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Oral history interview with J. Fred Woell

Interviewee:
Woell, J. Fred, 1934-  Search this
Interviewer:
Gold, Donna, 1953-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Boy Scouts of America  Search this
Cranbrook Academy of Art -- Students  Search this
Haystack Mountain School of Crafts -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Wisconsin--Madison -- Students  Search this
Callahan, Harry M.  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 June 6-2002 January 19
Scope and Contents:
An interview of J. Fred Woell conducted 2001 June 6-2002 January 19, by Donna Gold, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home and studio, Deer Isle, Maine.
Woell speaks of his childhood and the impact of many moves; his affiliation with the Presbyterian Church; his experiences at Park College and the University of Illinois, Champagne-Urbana, studying economics and political science; and the influence of jewelry teacher Robert Von Neumann. Woell describes his experience in the masters program at the University of Wisconsin at Madison and refers again to his early childhood noting his participation in Boy Scouts and how it engendered his respect for the environment. He also mentions collecting baseball cards and rocks; the absence of a peer group; and his lack of confidence. He discusses his affinity for open space and unpopulated places; his enjoyment of camping, kayaking with his wife Pat; and notes that his views of nature mirror those of Taoists. He cites effective teaching techniques and comments on secondary school curricula. He discusses a cover story about his work in Metalsmith and his mother's response; his early art classes and interest in drawing cartoons; his tendency to be a clown; his participation in an American-Legion-sponsored event called Boys State; artists as purveyors of culture; and the premise for a workshop titled "Art by Accident." Woell speaks of influence of a John Cage performance at University of Illinois and subsequently contacting Cage; and teaching at Boston University, Haystack, and elsewhere. Woell also provides thoughtful commentary on the teaching style and learning process at Cranbrook Academy of Art. He discusses in some detail the strong influence of Vincent Campanella and Frank Gallo on his work; sharing a workbench with Bob von Neumann; recording and saving ideas; drawing preliminary sketches for jewelry; and his early sculptures of helmets and spoons. He describes and interprets his piece, "Come Alive, You're in the Pepsi Generation," and he comments on found-object pieces that were inspired by Scouting and cartooning. Woell explains how his environmental concerns inform his work and argues that art has a healing function. He remarks on meeting and marrying Kathleen, his first wife; his one-man show at Garth Clark Gallery; and how his work is part of an American, rather than international, tradition. Woell discusses his relationship with galleries including Helen Drutt in Philadelphia, Sybaris Gallery in Royal Oak, Michigan, Connell Gallery in Atlanta, and Mobilia in Cambridge, Massachusetts He points out the value of being included in publications such as, "Metalsmith," "Jewelers Circular Keystone," "Ornament," "American Craft," "Craft Horizon," and "Craft Report." He speaks about commissions for institutions and individuals and describes his current obligation to Haystack and his plans for his retirement, which includes exploring photography and making videos. Woell also describes his typical workday and his symptoms of Attention Deficit Disorder and dyslexia. He recalls Peter Voulkos, Jennifer Burton, Francis Sumner Merritt, Ronald Pearson, Georg Jensen, Audrey Handler, Jerry Brown, Jon Wilson, and others.
On January 19, 2002 Woell added an addendum to the interview which included remarks about September 11, 2001 acts of terrorism in the U.S.
Biographical / Historical:
J. Fred Woell (1934-) is a jeweler and metalsmith from Deer Isle, Maine. Donna Gold (1953-) is an art critic from Stockton Springs, Maine.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 11 digital wav files. Duration is 5 hr., 43 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:
Jewelers -- Maine -- Interviews  Search this
Metal-workers -- Maine -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.woell01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw939303f25-e810-46cd-b745-00b2cb922419
EDAN-URL:
ead_collection:sova-aaa-woell01
Online Media:

Oral history interview with Robert Taylor, 1980 March 13-1990 June 7

Interviewee:
Taylor, Robert, 1925-2009  Search this
Taylor, Robert, 1925-2009  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Interviews
Sound recordings
Topic:
Art, Modern -- 20th century -- Massachusetts -- Boston  Search this
Art criticism  Search this
Record number:
(DSI-AAA_CollID)11634
(DSI-AAA_SIRISBib)216380
AAA_collcode_taylor80
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216380
Online Media:

Oral history interview with J. Fred Woell, 2001 June 6-2002 January 19

Interviewee:
Woell, J. Fred, 1934-  Search this
Woell, J. Fred, 1934-  Search this
Interviewer:
Gold, Donna, 1953-  Search this
Subject:
Callahan, Harry M.  Search this
Boy Scouts of America  Search this
Cranbrook Academy of Art  Search this
Haystack Mountain School of Crafts  Search this
University of Wisconsin--Madison  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Jewelers -- Maine -- Interviews  Search this
Metal-workers -- Maine -- Interviews  Search this
Decorative arts  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)11914
(DSI-AAA_SIRISBib)227021
AAA_collcode_woell01
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_227021
Online Media:

Oral history interview with Robert Taylor

Interviewee:
Taylor, Robert, 1925-2009  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1980 March 13-1990 June 7
Scope and Contents:
An interview of Robert Taylor conducted 1980 March 13-1990 June 7, by Robert Brown, for the Archives of American Art, in Marblehead, Massachusetts.
Biographical / Historical:
Robert Taylor (1925-2009) was an art, literary and music critic, author, educator, and lecturer from Boston, Massachusetts. Wrote for the Boston Herald, 1952-1967, Boston Globe, 1968-1989. Columns for New Boston Review, later appearing in "Atlantic Monthly," were written under pseudonym Count Bibesco.
General:
Originally recorded on 2 sound tape reels and 1 sound cassette. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 46 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:
Art critics -- Massachusetts -- Boston -- Interviews  Search this
Topic:
Art, Modern -- 20th century -- Massachusetts -- Boston  Search this
Art criticism  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.taylor80
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eab44bbc-15a9-4381-b5b6-f397a2f758d6
EDAN-URL:
ead_collection:sova-aaa-taylor80
Online Media:

Jean Bergantini Grillo papers, 1962-1974

Creator:
Grillo, Jean Bergantini  Search this
Grillo, Jean Bergantini  Search this
Subject:
Boston Visual Artists Union  Search this
Topic:
Art -- Massachusetts -- Boston  Search this
Women art critics  Search this
Theme:
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)8990
(DSI-AAA_SIRISBib)211178
AAA_collcode_griljean
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211178

Charles Giuliano sound recordings, 1970-1977

Creator:
Giuliano, Charles, 1940-  Search this
Giuliano, Charles, 1940-  Search this
Subject:
Arthur, John  Search this
Hyde, Andrew C. (Andrew Cornwall)  Search this
Moffett, Kenworth  Search this
Siembab, Carl  Search this
Rosen, Phyllis  Search this
Westenberger, Theo  Search this
Olitski, Jules  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)10625
(DSI-AAA_SIRISBib)214176
AAA_collcode_giulchar
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214176

Jean Bergantini Grillo papers

Creator:
Grillo, Jean Bergantini  Search this
Names:
Boston Visual Artists Union  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-1974
Scope and Contents:
Papers concerning the arts in the Boston area consisting of letters received as art critic of THE PHOENIX, 1969-1972, notes for interviews and articles, press releases, exhibition announcements, invitations to openings, photographs of artwork and artists, and files, 1962-1974, on the Boston Visual Artists' Union and other Boston art organizations and events.
Biographical / Historical:
Art critic, writer, editor; Boston, Massachusetts and New York, N.Y.
Provenance:
Donated 1972-1979 by Jean B. Grillo.
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 critics -- Massachusetts -- Boston  Search this
Topic:
Art -- Massachusetts -- Boston  Search this
Women art critics  Search this
Identifier:
AAA.griljean
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw984de968f-ad48-4498-863a-3eb87b5e4bd0
EDAN-URL:
ead_collection:sova-aaa-griljean

Charles Giuliano sound recordings

Creator:
Giuliano, Charles  Search this
Names:
Arthur, John, 1939-  Search this
Hyde, Andrew C. (Andrew Cornwall), 1941-  Search this
Moffett, Kenworth  Search this
Olitski, Jules, 1922-2007  Search this
Rosen, Phyllis  Search this
Siembab, Carl, 1926-  Search this
Westenberger, Theo  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1970-1977
Summary:
The sound recordings of art critic Charles Giuliano include 10 sound reels and date from 1970 to 1977. Within the collection are interviews and discussions conducted or taped by Giuliano relating to the Boston, Massachusetts art scene.
Scope and Contents:
The sound recordings of art critic Charles Giuliano measure 0.2 linear feet, include 10 sound reels, and date from 1970 to 1977. Within the collection are interviews and discussions conducted or taped by Giuliano relating to the Boston, Massachusetts art scene. Among the interviewees are John Arthur, Andrew C. Hyde, Kenworth Moffett, Carl Siembab, Phyllis Rosen, Theo Westenberger, and Jules Olitski. The John Arthur and Jules Olitski interviews are transcribed.
Arrangement:
The collection is arranged as 2 series.

Series 1: Interviews, 1970-1977 (Box 1; 8 sound tape reels)

Series 2: Lectures and Seminars, 1976 (Box 1; 2 sound tape reels)
Biographical / Historical:
Charles Giuliano (1940- ) is an art critic based in Boston, Massachusetts. He is a former teacher of art history and served as Director of Exhibitions for the New England School of Art and Design at Suffolk University, Boston.
Provenance:
Donated 1977-1984 by Charles Giuliano.
Restrictions:
John Arthur and Kenworth Moffett interviews are access restricted; written permission required. Contact References Services for more information.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Baker, Belz, Chandler, Hyde interviews: Authorization to quote, reproduce or publish requires written permission from Charles Giuliano and interviewee. 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.
Occupation:
Art historians -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Charles Giuliano sound recordings, 1970-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.giulchar
See more items in:
Charles Giuliano sound recordings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6c77208-a984-4bbe-98e7-73f01b160337
EDAN-URL:
ead_collection:sova-aaa-giulchar

Walter Pach papers

Creator:
Pach, Walter, 1883-1958  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Brummer Gallery (New York, N.Y.)  Search this
Laurel Gallery (New York, N.Y.)  Search this
New York School of Art  Search this
Avery, Milton, 1885-1965  Search this
Barye, Antoine-Louis, 1796-1875  Search this
Brooks, Van Wyck, 1886-1963  Search this
Burroughs, Bryson, 1869-1934  Search this
Charlot, Jean, 1898-1979  Search this
Chase, William Merritt, 1849-1916  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Duchamp, Marcel, 1887-1968  Search this
Duchamp-Villon, Raymond, 1876-1918  Search this
Faure, Elie, 1873-1937  Search this
Henri, Robert, 1865-1929  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marsh, Reginald, 1898-1954  Search this
Matisse, Henri, 1869-1954  Search this
Miró, Joan, 1893-  Search this
Monet, Claude, 1840-1926  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Ogihara, Moriye  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Magda, 1884-1950  Search this
Pach, Nikifora  Search this
Pach, Raymond  Search this
Picasso, Pablo, 1881-1973  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Renoir, Auguste, 1841-1919  Search this
Rivera, Diego, 1886-1957  Search this
Schamberg, Morton L., 1881-1918  Search this
Sloan, John, 1871-1951  Search this
Villon, Jacques, 1875-1963  Search this
Extent:
20.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Prints
Drawings
Diaries
Travel diaries
Photographs
Date:
1857-1980
Summary:
The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.
Scope and Contents note:
The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.

Biographical material includes a copy of Pach's birth certificate and two passports for Walter and Magda Pach, in addition to address books, association membership cards and certificates.

Correspondence is both personal and professional. Family correspondence includes letters from Pach's son, Raymond, his first wife Magdalene (Magda), and his second wife Nikifora, whom he married in 1951 following the 1950 death of Magda. General correspondence includes letters from artists including Jean Charlot, Arthur B. Davies, Marcel Duchamp, Raymond Duchamp-Villon, Jacques Lipchitz, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, and Jacques Villon; and other art-world figures including writers Van Wyck Brooks and Elie Faure, and Bryson Burroughs, curator of painting at the Metropolitan Museum of Art.

The Writings series represents an extensive collection of hand-written manuscripts, typescripts, annotated drafts and notes for published and unpublished writings by Pach, including lectures, monographs such as Queer Thing, Painting and Ananias, or The False Artist, and journal and newspaper articles such as "Pierre-Auguste Renoir" (1912).

Diaries and journals include one of particular note recording Pach's trip to Europe circa 1903-1904, with William Merritt Chase's class.

Business records include 2 notebooks recording sales at the Armory Show in New York, Boston and Chicago, a record book with handwritten lists of paintings owned and sold by Pach in the early 1930s, and two books, one maintained by Nikifora Pach, recording pictures sold, lectures and publications by Pach from the early 1900s to the early 1960s.

Printed material documents Pach's career through exhibition catalogs of Pach's solo and group exhibitions, news clippings about Pach, including reviews of his writings on art, and an almost comprehensive collection of copies of Pach's published journal and newspaper articles.

Scrapbooks include a book of reviews and original letters pertaining to Pach's book Ananias or the False Artist, and a scrapbook documenting Pach's activities during the 1920s which included his first one-man show at the Brummer Gallery in New York and the publication of his books Masters of Modern Art and Raymond Duchamp-Villon.

Artwork inlcudes a small group of drawings and three sketchbooks by Pach. Also of note are two print portfolios published in 1947 by the Laurel Gallery which include an essay and an etching by Pach, in addition to hand-pulled prints by artists such as Milton Avery, Reginald Marsh and Joan Miro.

Photographs are of Pach from childhood through to the 1950s, in addition to Magda and Raymond Pach and other family members, artists, colleagues and friends. Included are photographs of William Merritt Chase's class and Robert Henri's class at the New York School of Art, circa 1904, and photos of artists including Robert Henri, Moriye Ogihara, and Pablo Picasso. Photographs of artwork by Pach and other artists can also be found here including Mexican mural projects by José Clemente Orozco and Diego Rivera, and works by Antoine-Louise Barye and George Of.

Selections from Pach's library include works written by or translated by Pach, and items central to Pach's interests and work.
Arrangement note:
The Walter Pach papers are arranged as ten series.

Missing Title

Series 1: Biographical Material, 1884-circa 1950s (Box 1, 9; 9 folders)

Series 2: Correspondence, 1883-1980 (Box 1-3, FC 23; 2.1 linear feet)

Series 3: Writings, 1899-circa 1950s (Box 3-5; 2.5 linear feet)

Series 4: Diaries and Journals, 1903-circa 1950s (Box 5; 5 folders)

Series 5: Business Records, circa 1913-circa 1960s (Box 5-6; 0.3 linear feet)

Series 6: Printed Material, circa 1900-1977 (Box 6-7, 9; 1.3 linear feet)

Series 7: Scrapbooks, circa 1890-circa 1940s (Box 7, 9; 0.4 linear feet)

Series 8: Artwork, circa 1860-circa 1950s (Box 7, 10; 0.4 linear feet)

Series 9: Photographs, 1857-1959 (Box 7-8, 10; 1.4 linear feet)

Series 10: Selections from Walter Pach's Library, 1880-1963 (Box 11-22; 12 linear feet)
Biographical/Historical note:
New York artist, critic, writer, art consultant, and curator, Walter Pach (1883-1958) was an influential promoter of modern art and was instrumental in organizing the landmark Armory Show in 1913.

Walter Pach was born in New York City, July 11, 1883. His father, Gotthelf Pach, was a prominent commercial photographer who, along with his family, ran the New York firm of Pach Brothers. The company did the bulk of the photographic work for the Metropolitan Museum of Art, and the young Pach often accompanied his father on museum assignments. In 1903, Pach graduated from the City College of New York with a degree in art. He also studied with Robert Henri at the New York School of Art and went abroad to paint with William Merritt Chase in the summers of 1903 and 1904.

In 1906 Pach presented his first art history lecture at the Westfield State Normal School in Westfield, Massachusetts.

In 1907, Pach went to France and as an artist and critic moved among the Parisian avant-garde and became part of the Gertrude and Leo Stein circle. Gertrude Stein's "Portrait of Walter Pach was painted in 1908. Pach wrote extensively about modern art and through his numerous books, articles, and translations of European art texts, brought an emerging modernist viewpoint to the American public. In 1908 he wrote the first article published in America on Cézanne, and also wrote on such established artists as Claude Monet, whom he interviewed in 1908 for Scribner's Magazine..

Pach organized exhibitions of contemporary art for important New York City galleries of the period, as well as the landmark exhibition of 1913, "The International Exhibition of Modern Art," commonly known as the Armory Show. Along with painters Arthur B. Davies and Walt Kuhn, he brought together leading contemporary European and American artists. Pach served with Kuhn as administrator, publicist and gallery lecturer for the Armory Show Chicago for the run of the exhibition.

Pach helped to form major collections for John Quinn and Walter Arensberg. He was also instrumental in securing individual works of art for museums, such as a portrait for the Louvre Museum by American master Thomas Eakins, and Jacques-Louis David's Death of Socrates for the Metropolitan Museum of Art.

Pach married artist Magdalene Frohberg in February 1914, and their son Raymond was born at the end of that year. The Pachs lived primarily in New York, but spent time abroad from 1928 to 1932. Intermittently, they lived on the West Coast, where Pach taught at the University of California at Berkeley. In the 1920s he taught at the University of Mexico on a Shilling Fund grant, lecturing and writing on Native American art and developing a strong interest in Pre-Columbian art. He took an active interest in organizing exhibitions and raising money for a museum to be dedicated to the indigenous art of the Americas. In addition, he was a friend of José Clemente Orozco and Diego Rivera and helped organize the Mexican chapter of the Society of Independent Artists, the New York-based organization he founded in 1917 with Walter Arensberg and Marcel Duchamp.

While not well known today as a painter, Walter Pach devoted much of his creative effort to painting. He considered himself both an artist and a writer, even though friends like art historian Bernard Berenson urged him to devote all his time to writing. Among his writings are monographs on a wide range of subjects, social commentary on the art world, and a book on museum structures. Among his first publications were a series of brochures produced for the 1913 Armory Show, including Odilon Redon and, in the same year, A Sculptor's Architecture, a book about the work of Raymond Duchamp-Villon, a close friend whom he admired greatly. In 1923, Pach wrote Georges Seurat, a book later cited by art historian John Rewald as an important early text on the artist. Masters of Modern Art and the monograph Raymond Duchamp-Villon were published the following year, and in 1928 Pach's well-known indictment of opportunistic artists and corruption in the art world, Ananias, or The False Artist, created a stir in art circles. Pach considered Vincent Van Gogh to be a seminal figure in the development of modern art and was the first historian to lecture on him in America. In 1936, he published his well-received monograph, Vincent Van Gogh. His recollections of a life spent in art, Queer Thing, Painting appeared in 1938. Ingres was published in 1939, as well as Masterpieces of Art, written for the 1939 New York World's Fair, for which Pach was exhibition director. His Art Museum in America, published in 1948, called into question the relevance, responsibility, and future direction of the American art museum. He long championed the artists of Mexico and published an essay on Diego Rivera in 1951 for the National Museum of Fine Arts, Mexico, for its 50-year retrospective exhibition on the artist. The Classical Tradition in Modern Art, Pach's last book, was published posthumously in 1959.

Pach's fluency in French, German, and Spanish allowed him to understand and interpret new avant-garde ideas developing in Europe and to translate them for an English-speaking audience. His language skills also allowed him to communicate personally with many noted artists in Europe and Mexico and to mediate between gallery dealers and museum curators on their behalf. His correspondence with major figures in 20th-century art are a fascinating and important source of information, not only about the artists themselves but about the art world in general during the first half of this century.

Chronology of Exhibitions and Writings

1908 -- "Cézanne," by Walter Pach, the first American article on the subject, published in December issue of Scribner's.

1911 -- "Albert P. Ryder," by Walter Pach, published in January issue of Scribner's.

1912 -- Met with Arthur B. Davies and Walt Kuhn to begin preparations for the Armory Show. Was responsible for the exhibition's European operations. Completed Portrait of Gigi Cavigli (exhibited at the Armory Show the following year). "Pierre-Auguste Renoir," by Walter Pach, published in May issue of Scribner's.

1913 -- Exhibited 5 paintings and 5 etchings in "The International Exhibition of Modern Art" (Armory Show), which opened in New York City on February 13. Served as administrator, publicist, and gallery lecturer for the Armory Show Chicago with Kuhn for the run of the exhibition. At the close of the show, Matisse, Brancusi, and Pach were hanged in effigy by the students of the School of the Art Institute of Chicago.

1915 -- Publication of The John Quinn Collection, catalog of a collection Pach was instrumental in assembling.

1916 -- Founded Society of Independent Artists in collaboration with Marcel Duchamp, Walter Arensberg, and others. Adviser to collector Walter Arensberg.

1917 -- Designed sets for Wallace Stevens's play, Bowl, Cat and Broomstick, produced at the Neighborhood Playhouse, New York City. Arranged a Gino Severini exhibition at Stieglitz's 219 gallery, New York City.

1918 -- "Universality in Art," by Walter Pach, published in February issue of Modern School. "Jean Le Roy," by Walter Pach, published in October issue of Modern School

1919 -- "The Schamberg Exhibition," by Walter Pach, published in May 17 issue of the Dial. Wrote introduction for Odilon Redon, the catalog for a graphics show at Albert Roulliers Gallery, Chicago.

1920 -- "The Art of the American Indian," by Walter Pach, published in January 20 issue of the Dial. His paintings abandoned the cubist-futurist mode and returned to a more naturalistic style.

1921 -- Publication of History of Art: Ancient Art, volume 1, by Elie Faure, translated by Walter Pach.

1922 -- Lecturer, University of Mexico, where he developed a strong interest in Pre-Columbian art. Lectured at Société Anonyme. Publication of History of Art: Mediaeval Art, volume 2, by Elie Faure, translated by Walter Pach. Contributed a chapter, "Art," to Civilization in the United States: An Inquiry by Thirty Americans, edited by Harold E. Stearns.

1923 -- Publication of Georges Seurat by Walter Pach. Publication of The Art of Cineplastics and History of Art: Renaissance Art, volume 3, by Elie Faure, translated by Walter Pach. "Georges Seurat," by Walter Pach, published in March issue of the Arts.

1924 -- Publication of Masters of Modern Art, by Walter Pach. Publication of Raymond Duchamp-Villon, by Walter Pach. Publication of History of Art: Modern Art, volume 4, by Elie Faure, translated by Walter Pach. "The Greatest American Artist," by Walter Pach, published in January issue of Harper's Magazine.

1926 -- "Graveur Américain," by Léon Rosenthal, an article about Pach's graphics (illustrated with an original etching, New York), published in September issue of Byblis, Miroir des Arts du Livre et de L'Estampe. "Brancusi," by Walter Pach, published in December 1 issue of the Nation. Instructor, New York University. First solo exhibition at Brummer Gallery, New York, New York.

1927 -- "What Passes for Art," by Walter Pach, published in June issue of Harper's Magazine

1928 -- Publication of Ananias, or The False Artist, by Walter Pach. Pach family relocated to Europe.

1929 -- "The Evolution of Diego Rivera," by Walter Pach, published in January issue of Creative Art. "John Ruskin and Walter Pach: Defenders of the Faith," by W.H. Downes, published in August issue of American Museum Art.

1930 -- Publication of An Hour of Art, by Walter Pach. Publication of History of Art: The Spirit of the Forms, volume 5, by Elie Faure, translated by Walter Pach. "Notes sur le classicisme de Delacroix," by Walter Pach, published in June issue of L'Amour de L'Art.

1931 -- Solo exhibition at Kraushaar Gallery, New York City, with review published in March 21 issue of Art News. "Raymond Duchamp-Villon," by Walter Pach, published in May issue of Formes XV.

1932 -- "Le Classicisme de Barye," by Walter Pach, published in November issue of L'Amour de L'Art . Returned to the United States.

1933 -- "Address at the Worcester Opening of International, 1933," by Walter Pach, and "Georges Rouault," by Walter Pach, both published in January issue of Parnassus. "American Art in the Louvre," by Walter Pach, published in May issue of Fine Arts 20. "On Owning Pictures," by Walter Pach, published in August issue of Fine Arts 20. "Rockefeller, Rivera and Art," by Walter Pach, published in September issue of Harper's Magazine.

1934 -- Organized Maurice Prendergast retrospective for Whitney Museum of American Art.

1935 -- Exhibition at Knoedler Gallery, New York City included Walter Pach's Respice, Adspice, and Prospice, a fresco commissioned for the City College of New York by the Class of 1903.

1936 -- Exhibition of watercolors at Kleemann Galleries, New York City. Publication of Vincent Van Gogh, by Walter Pach." The Raphael from Russia," by Walter Pach, published in January issue of Virginia Quarterly Review. "First Portfolio of American Art," by Walter Pach, published in October 3 issue of Art News. Wrote foreword to First Exhibition in America of Géricault, catalog of exhibition at Marie Sterner Gallery, New York City. "The Outlook for Modern Art," by Walter Pach, published in April issue of Parnassus. Article about Pach's City College mural published in February issue of City College Alumnus Magazine.

1937 -- Publication of The Journal of Eugène Delacroix, translated by Walter Pach. Publication of Thomas Eakins, by Walter Pach, catalog of exhibition at Kleemann Gallery, New York City.

1938 -- Publication of Queer Thing, Painting: Forty Years in the World of Art, by Walter Pach. "Delacroix Today," by Walter Pach, published in January issue of Magazine of Art.

1939 -- Publication of Ingres, by Walter Pach. Appointed general director, "Masterpieces of Art" exhibition, New York World's Fair.

1940 -- Publication of Masterpieces of Art, New York World's Fair, 1940, Official Illustrated Catalogue, by Walter Pach.

1941 -- Solo exhibition at Schneider-Gabriel Gallery, New York City.

1942 -- "Newly Discovered Ingres: The Lovers," by Walter Pach, published in October issue of Art in America Exhibition at Whitney Museum of American Art, "Between the Wars: Prints by American Artists, 1914-1941," included Walter Pach's etching Saint-Germain-des-Pres (1911). Lecturer, University of Mexico, Shilling Fund grant.

1943 -- "A Newly Found American Painter: Hermenegildo Bustos," by Walter Pach, published in January issue of Art in America. "Unknown Aspects of Mexican Painting," by Walter Pach, published in October issue of Gazette des Beaux-Arts. Marriage of son, Raymond.

1944 -- "The Eight, Then and Now," by Walter Pach, published in January issue of Art News. "Problemas del arte americano," by Walter Pach, published in December issue of Origenes.

1946 -- "La Barricade in America," by Walter Pach, published in July issue of Art News. "On Art Criticism," by Eugène Delacroix (first published in Revue de Paris, May 1829), translated by Walter Pach for catalog of exhibition at Curt Valentin, New York City.

1947 -- Publication of Picasso, by Juan Larrea, edited by Walter Pach. Publication of "Museums Can Be Living Things," by Walter Pach, in Laurels Number One, Laurel Gallery. Etching, Scopasian Head, by Walter Pach, included in Laurels Number Two, Laurel Gallery.

1948 -- Publication of The Art Museum in America, by Walter Pach. "The Past Lives On," by Walter Pach, parts 1 and 2, published in October and November issues of American Artist.

1949 -- "Thus Is Cubism Cultivated," by Walter Pach, published in May issue of Art News.

1950 -- Contributed a chapter, "The State of the Arts in the Democratic Way of Life: A Postscript," to Perspectives on a Troubled Decade: Science, Philosophy and Religion, 1939-1949, edited by Lyman Bryson, Louis Finkelstein, and R. M. MacIver. Death of wife, Magdalene.

1951 -- "Reaciones entre la cultura nordeamericana y la ombre de Diego Rivera," a major essay by Walter Pach published in Diego Rivera, 50 años de su labor artistica, exposition de normenaje nacional, Museo nacional de artes plasticas, Mexico City. Married Nikifora.

1953 -- "A Modernist Visits Greece," by Walter Pach, reprinted in autumn issue of Archaeology.

1954 -- "John Sloan," by Walter Pach, published in August issue of Atlantic Monthly.

1956 -- "Introducing the Paintings of George Of (1876-1954)," by Walter Pach, published in October issue of Art News.

1958 -- Professor, City College of New York. Died, New York City, following an operation for stomach ulcers.

1959 -- Publication of The Classical Tradition in Modern Art, by Walter Pach.

1986 -- Exhibition, "Walter Pach, A Retrospective," at Asheville Art Museum, Asheville, North Carolina.

1988 -- Exhibition, "The Art of Walter and Magda Pach," at Butler Institute of American Art, Youngstown, Ohio.

1990 -- Exhibition, "Discovering Modernism: Selections from the Walter Pach Papers," at the Archives of American Art, New York City.

1991 -- Exhibition, "The Paintings of Walter Pach," at Forum Gallery, New York City.
Related Materials:
Papers of Walter Pach, 1885-1956, are also located at the Helen Farr Sloan Library & Archives.
Separated Materials note:
When the Archives of American Art acquired the Walter Pach Papers, some portion of his library was also received. The bulk of the library was transferred to the Smithsonian's American Art/Portrait Gallery Library where the items could be properly cataloged, cared for, and used.
Provenance:
The Walter Pach papers were acquired in several installments. After Pach's death his widow, Nikifora Pach, sold Pach's papers to Salander-O'Reilly Galleries. They were purchased by the Archives of American Art in 1988 with a grant from the Brown Foundation, Inc.

Eight family photographs, donated by Raymond Pach, son of Walter Pach, were received in 1990.

In 2012 Francis M. Naumann donated an additional 5.7 linear feet of material to the Archives of American Art.
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.
Occupation:
Art critics  Search this
Art historians  Search this
Artists  Search this
Topic:
Art schools -- Photographs  Search this
Authors -- New York (State) -- New York  Search this
Art criticism  Search this
Art -- Study and teaching  Search this
Art -- Expertising  Search this
Mural painting and decoration, Mexican  Search this
Curators -- New York (State) -- New York  Search this
Modernism (Art)  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Prints
Drawings
Diaries
Travel diaries
Photographs
Citation:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pachwalt2
See more items in:
Walter Pach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e24017f2-73ab-4bdf-b1e3-d0e53592ca04
EDAN-URL:
ead_collection:sova-aaa-pachwalt2
Online Media:

Hans Namuth photographs and papers

Creator:
Namuth, Hans  Search this
Names:
Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this
Jewish Museum (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Virginia Museum of Fine Arts  Search this
Yale University. School of Art and Architecture  Search this
Adams, Ansel, 1902-1984  Search this
Boynton, Jack, 1928-2010  Search this
Breuer, Marcel, 1902-  Search this
Cage, John, 1912-1992  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Castelli, Leo  Search this
Copland, Aaron, 1900-1990  Search this
Davis, Stuart, 1892-1964  Search this
De Kooning, Willem, 1904-1997  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Hartigan, Grace  Search this
Hopper, Edward, 1882-1967  Search this
Johns, Jasper, 1930- -- Photographs  Search this
Karpel, Bernard, 1911-1986  Search this
Koch, Kenneth, 1925-  Search this
Krasner, Lee, 1908-1984 -- Photographs  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Navaretta, Cynthia  Search this
Newman, Arnold, 1918-2006  Search this
Noguchi, Isamu, 1904-1988 -- Photographs  Search this
Norman, Dorothy, 1905-1997  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rauschenberg, Robert, 1925-2008 -- Photographs  Search this
Rothko, Mark, 1903-1970 -- Photographs  Search this
Shaw, Elizabeth Roberts, 1921-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Wyeth, Andrew, 1917-2009 -- Photographs  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Place:
Massachusetts -- Boston
Date:
1945-1985
Summary:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.
Scope and Contents:
The papers of New York photographer and filmmaker Hans Namuth measure 4.5 linear feet and date from 1945 to 1985. The bulk of the collection consists of photographs taken by Namuth of New York artists. Also included are papers regarding Namuth's film about Alfred Stieglitz and other professional files.

The first series contains materials related to the planning and production of Namuth's film Alfred Stieglitz, Photographer. Documentation includes articles, correspondence, exhibition materials, grant program request sheets, magazines and catalogs, photo requests, photographs and photographic materials, notes and research, shot lists, script drafts and fragments, interview transcripts, and correspondence. Interviewees include Ansel Adams, Arnold Newman, Aaron Copland, Dorothy Norman, and others.

The second series contains various writings and papers relating to Namuth's professional activities, including Namuth's exhibition at the 1958 Brussels World Fair, business and financial records, papers on The Construction of Boston by Kennth Koch, correspondence, a notebook, and various printed materials. Namuth's correspondence is with James Boynton, Bernard Karpel, the Museum of Modern Art, Cynthia Navaretta, Elizabeth Shaw, the Virginia Museum of Fine Arts, and the Yale University School of Art and Architecture.

Photographs taken by Hans Namuth depict prominent American (primarily New York-based) artists, architects, writers, musicians, and art critics. Artists are shown in their studios or homes, either at work or posing for the camera, and include Alexander Calder, Stuart Davis, Willem de Kooning, Grace Hartigan, Edward Hopper, Jasper Johns, Lee Krasner, Isamu Noguchi, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andrew Wyeth, among many others. Photographs of other individuals include Marcel Breuer, John Cage, Leo Castelli, Buckminster Fuller, and Ludwig Mies van der Rohe, and others. Also found are photographs of exhibitions, openings, and art-related events from the 1950s and 1960s, such as a traveling Picasso exhibit and a Robert Rauschenberg opening at the Jewish Museum. Most photographs are black and white, but a few color prints are included.
Arrangement:
This collection is arranged as 3 series.

Missing Title

Series 1: Alfred Stieglitz Film Project, 1945-circa 1981 (Box 1, OV 11; 0.8 linear feet)

Series 2: Professional Files, 1953-1985 (Box 1; 0.3 linear feet)

Series 3: Photographs, 1945-1984 (Box 2-10; 3.4 linear feet)
Biographical / Historical:
Hans Namuth (1915-1990) was a German-American photographer and filmmaker who lived and worked in New York. He was primarily known for his work photographing prominent American artists in the 1950s and 1960s.

Namuth was born in Germany but left for France in 1933 after the rise of the Nazi Party. While in France, he struck up a friendship with fellow German Georg Reisner. From 1935 to 1939, Namuth and Reisner worked together as photographers primarily in Paris. His first works to catch the public's attention came from an assignment in Barcelona that accidentally coincided with the beginning of the Spanish Civil War in 1936. Following a short internment in Nazi-occupied France, Namuth left for the United States.

After taking photography classes with Alexey Brodovitch, art director of Harper's Bazaar, Namuth met Jackson Pollock at an exhibition in 1950 and asked to photograph the artist at work. His subsequent photographs of Pollock raised both artists' profiles. Namuth would spend the next three decades photographing major New York artists, architects, and art-related events for commission and for his own studio. He directed a number of films in collaboration with Paul Falkenberg and published several books of photographs. Namuth died in Long Island in 1990.
Related Materials:
Also at the Archives of American Art is an oral history interview with Hans Namuth, Aug. 12-Sept. 8, 1971. Additional Hans Namuth papers are located at the Center for Creative Photography, University of Arizona.
Provenance:
The collection was donated 1972-1985 by Hans Namuth.
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:
All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Assistant Registrar for Rights & Reproductions; Center for Creative Photography. 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.
Occupation:
Art critics -- New York (State) -- New York  Search this
Musicians -- New York (State) -- New York  Search this
Topic:
Artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Citation:
Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.namuhans
See more items in:
Hans Namuth photographs and papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98657f618-8639-4278-8569-19240b164357
EDAN-URL:
ead_collection:sova-aaa-namuhans

Philip Leslie Hale papers

Creator:
Hale, Philip Leslie, 1865-1931  Search this
Names:
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Butler, Theodore Earl, 1861-1936  Search this
Cox, Kenyon, 1856-1919  Search this
Hale, Nancy, 1908-  Search this
Hart, William H., b. 1863  Search this
Kennedy, Albert J. (Albert Joseph), 1879-1968  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Sketchbooks
Sketches
Date:
1818-1962
bulk 1877-1939
Summary:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.

Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.

Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.

Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.

Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.

Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.

Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.

The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:

Missing Title

Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)

Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)

Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)

Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)

Series 6: Printed Material, 1883-1951 (8 folders; Box 7)

Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.

Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.

In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.

In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).

Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.

In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.

Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.

Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.

Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
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:
Art teachers -- Massachusetts -- Boston  Search this
Art critics -- Massachusetts -- Boston  Search this
Topic:
Art -- History  Search this
Art -- Study and teaching  Search this
Painting, American  Search this
Painters -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Photographs
Interviews
Sketchbooks
Sketches
Citation:
Philip Leslie Hale papers, 1818-1962, bulk 1877-1939. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halephil
See more items in:
Philip Leslie Hale papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986c5713b-e14b-47a1-a44d-f4c3b49ea2f0
EDAN-URL:
ead_collection:sova-aaa-halephil
Online Media:

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