The scattered papers of art collector Elisabeth Commanday measure 0.4 linear feet and date from 1949 to 1974. The collection relates to longtime friendships between Commanday and art historian Bernard Berenson, his sister Elizabeth Berenson, his companion Nicky Mariano, and Mariano's sister Baroness Alda von Anrep. The papers include correspondence, notes, photographs, and printed material.
Scope and Contents:
The scattered papers of art collector Elisabeth Commanday measure 0.4 linear feet and date from 1949 to 1974. The collection relates to longtime friendships between Commanday and art historian Bernard Berenson, his sister Elizabeth Berenson, his companion Nicky Mariano and Mariano's sister Baroness Alda von Anrep. Found is correspondence, notes, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Art collector Elisabeth (Betty) Krieger Commanday (1891-1994) lived in New York City and Boston, Massachusetts. She travelled throughout Europe and maintained a correspondence with art historian Bernard Berenson.
Provenance:
Donated 1993 by Maurice Commanday, son of Elisabeth Commanday. Commanday corresponded with Berenson for nearly ten years. At his death in 1959, Berenson's companion Nicky Mariano returned to Commanday all of her letters, which she discarded, except for the earliest letter written in April 1949.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.
Scope and Contents:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.
Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.
Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.
Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.
Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.
The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.
Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.
There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)
Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)
Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)
Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)
Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)
Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)
Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)
Biographical / Historical:
Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.
Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.
The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.
In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.
Provenance:
The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of video recording requires advance notice. Contact Reference Services for more information.
Rights:
"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. 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:
Painters -- New York (State) -- New York Search this
The papers of art historian, curator, and educator Patricia Hills measure 47.5 linear feet and 0.113 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some of this material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
There is an 8.4 linear foot unprocssed addition to this collection donated in 2022 that includes Patricia Hills' research material regarding Eastman Johnson, consisting of biographical information; professional correspondence; printed material; institutional, exhibition, subject and genre files for Eastman Johnson's works of art; photographs of works of art; writings and lectures; catalog cards; and files regarding works not by Johnson.
Scope and Contents:
The papers of art historian, curator, and educator Patricia Hills measure 47.5 linear feet and 0.113 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
There is an 8.4 linear foot unprocssed addition to this collection donated in 2022 that includes Patricia Hills' research material regarding Eastman Johnson, consisting of biographical information; professional correspondence; printed material; institutional, exhibition, subject and genre files for Eastman Johnson's works of art; photographs of works of art; writings and lectures; catalog cards; and files regarding works not by Johnson.
Arrangement:
The collection is arranged as 13 series.
Series 1: Correspondence, circa 1958-2019 (2.6 Linear Feet; Boxes 1-2, 25)
Series 2: Project Files, circa 1900-2011 (15.2 Linear Feet; Boxes 3-13, 25-30, OV24, 0.041 GB; ER01-ER02)
Series 3: Whitney Museum Files, circa 1900-2015, bulk 1973-1987 (4.1 Linear Feet; Boxes 13-16, 30)
Series 4: Boston University Files, circa 1974-2015 (1.3 linear feet; Boxes 30-31)
Series 5: Professional Files, circa 1959-2019 (2.4 linear feet; Boxes 17-18, 32)
Series 6: Membership and Affiliation Records, circa 1969-2013 (2 linear feet; Boxes 18-20, 32)
Series 7: Museum of Fine Arts Restructuring Files, circa 1997-2005 (1.2 linear feet; Boxes 32-33)
Series 8: Writings, circa 1962-2019 (5.4 linear feet; Boxes 20-21, 34-38, 0.068 GB; ER03, ER05)
Series 9: Teaching Files, circa 1974-2019 (0.9 linear feet; Box 39)
Series 10: Artist Files, circa 1958-2014 (0.9 Linear Feet; Box 21)
Series 11: Subject Files, circa 1961-2007 (1.0 linear Feet; Box 22, 0.004 GB; ER04)
Series 12: Printed Material, circa 1970-2010 (1.0 linear Feet; Box 23)
Series 13: Unprocessed Addition, circa 1970-2022 (8.4 linear feet; Boxes 40-49)
Biographical / Historical:
Patricia Hills (1936-) is an art historian, curator, and Professor Emerita of American Art and African American Art at Boston University. Hills obtained a B.A. from Stanford University in Modern European Literature, an M.A. from Hunter College in 1968, where she was advised by Leo Steinberg, and her PhD. from New York University's Institute of Fine Arts. Hills worked as Associate and later Adjunct Curator of 18th and 19th Century American Art at the Whitney Museum of American Art from 1972 until 1987. During that time she organized exhibitions including John Singer Sargent (1986) while progressively becoming more invested as an educator, with teaching positions at Hunter College and the Institute of Fine Arts. In February 2011 she received the Distinguished Teaching of Art History award from the College Art Association.
Hills served as the Director of the Boston University Art Gallery from 1980-1989, and began her tenure in the art history department as Associate Professor in 1978. She was co-founder of the Boston Chapter of the Women's Caucus for Art and was highly active in the College Art Association and American Studies Association. She has held fellowships at numerous institutions including the W.E.B. DuBois Institute for African and African American Research at Harvard University, the Smithsonian American Art Museum, the Georgia O'Keeffe Museum Research Center, and the Gilder Lehrman Institute of American History.
As a principal author she is responsible for organizing a number of monograph and exhibition catalog publishing efforts including Painting Harlem Modern: The Art of Jacob Lawrence (2010), May Stevens (2005), Eastman Johnson: Painting America (co-authored, 1999), John Singer Sargent (1986), Alice Neel (1983), Social Concern and Urban Realism: American Painting of the 1930s (1983), Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910 (1977), The Painters' America: Rural and Urban Life, 1810-1910 (1974), and The American Frontier: Images and Myths (1973). In addition, Patricia Hills has authored numerous articles for art publications, served as reviewer for College Art Association's CAA Reviews, and has contributed greatly as a peer reviewer and editor. From 1990 to 1999, she served as series editor for six books in the Cambridge Studies in American Visual Culture series, published by Cambridge University Press.
Provenance:
Donated in 2006, 2018, 2019 and 2022 by Patricia Hills.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. 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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
An interview of Elma Lewis conducted 1997 July 25 and Sept. 19, by Robert Brown, for the Archives of American Art, in Lewis' home, Roxbury, Mass.
Lewis discusses her parents, immigrants from Barbados; her father being very politicized, quickly disillusioned regarding economic opportunity and racism; meeting Marcus Garvey and becoming a member of United Negro Improvement Association; her parents giving her a very strong cultural sense of her race and culture steeped in Christian doctrine; family thought in pan-African terms; attending integrated schools; World War II as a watershed for the Black community; her brother graduating from Harvard medical school after their mother demanded he be admitted, though still he had difficulty being accepted in medical community; another brother who became a concert pianist; her study of dance (ballet) for many years.
Father's encouragment to attend Emerson College in Boston (1939-1943); preparation for a career in music and the performing arts; teachers' training at Boston University (1943-1944); teaching at the school of dance and performing arts run by Doris Jones; Lewis founding her own school, the Elma Lewis School of Fine Arts in the largely Black Roxbury section of Boston in 1950; incorporating the visual arts; teaching by Alvin Ailey, Talley Beatty, Duke Ellington; problems posed by patronizing white liberal community; development of cooperative program with the Museum of Fine Arts, Boston; hiring the artist John Wilson and art historian Edmund Barry Gaither to further develop visual arts programs; and the primacy of culture and spirituality.
Biographical / Historical:
Elma Lewis (1921-2004) was an artist and teacher from Boston, Mass.
General:
Originally recorded on 1 sound cassettes. Reformatted in 2007 as 2 digital wav files. Duration is 1 hr., 32 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.
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class blacks from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
Art and life in Boston, 1837-1850 : a study of the painter and sculptor in American Society / by Frederic Alan Sharf, 1956. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 19th century -- History -- Massachusetts -- Boston Search this
Art -- Study and teaching -- Massachusetts -- Boston Search this
3555 Negatives (photographic) (black and white, 35 mm)
4 Notebooks ((1 box))
1 Cassette tape ((2 boxes))
25 Film reels (Super 8)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Contact sheets
Negatives (photographic)
Notebooks
Cassette tapes
Film reels
Place:
Nigeria
Date:
1971-2003
Summary:
Jean Borgatti's collection dates from 1971 to 2003 and was created in Nigeria and Ghana. Much of the collection documents masquerades, shrines, festivals, market scenes, and ceremonies, and includes images of Urhobo, Uzairue, Ishan (Esan), Etsako, and Otuo peoples.
Scope and Contents:
Jean Borgatti's collection dates from 1971 to 2003 and is comprised of 3,617 slides, 3,625 negatives, 4 negative books, contact prints, an audio cassette, 25 Super 8 film reels, and 23,425 digtial images. The materials primarily document the Urhobo, Uzairue, Ishan (Esan), Etsako, and Otuo peoples.
Much of the collection depicts masquerades, festivals, and ceremonies, including the Aimhi masquerade, Akpele masquerade, Egbemamu masquerade, Egede masquerade, Egu (Egungun) Akachi masquerade, Ekpenike masquerade, Ekuede masquerade, Erelue Masquerade, Gelede performance, Idu masquerade, Igbagu masquerade, Igo masquerade, Igugu Festival, Ihuen Festival, Iyabana night masquerade, Obanagbedor masquerade, Obonodike masquerade, Ogabadi masquerade, Ogumogu performances, Okwema masquerade, Olimi Festival, Omese masquerade, Opha procession, Otsa masquerade, Otuo masquerade, Ugwonor masquerade, Ukpokolo masquerade, and Wanyoke masquerade. There are also images of title-taking ceremonies and paraphernalia, and shrines, including the Aziza, Ikumuku, Ituke, Okailopokai, Oshun, Ugbe Ebo forest shrines.
Images were taken primarily in Nigeria, including in Lagos, Ibadan, Benin City, Auchi, Owan, Ibadan, Idah, Oshogbo, Otukpo, Gombe state, Bauchi State, Benue Plateau State, Ugboha, Akoko-Edo, Ouidah, Bida, and Kano. Borgatti also photographed the Kumase area and Capecoast in Ghana.
Arrangement:
Arranged into 4 series by format. Series 1, 2 and 4 are arranged chronologically and Series 3 is arranged alphabetically.
Series 1: Field Slides, 1971-2003
Series 2: Negatives, 1971-circa 1979
Series 3: Audio and Film Reels, circa 1970s-1982
Series 4: Digital Files, circa 1971-2015
Biographical / Historical:
Art historian and photographer Jean Borgatti's research focuses on cross cultural concepts of art and aesthetics, masquerades and festivals, portraiture, the Black Atlantic, and the continuities and discontinuities in African, African Diaspora, Oceanic and Native American art. An active photographer since at least 1971, she has worked primarily in Benin City, Nigeria and areas in northern Edo State, photographing the Okpella people and other Edo North groups.
Borgatti received her B.A. in Art History from Wellesley College (1966) and both her M.A. and Ph.D. degrees in Art History from UCLA. Since then, she has received fellowships, grants, and awards for research including a Mellon Fellowship in the Humanities (1979-1980), a Sainsbury Institute Fellowship at the University of East Anglia (2005), and two Fulbright fellowships (2002-2004, 2014-2016) for lecturing and conducting research in Nigeria. She was also presented with a Lifetime Achievement Award from the Arts Council of the African Studies Association (2014) for her contributions to the field. She taught African and Native American Art History at Clark University for twenty years and has continued her affiliation with Clark as a visiting scholar and research fellow. Additionally, Borgatti has been a visiting scholar of art history and African studies at Boston University (2010-2016).
Borgatti has curated a number of exhibitions, including From the Hands of Lawrence Ajanaku (Museum of Cultural History Gallery UCLA and the African American Institute New York, 1979); Likeness and Beyond: Portraits in Africa and the World (with Richard Brilliant and Alan Wardwell), Center for African Art, New York, and the Kimbell Museum, Fort Worth, 1990); Global Africa: Creativity, Continuity and Change in African Art, 2014-2017, and several museum shows in which African works were placed "in conversation" or "face to face" with works from Asia, Europe, and America throughout the Fitchburg Art Museum (2011-2012). Borgatti has published more than twenty articles on African art with such varied topics as masquerades in Edo North (Nigeria), portraiture in world art, the art market, and individual African artists.
Dr. Borgatti is a consulting curator on African and Oceanic Art at the Fitchburg Art Museum (Massachusetts, 2010-present) and a Professor of Art History, Department of Fine and Applied Arts, University of Benin (Nigeria, 2013-2017).
Provenance:
Donated by Jean Borgatti in 2016.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Collection contains images of art and museum objects and exhibitions with copyright restrictions.
