941-1993 (15.6 linear feet; Box 37-51, OV 58-60)

Series 9: Printed Material, 1944-1993 (4.2 linear feet; Box 52-56)

Series 10: Photographs, 1911-1991 (0.5 linear feet; Box 56)
Biographical / Historical:
Stanton L. Catlin (1915-1997) was a curator, gallery director, educator, art historian, and expert on Latin American Art.

Catlin studied art history at Oberlin College and graduated in 1937. After graduation, he studied painting and art history at the Academy of Arts in Prague, Czech Republic for two years. Catlin received a Fogg Museum Fellowship in Modern Art at Harvard University to survey collections of art in Europe. However, the project was canceled because of World War II.

During the war, Catlin served as a Cultural Relations Representative for the Coordinator of Inter-American Affairs where he assisted with exhibition arrangements throughout Latin America. In 1942, he also began teaching the history of art in the United States at the University of Chile. After the war, Catlin served in the Field Operations Division of the United Nations Relief and Rehabilitation Administration, working in the Displaced Persons Operation from 1945-1946.

From 1947 to 1950, Catlin served as the executive director of the American Institute of Graphic Arts. He received his graduate degree in art history from New York University in 1952, and shortly thereafter became editor and curator of American art at the Minneapolis Institute of Arts. From 1958 to 1967, Catlin was the assistant director of the Yale University Art Gallery. While there, he curated the landmark exhibition Art of Latin America Since Independence in 1966, the first exhibition to include only Latin American art and the accompanying catalog remains a standard reference source. That same year, Catlin won a Grammy Award for best album notes for an essay on Mexican mural painting.

In 1967, Catlin left Yale to take a position as director of the Art Gallery at the Center for Inter-American Relations before joining the faculty of Syracuse University in 1971 and becoming director of the university's Art Gallery. He remained at Syracuse for the rest of his career.

Catlin was a consultant on the major retrospective exhibition of the work of Diego Rivera at the Detroit Institute of Arts in 1986. He also worked on a project to document Mexican murals in the United States. Catlin died in Fayetteville, New York in 1997.
Related Materials:
Also found at the Archives of American Art is an oral history interview conducted by Francis V. O'Connor with Stanton L. Catlin from July 1 to September 14, 1989.

The University of Texas at Austin holds a significant collection of Stanton Loomis Catlin's papers, some of which are duplicates of the papers held by the Archives of American Art.
Provenance:
The collection was donated from 1992 to 1995 to by Stanton L. Catlin.
Restrictions:
Use of original papers requires an appointment and is limited to the 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:
Art historians -- New York (State)  Search this
Minnesota -- Description and travel  Search this
Gallery directors -- New York (State)  Search this
Curators -- New York (State)  Search this
Topic:
Art, European  Search this
Latino and Latin American artists  Search this
Educators -- New York (State)  Search this
Art, Latin American  Search this
Art -- History -- Study and teaching  Search this
Genre/Form:
Photographs
Interviews
Transcripts
Diaries
Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.catlstan
See more items in:
Stanton L. Catlin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw997702d2c-a49d-4989-9063-a5d2bbd1321c
EDAN-URL:
ead_collection:sova-aaa-catlstan
Online Media:

Oral history interview with Liliana Wilson

Interviewee:
Wilson, Liliana, 1953-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Agosin, Marjorie  Search this
Almeida, Arturo  Search this
Anzaldúa, Gloria  Search this
Chödrön, Pema  Search this
Gonzales, Mia  Search this
Navarro, Mary Margaret  Search this
Perez, Cynthia  Search this
Pinochet Ugarte, Augusto  Search this
Treviño, Jesse, 1946-  Search this
Wilson, Neil  Search this
Yanez, Rene  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004, July 13-27
Scope and Contents:
An interview of Liliana Wilson conducted 2004 July 13-27, by Cary Cordova, for the Archives of American Art, in Austin, Texas.
Wilson displays a slideshow of her works and discusses Disparecidos en el Cielo; The Gatekeepers; The Immigrants; Man Running from Himself; Girl and Red Fish; Self-Portrait; Organic Barbed Wire; The Fish Tree; The Wedding; Desperate Housewife; The Lovers; The Meaning of Life; Lies; Proposition 187; Luciano; Time; Shift; El dia en que le hicieron pedazos la corona; Casi Gomez; Man and Leaf, and others. Wilson also discusses her relationship with Gloria Anzaldua; her sister's kidnapping by the Pinochet regime; experiences winning art contests at primary school; her uncommon last name; her use of Catholic imagery; her bad experience teaching; her childhood in Valparaiso, Chile; the patriarchal qualities of Chilean culture; attending architecture school and then transferring to law; her father's death and the family's resulting financial struggles; her disdain for traditional political paradigms; Santiago during the 1973 coup by Augusto Pinochet; her apartment being raided by the Army; moving to America and working as an au pair; enrolling in Austin Community College; her color choices in her paintings; moving to San Francisco; her various jobs doing commercial art; her early grant from MACLA; her anti-social nature, and how Anzaldua's nature is similar; her various residences in San Francisco; her conversion to Buddhism; moving back to Austin and her love for its community; learning to promote her own work; painting nude forms; her disdain for certain Catholic ideologies; the painters which she considers influences, such as Bosch, Kahlo, and Klee; her inability to be recognized by museums; the masculine nature of art academia; her involvement in the San Antonio arts scene; and the positive qualities of the United States. Wilson also discusses Cynthia Perez, Mia Gonzales, Jesse Treviño, Rene Yañez, Pema Chödrön, Neil Wilson, Arturo Almeida, Mary Margaret Navarro, Marjorie Agosin, and others.
Biographical / Historical:
Liliana Wilson (1953-) is a Chilean born artist in Austin, Texas. Cary Cordova (1970-) is an art historian from Austin, Texas.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 4 hr., 55 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Texas -- Austin  Search this
Topic:
Art -- Study and teaching -- Chile  Search this
Painting  Search this
Religion in art  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilson04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw939897673-3278-4964-bb31-c25c4e533cfa
EDAN-URL:
ead_collection:sova-aaa-wilson04
Online Media:

Oral history interview with Michael and Magdalena Suarez Frimkess, 2001 March 8-April 17

Interviewee:
Frimkess, Michael, 1937-  Search this
Frimkess, Michael, 1937-  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Frimkess, Magdalena Suarez  Search this
Rosen, Clara  Search this
Voulkos, Peter  Search this
Clay Art Center  Search this
University of California, Berkeley. Department of Art  Search this
Otis Art Institute  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Study and teaching -- Chile  Search this
Potters -- California -- Interviews  Search this
Pottery -- Study and teaching -- United States.  Search this
Ceramicists -- California -- Interviews  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)13128
(DSI-AAA_SIRISBib)226187
AAA_collcode_frimke01
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_226187
Online Media:

Oral history interview with Sheila Hicks, 2004 February 3-March 11

Interviewee:
Hicks, Sheila, 1934-  Search this
Hicks, Sheila, 1934-  Search this
Interviewer:
Lévi-Strauss, Monique  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Decorative arts  Search this
Tapestry  Search this
Weaving -- Study and teaching  Search this
Weaving -- Technique  Search this
Women artists  Search this
Women educators  Search this
Women textile artists  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11947
(DSI-AAA_SIRISBib)248652
AAA_collcode_hicks04feb
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_248652
Online Media:

Oral history interview with Liliana Wilson, 2004

Interviewee:
Wilson, Liliana, 1953-  Search this
Wilson, Liliana, 1953-  Search this
Interviewer:
Cordova, Cary  Search this
Subject:
Pinochet Ugarte, Augusto  Search this
Treviño, Jesse  Search this
Yanez, Rene  Search this
Anzaldúa, Gloria  Search this
Perez, Cynthia  Search this
Chödrön, Pema  Search this
Agosin, Marjorie  Search this
Gonzales, Mia  Search this
Wilson, Neil  Search this
Almeida, Arturo  Search this
Navarro, Mary Margaret  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Study and teaching -- Chile  Search this
Painting  Search this
Religion in art  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women painters  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)13093
(DSI-AAA_SIRISBib)249046
AAA_collcode_wilson04
Theme:
Latino and Latin American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_249046
Online Media:

Oral history interview with Stanton L. Catlin

Interviewee:
Catlin, Stanton L. (Stanton Loomis)  Search this
Interviewer:
O'Connor, Francis V.  Search this
Extent:
277 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1989 July 1-September 14
Scope and Contents:
An interview of Stanton Catlin conducted 1989 July 1-September 14, by Francis V. O'Connor, for the Archives of American Art.
Biographical / Historical:
Stanton L. Catlin (1915-1997) was a curator, gallery director, educator, art historian, and expert on Latin American Art.

Catlin studied art history at Oberlin College and graduated in 1937. After graduation, he studied painting and art history at the Academy of Arts in Prague, Czech Republic for two years. Catlin received a Fogg Museum Fellowship in Modern Art at Harvard University to survey collections of art in Europe. However, the project was canceled because of World War II.

During the war, Catlin served as a Cultural Relations Representative for the Coordinator of Inter-American Affairs where he assisted with exhibition arrangements throughout Latin America. In 1942, he also began teaching the history of art in the United States at the University of Chile. After the war, Catlin served in the Field Operations Division of the United Nations Relief and Rehabilitation Administration, working in the Displaced Persons Operation from 1945-1946.

From 1947 to 1950, Catlin served as the executive director of the American Institute of Graphic Arts. He received his graduate degree in art history from New York University in 1952, and shortly thereafter became editor and curator of American art at the Minneapolis Institute of Arts. From 1958 to 1967, Catlin was the assistant director of the Yale University Art Gallery. While there, he curated the landmark exhibition Art of Latin America Since Independence in 1966, the first exhibition to include only Latin American art and the accompanying catalog remains a standard reference source. That same year, Catlin won a Grammy Award for best album notes for an essay on Mexican mural painting.

In 1967, Catlin left Yale to take a position as director of the Art Gallery at the Center for Inter-American Relations before joining the faculty of Syracuse University in 1971 and becoming director of the university's Art Gallery. He remained at Syracuse for the rest of his career.

Catlin was a consultant on the major retrospective exhibition of the work of Diego Rivera at the Detroit Institute of Arts in 1986. He also worked on a project to document Mexican murals in the United States. Catlin died in Fayetteville, New York in 1997.
General:
Originally recorded on 9 sound cassettes. Reformatted in 2010 as 18 digital wav files. Duration is 13 hr., 38 min.
Transcripts have been heavily edited by the interviewee; researchers may wish to consult the sound recordings along with the transcript.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art historians -- Interviews  Search this
Topic:
Museums -- Study and teaching  Search this
Educators -- Interviews  Search this
Museum directors -- Interviews  Search this
Latino and Latin American artists  Search this
Function:
Art museums
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.catlin89
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d2a82907-b221-49f3-9797-2eadf47fde94
EDAN-URL:
ead_collection:sova-aaa-catlin89
Online Media:

Oral history interview with Sheila Hicks

Interviewee:
Hicks, Sheila, 1934-  Search this
Interviewer:
Lévi-Strauss, Monique  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 February 3-March 11
Scope and Contents:
An interview of Sheila Hicks conducted 2004 February 3-March 11, by Monique Levi-Strauss, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Paris, France.
Hicks speaks of her family and growing up in various cities; taking classes at the Detroit Institute of Arts; studying art at Syracuse University; spending a summer painting in Taxco, Mexico; transferring to Yale University to study painting; receiving a Fulbright grant to study in Chile; traveling through South America; painting and becoming part of the Chilean artist circle; returning to Yale for a Masters of Fine Arts; moving to Mexico to pursue photography; marrying Henrik Tati Schlubach; being awarded a grant to study in France; discovering a love for Paris and making textiles; meeting other artists in Mexico; taking her early textile pieces to the Museum of Modern Art; getting a contract with Knoll Associates; moving to Paris; meeting and marrying fellow artist Enrique Zañartu; making connections with European artists; creating large scale textiles for architects and designing for spaces; exhibiting at the Lausanne Biennale of Tapestry; opening a studio and hiring employees; the challenges of commissions; creating three-dimensional pieces; visiting other artists' studios; choosing materials and techniques; managing the magazine, "American Fabrics;" her tenure as art director for the King Saud University in Saudi Arabia; the process of making a project in her studio; working in carpet workshops in Morocco; using hospital linen in her sculpture; working on commissions in Japan; teaching; and having her work recognized as art. Hicks also recalls Josef and Anni Albers, Rico Lebrun, Luis Barragan, Claire Zeisler, Lenore Tawney, Mildred Constantine, Mathias Goeritz, and others.
Biographical / Historical:
Sheila Hicks (1934- ) is a fiber artist living in Paris, France. Monique Levi-Strauss is a writer also living in Paris, France.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 28 digital wav files. Duration is 6 hr., 19 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Fiber artists -- France -- Paris  Search this
Educators -- France -- Paris  Search this
Topic:
Decorative arts  Search this
Tapestry  Search this
Weaving -- Study and teaching  Search this
Weaving -- Technique  Search this
Women artists  Search this
Women educators  Search this
Women textile artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hicks04feb
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a41a79aa-82af-4f1c-bfd5-26f249654f61
EDAN-URL:
ead_collection:sova-aaa-hicks04feb
Online Media:

Oral history interview with Michael and Magdalena Suarez Frimkess

Interviewee:
Frimkess, Michael, 1937-  Search this
Frimkess, Magdalena Suarez  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Clay Art Center -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Otis Art Institute -- Faculty  Search this
Otis Art Institute -- Students  Search this
University of California, Berkeley. Department of Art -- Students.  Search this
Rosen, Clara  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
83 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 8-April 17
Scope and Contents:
An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.
Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.
Magdalena Frimkess also provided another informed perspective on the events described by her husband.
Biographical / Historical:
Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.
Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- Study and teaching -- Chile  Search this
Potters -- California -- Interviews  Search this
Pottery -- Study and teaching -- United States.  Search this
Ceramicists -- California -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.frimke01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90b4f4424-8f3e-433d-a868-3150ad81b171
EDAN-URL:
ead_collection:sova-aaa-frimke01
Online Media:

Stanton L. Catlin papers, 1911-1998, bulk 1930-1994

Creator:
Catlin, Stanton L., 1915-1997  Search this
Catlin, Stanton L., 1915-1997  Search this
Subject:
Paternosto, César  Search this
Williams, Amancio  Search this
Obregón, Alejandro  Search this
Motherwell, Robert  Search this
Torruella Leval, Susana  Search this
Boulton, Alfredo  Search this
Sebastián, Santiago  Search this
Ashton, Dore  Search this
Sandoval, Judith Hancock de  Search this
Rockefeller, David  Search this
Ades, Dawn  Search this
Rasmussen, Waldo  Search this
Rockefeller, Nelson A. (Nelson Aldrich)  Search this
Paz, Octavio  Search this
Universidad de Chile  Search this
Columbia Records, Inc.  Search this
Syracuse University  Search this
Hunter College  Search this
Type:
Photographs
Interviews
Transcripts
Diaries
Place:
Czech Republic -- description and travel
Topic:
Art, European  Search this
Latino and Latin American artists  Search this
Educators -- New York (State)  Search this
Art, Latin American  Search this
Art -- History -- Study and teaching  Search this
Theme:
Latino and Latin American  Search this
American Art and Artists in a Global Context  Search this
Record number:
(DSI-AAA_CollID)5453
(DSI-AAA_SIRISBib)214549
AAA_collcode_catlstan
Theme:
Latino and Latin American
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214549
Online Media:

Anton Refregier papers, circa 1900-circa 1990

Creator:
Refregier, Anton, 1905-1979  Search this
Refregier, Anton, 1905-1979  Search this
Subject:
Randall, Byron  Search this
Refregier, Lila  Search this
Siqueiros, David Alfaro  Search this
Morley, Eugene  Search this
O'Higgins, Pablo  Search this
Geddes, Norman Bel  Search this
Greenwood, Marion  Search this
Kent, Rockwell  Search this
Kuniyoshi, Yasuo  Search this
Dreyfuss, Henry  Search this
Elisofon, Eliot  Search this
Evergood, Philip  Search this
Fast, Howard  Search this
De Diego, Julio  Search this
Packard, Emmy Lou  Search this
Yavno, Max  Search this
National Council of American-Soviet Friendship (U.S.)  Search this
ACA Galleries  Search this
Bard College  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States. Works Progress Administration  Search this
Gosudarstvennyĭ Ėrmitazh (Russia)  Search this
World Peace Council  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Type:
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Place:
Chile
Soviet Union
Guatemala
Mexico
Topic:
Tapestry  Search this
Art -- Study and teaching  Search this
Political clubs  Search this
Muralists -- New York -- Woodstock  Search this
Art -- Commissioning  Search this
Painters -- New York (State) -- Woodstock  Search this
Mural painting and decoration -- Archival resources -- 20th century  Search this
Designers -- New York (State)  Search this
Artists' studios -- Photographs  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9646
(DSI-AAA_SIRISBib)211854
AAA_collcode_refranto
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211854
Online Media:

Anton Refregier papers

Creator:
Refregier, Anton, 1905-  Search this
Names:
ACA Galleries  Search this
Bard College -- Faculty  Search this
Gosudarstvennyĭ Ėrmitazh (Russia)  Search this
National Council of American-Soviet Friendship (U.S.)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States. Works Progress Administration  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
World Peace Council  Search this
De Diego, Julio, 1900-  Search this
Dreyfuss, Henry, 1904-  Search this
Elisofon, Eliot  Search this
Evergood, Philip, 1901-1973  Search this
Fast, Howard, 1914-  Search this
Geddes, Norman Bel, 1893-1958  Search this
Greenwood, Marion, 1909-1970  Search this
Kent, Rockwell, 1882-1971  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Morley, Eugene, 1909-1953  Search this
O'Higgins, Pablo, 1904-  Search this
Packard, Emmy Lou, 1914-1998  Search this
Randall, Byron, 1918-1999  Search this
Refregier, Lila  Search this
Siqueiros, David Alfaro  Search this
Yavno, Max  Search this
Extent:
35.9 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Place:
Chile
Soviet Union
Guatemala
Mexico
Date:
circa 1900-circa 1990
Summary:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.
Scope and Content Note:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.

Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.

Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.

The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).

Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.

Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.

Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.

Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.

The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.

Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.

Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)

Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)

Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)

Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)

Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)

Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)

Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)

Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)

Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)

Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)

Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)
Biographical Note:
Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.

After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.

Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.

Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.

Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.
Related Material:
Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.
Provenance:
Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. 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.
Topic:
Tapestry  Search this
Art -- Study and teaching  Search this
Political clubs  Search this
Muralists -- New York -- Woodstock  Search this
Art -- Commissioning  Search this
Painters -- New York (State) -- Woodstock  Search this
Mural painting and decoration -- Archival resources -- 20th century  Search this
Designers -- New York (State)  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Citation:
Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.refranto
See more items in:
Anton Refregier papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9545f99ed-0a65-4626-904d-8dda5c569fcf
EDAN-URL:
ead_collection:sova-aaa-refranto

Trends in art education from diverse cultures / edited by Heta Kauppinen and Read Diket

Author:
Kauppinen, Heta  Search this
Diket, Read  Search this
National Art Education Association  Search this
Physical description:
xiii, 196 p. : ill. ; 28 cm
Type:
Books
Date:
1995
Topic:
Art--Study and teaching  Search this
Call number:
N85 .T74 1995
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_773172

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