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The coming of modernism to Chicago, 1910-1940

Creator:
Kruty, Paul Samuel  Search this
Morgan, Ann Lee  Search this
Moser, Charlotte, 1947-  Search this
Platt, Susan Noyes, 1945-  Search this
Prince, Sue Ann  Search this
Weininger, Susan  Search this
Weller, Allen S. (Allen Stuart), 1907-1997  Search this
Brettell, Richard R.  Search this
Engelbrecht, Lloyd C.  Search this
Germer, Stefan  Search this
Harris, Neil, 1938-  Search this
Berman, Avis  Search this
Coming of modernism to Chicago (1988 : Chicago, Ill.)  Search this
Extent:
6 Items (sound cassettes)
Container:
Item IM100RC.105
Item IM100RC.105
Item IM100RC.105
Item IM100RC.105
Item IM100RC.105
Item IM100RC.105
Type:
Archival materials
Audio [31027000062212]
Audio [31027000062220]
Audio [31027000062238]
Audio [31027000062188]
Audio [31027000062196]
Audio [31027000062204]
Sound recordings
Date:
1988 March
Scope and Contents:
Recordings of a symposium on modernism in Chicago, sponsored by the Archives of American Art. Participants include Neil Harris, Charlotte Moser, Allen Weller, Stefan Germer, Ann Lee Morgan, Susan Platt, Susan Weininger, Paul Kruty, Lloyd Engelbrecht, Avis Berman, Sue Ann Kendall and Richard (Rick) Brettell.
The end of Susan Weininger's talk and the beginning of Paul Kruty's talk are missing due to technical difficulties at the time of recording.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 6 hrs., 54 min.
Funding note:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Provenance:
These sound recordings are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Collection Restrictions:
Use requires an appointment.
Occupation:
Art historians  Search this
Topic:
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Modernism (Art)  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.archiv57, Item AAA
See more items in:
Archives of American Art sound recordings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f41c689e-7015-47ae-83a6-f1875aab3982
EDAN-URL:
ead_component:sova-aaa-archiv57-ref7

E.P. (Edgar Preston) and Constance Richardson papers, 1814-1996, bulk 1921-1996

Creator:
Richardson, Edgar Preston, 1902-1985  Search this
Richardson, Constance Coleman, 1905-2002  Search this
Subject:
Rutledge, Anna Wells  Search this
Simper, Fred  Search this
McDermott, John Francis  Search this
Speck, Walter  Search this
Stevens, William B.  Search this
Fredericks, Marshall M.  Search this
Castano, Giovanni  Search this
Soria, Regina  Search this
Lynes, Russell  Search this
Frankenstein, Alfred V. (Alfred Victor)  Search this
Hardy, Jeremiah Pearson  Search this
Pleasants, J. Hall (Jacob Hall)  Search this
Garrison, Eve Josephson  Search this
Bishop, Isabel  Search this
Allston, Washington  Search this
Woolfenden, William E. (William Edward)  Search this
Ripley, Sidney Dillon  Search this
Morse, John D.  Search this
Watkins, Franklin Chenault  Search this
Lewis, W. S. (Wilmarth Sheldon)  Search this
Marsh, Reginald  Search this
Sheeler, Charles  Search this
Kuniyoshi, Yasuo  Search this
Bostick, William A.  Search this
Jungwirth, Irene G. (Irene Gayas)  Search this
Oliver, Andrew  Search this
Simpson, Corelli C. W.  Search this
Andrews, Wayne  Search this
Valentiner, Wilhelm Reinhold  Search this
Middeldorf, Ulrich Alexander  Search this
Spark, Victor D. (Victor David)  Search this
Fleischman, Lawrence A. (Lawrence Arthur)  Search this
Sellers, Charles Coleman  Search this
Heil, Walter  Search this
Lee-Smith, Hughie  Search this
Bouché, Louis  Search this
Moser, Liselotte  Search this
Flexner, James Thomas  Search this
Vose, Robert C. (Robert Churchill)  Search this
Cohn, Harold  Search this
Aram, Siegfried F.  Search this
Mast, Gerald  Search this
Krentzin, Earl  Search this
Groce, George C.  Search this
Peale, Charles Willson  Search this
Culver, Charles B. (Charles Beach)  Search this
Wedda, John  Search this
Boyd, Julian P. (Julian Parks)  Search this
O'Keeffe, Georgia  Search this
Wyeth, Andrew  Search this
Hopper, Edward  Search this
Rockefeller, Nelson A. (Nelson Aldrich)  Search this
Rockefeller, John D.  Search this
Copeland, Lammot du Pont  Search this
Freeman, Michael W.  Search this
Allen, Joseph  Search this
Peale family  Search this
Castano Galleries (Boston, Mass.)  Search this
Historical Society of Pennsylvania  Search this
Macbeth Gallery  Search this
Archives of American Art  Search this
Philadelphia Museum of Art  Search this
National Collection of Fine Arts (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Pennsylvania Academy of the Fine Arts  Search this
White House (Washington, D.C.)  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Type:
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Place:
Detroit (Mich.)
Citation:
E.P. (Edgar Preston) and Constance Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Painting, American  Search this
Art, American  Search this
Romanticism  Search this
Art -- History -- Study and teaching  Search this
Theme:
Diaries  Search this
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)10104
(DSI-AAA_SIRISBib)212990
AAA_collcode_richedga
Theme:
Diaries
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212990
Online Media:

Marlene Park and Gerald E. Markowitz research materials on New Deal Art, 1931-1999

Creator:
Park, Marlene, 1931-  Search this
Markowitz, Gerald E., 1944-  Search this
Subject:
Palmer, William  Search this
Magafan, Ethel  Search this
Markowitz, Gerald E.  Search this
Reisman, Philip  Search this
Rothschild, Lincoln  Search this
Burchfield, Charles Ephraim  Search this
Refregier, Anton  Search this
Van Veen, Stuyvesant  Search this
Solman, Joseph  Search this
Sternberg, Harry  Search this
Walton, Marion  Search this
Alston, Charles Henry  Search this
Bolotowsky, Ilya  Search this
Barnet, Will  Search this
Brooks, James  Search this
Cadmus, Paul  Search this
Cronbach, Robt. (Robert M.)  Search this
Citron, Minna Wright  Search this
Gottlieb, Adolph  Search this
Gellert, Hugo  Search this
Bouché, Louis  Search this
King, Roy E.  Search this
Katz, Leo  Search this
Lanning, Edward P.  Search this
Kotin, Albert  Search this
National Personnel Records Center (U.S.)  Search this
United States. Work Projects Administration  Search this
Type:
Sound recordings
Interviews
Transcripts
Photographs
Citation:
Marlene Park and Gerald E. Markowitz research materials on New Deal Art, 1931-1999. Archives of American Art, Smithsonian Institution.
Topic:
Federal aid to the arts  Search this
Theme:
Government Sponsorship of the Arts  Search this
Record number:
(DSI-AAA_CollID)6277
(DSI-AAA_SIRISBib)216622
AAA_collcode_parkmarl
Theme:
Government Sponsorship of the Arts
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216622
Online Media:

Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7

Interviewee:
Davis, Leroy, 1922-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
Langdale, Cecily  Search this
Shikler, Aaron  Search this
Barnes, Albert C. (Albert Coombs)  Search this
Bly, Boris  Search this
De Mazia, Violette  Search this
Davis, Terry Ritter  Search this
Bouché, Louis  Search this
Levine, David  Search this
Penn, Arthur  Search this
Hirschl & Adler Galleries  Search this
Tyler School of Art  Search this
Barnes Foundation  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7. Archives of American Art, Smithsonian Institution.
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13624
(DSI-AAA_SIRISBib)271983
AAA_collcode_davis07
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_271983
Online Media:

Oral history interview with Erle Loran

Interviewee:
Loran, Erle, 1905-1999  Search this
Interviewer:
Chipp, Herschel Browning  Search this
Names:
Minneapolis School of Art  Search this
Booth, Cameron, 1892-1980  Search this
Cézanne, Paul, 1839-1906  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Extent:
119 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 June 18
Scope and Contents:
An interview of Erle Loran conducted 1981 June 18, by Herschel Chipp, for the Archives of American Art.
Loran speaks of his education, his studies with Cameron Booth and Hans Hofmann, life in Europe on a grant, his study of Cezanne, including his book, "Cezanne's Composition," and his return to New York. He discusses teaching at the Minneapolis School of Art, the WPA Art School, in Minneapolis, and the University of California, at Berkeley. He comments on meeting Marsden Hartley, American midwestern painters, ghost towns as subject matter for paintings, American politics in the 1930s, and surrealism in America.
Biographical / Historical:
Erle Loran (1905-1999) was a painter and art historian of Minneapolis, Minn. and Berkeley, Calif.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 5 hrs., 14 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Art historians -- California -- Interviews  Search this
Topic:
Surrealism  Search this
Art, American -- Minnesota  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.loran81
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93c3620a5-9f59-4dbd-ad07-1f6e9538dcc3
EDAN-URL:
ead_collection:sova-aaa-loran81
Online Media:

Tony Vevers papers

Creator:
Vevers, Tony  Search this
Names:
Long Point Gallery (Provincetown, Mass.)  Search this
Provincetown Art Association  Search this
Purdue University -- Faculty  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Andersen, Yvonne  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Falcone, Dominic  Search this
Grooms, Red  Search this
Halvorsen, Elspeth  Search this
Hofmann, Hans, 1880-1966  Search this
L'Engle, Lucy, 1889-1978  Search this
L'Engle, William, 1884-1957  Search this
Motherwell, Robert  Search this
Smith, Houghton Cranford, 1887-1983  Search this
Stout, Myron, 1908-1987  Search this
Tworkov, Jack  Search this
Vevers, Tabitha  Search this
Webster, E. Ambrose (Edwin Ambrose), 1869-1935  Search this
Yamamoto, Gwen  Search this
Yamamoto, Taro  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Photographs
Portraits
Watercolor paintings
Place:
Provincetown (Mass.) -- Description and Travel
Date:
1947-2008
bulk 1960-1999
Summary:
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.
Scope and Contents:
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.

Among the biographical materials are résumés, a personal statement, the transcript of Tabitha Vevers's 1986 "Conversation with My Father," and applications for grants to study Provincetown artists and the history of the Provincetown art community from the 1920s to the 1950s. Personal and professional includes some letters to his wife Elspeth.

The collection as a whole—and especially Vevers's writings and subject files–focuses on the Provincetown art community, its history and significance. Vevers's writings include many lectures prepared for classes he taught at Purdue University and the Provincetown Art Association and Museum, catalog essays, and notes. There are notes and research materials about artists Houghton Cranford Smith, E. Ambrose Webster, Edwin Dickinson, and Lucy and William L'Engle, and subject files about the Provincetown Art Association and Museum, Long Point Gallery, and other galleries in the area, as well as a file of Provincetown-related obituaries and eulogies for Hans Hofmann, Robert Motherwell, and Jack Tworkov, with Vevers's eulogies for Tworkov and Myron Stout.

Printed materials consist mainly of clippings, exhibition catalogs and announcements relating to Vevers and his art interests. Artwork consists of a small print and watercolor, probably by Vevers, as well as a pen-and-ink portrait by an unidentified artist.

Photographs are mainly of artwork by Vevers. The two images of Vevers show him as a young boy and in 1984 at work in his studio. There are several photographs of exhibition installations at the Sun Gallery in Provincetown, 1958-1959, identified artists are: Yvonne Andersen, Dominic Falcone, Red Grooms, Taro and Gwen Yamamoto.
Arrangement:
The collection is arranged in 7 series:

Missing Title

Series 1: Biographical Materials, 1962-2000 (Box 1; 1 folder)

Series 2: Correspondence, 1950s-2006 (Box 1; 0.1 linear foot)

Series 3: Writings, 1947-2008 (Boxes 1-2; 1.9 linear feet)

Series 4: Subject Files, 1954-2006 (Boxes 2-3; 0.7 linear foot)

Series 5: Printed Material, 1960s-2008 (Boxes 3-4; 0.7 linear foot)

Series 6: Artwork, circa 1950s-circa 2005 (Box 4; 2 folders)

Series 7: Photographs, circa 1950s-1984 (Box 4; 0.1 linear foot)
Biographical / Historical:
Painter and art historian, Tony Vevers (1926-2008) and his artist wife Elspeth Halvorsen (b. 1929) lived and worked in Provincetown, Massachusetts, as year-round or summer residents from 1955 to 2006. From 1964 to 1988, Vevers taught art and art history at Purdue University in Indiana. An active participant in the Provincetown art community, he was also an historian of the Provincetown art scene.

Vevers was born in London, England and immigrated to the United States in 1940, graduating from the Hotchkiss School in Lakeville, Connecticut and Yale University. Following college he studied in Florence, Italy, and with Hans Hofmann in New York City, where he met his wife Elspeth Halvorsen. The couple had two daughters, one of whom, Tabitha is also an artist.

Vevers, active in the Abstract Expressionist movement, had several one-man exhibitions and participated in over one hundred group exhibitions. His works are in the Hirshhorn Museum in Washington, DC, the Delgardo Museum in New Orleans and many universities, corporate, and private collections in the United States and abroad.

Tony Vevers died in Chatham, Massachusetts on March 2, 2008 following complications from pneumonia.
Related Materials:
Also found in the Archives of American Arts are two oral history interviews with Tony Vevers, one conducted by Dorothy Seckler 1965 September 9, the second conducted by Robert F. Brown in 1998 July 9 and August 25.
Provenance:
The papers were donated to the Archives of American Art in 2013 by Elspeth Halvorsen-Vevers the widow of Vevers.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts -- Provincetown  Search this
Art historians -- Massachusetts  Search this
Topic:
Transcripts  Search this
Artists' studios -- Photographs  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 19th century  Search this
Art -- Study and teaching  Search this
Abstract expressionism  Search this
Educators -- Massachusetts  Search this
Genre/Form:
Prints
Photographs
Portraits
Watercolor paintings
Citation:
Tony Vevers papers, 1947-2008, bulk 1960-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vevetony
See more items in:
Tony Vevers papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97a6ef0cb-3446-4e9b-9d4d-c34188ac23c6
EDAN-URL:
ead_collection:sova-aaa-vevetony

Hans Hofmann papers

Creator:
Hofmann, Hans, 1880-1966  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Amgott, Madeline  Search this
Dickey, Tina, 1954-  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Hofmann, Maria, 1885-1963  Search this
Hofmann, Renate Schmitz, 1930-1992  Search this
Mauer, Alfred  Search this
Extent:
29.92 Linear feet
5 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Date:
circa 1904-2011
Summary:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.
Scope and Content Note:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital materials, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hoffman wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources. Some material is in digital format.
Arrangement:
The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Missing Title

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44, 5.00 GB; ER01-ER04)
Biographical Note:
German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

Missing Title

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.
Related Material:
The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts.

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/
Separated Materials:
Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.
Provenance:
Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. 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  Search this
Art teachers  Search this
Topic:
Motion pictures (visual works)  Search this
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Authors -- Massachusetts  Search this
Abstract expressionism  Search this
Painting, Modern -- 20th century -- Study and teaching  Search this
Art students -- New York (State) -- New York  Search this
Function:
Art schools -- Massachusetts
Art Schools -- New York (State)
Genre/Form:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Citation:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hofmhans
See more items in:
Hans Hofmann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95a404d2f-0dad-4193-9b6a-738b7eab2811
EDAN-URL:
ead_collection:sova-aaa-hofmhans
Online Media:

Correspondence

Collection Creator:
Hofmann, Hans, 1880-1966  Search this
Extent:
3 Linear feet (Box 1-3)
Type:
Archival materials
Date:
1914-1966
Scope and Contents note:
The correspondence of Hans Hofmann consists mainly of incoming letters about personal and professional matters. Correspondents include museums, galleries, art dealers, collectors, former students, art historians, critics, fans, friends, and relatives. Although the date of Hofmann's reply is often noted on letters received, outgoing letters are limited to a small number of drafts and carbon copies. Because Hofmann's wife, Miz, often handled his business affairs and was friendly with his former students, many letters are addressed to her. Letters in foreign languages-mostly German, but some in Italian and French-are noted.

Correspondents include Art of This Century Gallery (Peggy Guggenheim), Baltimore Museum of Art, Hofmann's dealer Samuel M. Kootz, the Museum of Modern Art, Mortimer Brandt Gallery (Betty Parsons), Betty Parsons Gallery, Howard Putzel of 67 Gallery, and the Whitney Museum of American Art. Their letters document arrangements for Hofmann's major exhibitions and also concern the loan, sale, and donation of paintings.

With the exception of a file titled "War Compensation," correspondence is limited to the years of Hofmann's residence in the United States. "War Compensation" correspondence and related records, 1912-1923, concern Hofmann's claim against the German government for personal property-including works of art-removed from his Paris apartment in 1914 while he was in Corsica. Correspondence documents attempts to learn the fate of his paintings and the claims process. The correspondents are painter Rudolph Levy, who may have sold Hofmann's paintings and possessions during the time he sublet the apartment; sculptor Eugen Steinhof, Monsieur Haven and Hermann Hailer, who would assist with the claim; and the Bund des Auslandsdeutschen, Bavarian Section. Supporting documentation consists of leases for his Paris apartment and a floorplan, drawn by Hofmann, that indicates placement of furniture and includes an inventory of possessions, including works of art, with values for each item.

Small quantities of additional correspondence are filed with other series. School of Fine Arts Records (Series 2) include inquiries from prospective students; requests for transcripts and recommendations; Immigration and Naturalization Service approval of the school; correspondence about foreign students; and correspondence with the Veterans Administration. Financial Records (Series 4) contain correspondence with the American Express Company, the Social Security Administration, and several banks. Estate Records (Series 9) include correspondence regarding taxes, Hofmann's Provincetown house, and legal matters concerning settlement of his estate. Papers of Renate Schmitz Hofmann (Series 10) include personal and estate correspondence, as well as condolence letters.
Arrangement:
Correspondence is arranged alphabetically by correspondent and also includes a few subject files (e.g. "Autograph Requests," "Car Accident," and "War Compensation"). Unknown, unsigned, or illegible letters are filed at the end of the series.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. 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.
Collection Citation:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hofmhans, Series 1
See more items in:
Hans Hofmann papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93134da51-6923-40a2-9989-fdcc837f8d8a
EDAN-URL:
ead_component:sova-aaa-hofmhans-ref17

Oral history interview with Mary Fuller McChesney

Interviewee:
McChesney, Mary Fuller  Search this
Interviewer:
Landauer, Susan  Search this
Creator:
Women in the Arts in Southern California Oral History Project  Search this
Names:
Women in the Arts in Southern California Oral History Project  Search this
Corbett, Edward, 1919-  Search this
De Kooning, Willem, 1904-1997  Search this
Diebenkorn, Richard, 1922-1993  Search this
Kees, Weldon, 1914-1955  Search this
MacAgy, Douglas, 1913-  Search this
Mandelman, Beatrice  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Martin, Agnes, 1912-2004  Search this
McChesney, Robert, 1913-2008  Search this
Park, David, 1911-1960  Search this
Reinhardt, Ad, 1913-1967  Search this
Ribak, Louis, 1902-1979  Search this
Smith, Hassel, 1915-2007  Search this
Spohn, Clay Edgar, 1898-1977  Search this
Still, Clyfford, 1904-1980  Search this
Vicente, Esteban, 1903-2001  Search this
Extent:
145 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1994 Sept. 28
Scope and Contents:
An interview of Mary Fuller McChesney conducted 1994 Sept. 28, by Susan Landauer, for the Archives of American Art, Women in the Arts in Southern California Oral History Project, at the artist's home, on Sonoma Mountain, Calif.
Fuller McChesney discusses her childhood and growing up during the Depression; her student days at the University of California, Berkeley; the political response on the campus to WWII and the Japanese interment; her experience working as a welder in the shipyards which she considers her introduction to sculpture; her introduction to the art community in San Francisco through the cooperative Artists' Guild Gallery; her association with the Abstract Expressionists at the California School of Fine Arts in the 1940s; her foray into writing fiction and her success as a mystery writer; her work on the Archives of American Art's oral history project documenting the WPA art project in California; her first significant publication on the San Francisco School of Abstract Expressionism, Period of Exploration, and the interviews she conducted in the mid-late 1960s for the project.
She describes her attitudes and philosphies about art; living at Point Richmond with her husband Robert McChesney, Edward Corbett, Hassel Smith, and poet Weldon Kees during the late 1940s; her impressions of the Cedar Bar and New York artists during the mid-late 1960s; her own artistic evolution and career as a sculptor; the intellectual and artistic sources of her work; her subjects and techniques; her public commissions; her audience and market; and her experiences and perspectives as a woman artist and feminist. She recalls Edward Corbett, Willem De Kooning, Richard Diebenkorn, Weldon Kees, Douglas MacAgy, Bea Mandelman, Conrad Marca-Relli, Agnes Martin, Robert McChesney, David Park, Ad Reinhardt, Louis Ribak, Hassel Smith, Clay Spohn, Clyfford Still, and Esteban Vicente.
Biographical / Historical:
Mary Fuller McChesney (1922-2022) was a sculptor and art historian in San Francisco and Petaluma, Calif.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 58 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. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- California -- San Francisco  Search this
Art historians -- California -- San Francisco  Search this
Topic:
Women artists  Search this
Abstract expressionism  Search this
Art, Modern -- 20th century -- California -- San Francisco  Search this
Women sculptors  Search this
Women art historians  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcches94
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97e983a8f-dabb-47d0-b2b6-2af7d79164de
EDAN-URL:
ead_collection:sova-aaa-mcches94
Online Media:

Writings by and about Black American artists, 1960-1980

Writer of introduction:
Godfrey, Mark (Mark Benjamin)  Search this
Writer of foreword:
Biswas, Allie  Search this
Writer of afterword:
Whitley, Zoé  Search this
Contributor:
Perkins, Marion 1908-1961  Search this
Physical description:
627 pages illustrations (some color) 23 cm
Type:
Books
Essays
Art criticism
Essay
History
Essais
Critiques d'art
Place:
United States
États-Unis
UNITED STATES
Date:
2021
20th century
20e siècle
Topic:
African American art  Search this
African American artists--History  Search this
Art and society--History  Search this
Black power--History  Search this
Black Arts movement  Search this
Arts--Political aspects  Search this
Art noir américain  Search this
Artistes noirs américains--Histoire  Search this
Art et société--Histoire  Search this
Black power--Histoire  Search this
Black Arts (Mouvement artistique)  Search this
Arts--Aspect politique  Search this
African American artists  Search this
Art and society  Search this
Black power  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156216

Oral history interview with Edgar Breitenbach, 1975 February 18

Interviewee:
Breitenbach, Edgar, 1903-1977  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edgar Breitenbach, 1975 February 18. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Record number:
(DSI-AAA_CollID)12108
(DSI-AAA_SIRISBib)212553
AAA_collcode_breite75
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212553

Oral history interview with James S. Ackerman, 1991 January 2

Interviewee:
Ackerman, James S., 1919-2016  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Focillon, Henri  Search this
Krautheimer, Richard  Search this
Lehmann, Karl  Search this
Panofsky, Erwin  Search this
New York University. Institute of Fine Arts  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with James S. Ackerman, 1991 January 2. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA_CollID)12233
(DSI-AAA_SIRISBib)215763
AAA_collcode_ackerm91
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215763
Online Media:

Oral history interview with Allen Ruppersberg, 2017 October 27-2018 January 15

Interviewee:
Ruppersberg, Allen, 1944-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Allen Ruppersberg, 2017 October 27-2018 January 15. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA_CollID)17533
(DSI-AAA_SIRISBib)392050
AAA_collcode_rupper17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_392050
Online Media:

Oral history interview with Alfred Leslie, 2018 Sept. 14

Interviewee:
Leslie, Alfred, 1927-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Alfred Leslie, 2018 Sept. 14. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA_CollID)21655
(DSI-AAA_SIRISBib)397961
AAA_collcode_leslie18
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_397961

Donna Stein research material on Helen Lundeberg, 1942-1993

Creator:
Stein, Donna  Search this
Subject:
Barela, Robert  Search this
Feitelson, Lorser  Search this
Leavitt, William  Search this
Lundeberg, Helen  Search this
Young, Joseph  Search this
Type:
Interviews
Sound recordings
Video recordings
Citation:
Donna Stein research material on Helen Lundeberg, 1942-1993. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Record number:
(DSI-AAA_CollID)17489
(DSI-AAA_SIRISBib)389178
AAA_collcode_korndonn
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_389178

Adrian Piper interview, 1991

Creator:
Withers, Josephine  Search this
Piper, Adrian, 1948-  Search this
Type:
Interviews
Sound recordings
Citation:
Adrian Piper interview, 1991. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)13361
(DSI-AAA_SIRISBib)255124
AAA_collcode_withjose
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_255124

Oral history interview with James Thomas Flexner, 1975 Jan. 29-Apr. 21

Interviewee:
Flexner, James Thomas, 1908-2003  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with James Thomas Flexner, 1975 Jan. 29-Apr. 21. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Record number:
(DSI-AAA_CollID)12141
(DSI-AAA_SIRISBib)212677
AAA_collcode_flexne75
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212677

Oral history interview with Karl Kup, 1970 Mar. 5

Interviewee:
Kup, Karl, 1903-1981  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Karl Kup, 1970 Mar. 5. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12219
(DSI-AAA_SIRISBib)212862
AAA_collcode_kup70
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212862

Oral history interview with Marjorie Schick, 2004 April 4-6

Interviewee:
Schick, Marjorie, 1941-2017  Search this
Interviewer:
Rosolowski, Tacey A.  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Marjorie Schick, 2004 April 4-6. Archives of American Art, Smithsonian Institution.
Topic:
Jewelry -- Design  Search this
Jewelry making -- Equipment and supplies  Search this
Jewelry making -- Technique  Search this
Jewelry making -- Study and teaching  Search this
Jewelry making -- Economic aspects  Search this
Women artists  Search this
Decorative arts  Search this
Women jewelers  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)11818
(DSI-AAA_SIRISBib)247256
AAA_collcode_schick04
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_247256
Online Media:

Oral history interview with Rolando Briseño, 2004 March 16-26

Interviewee:
Briseño, Rolando, 1952-  Search this
Interviewer:
Cordova, Cary  Search this
Subject:
Orozco, Sylvia  Search this
Barraza, Santa  Search this
Amado, Jesse  Search this
Mondini-Ruiz, Franco  Search this
Ramirez, Chuck  Search this
Pace, Linda  Search this
Kanjo, Kathryn  Search this
Von Honts, Jackie  Search this
Del Viller, Melita  Search this
Mazuca, Roland  Search this
De Syzslo, Fernando  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Rolando Briseño, 2004 March 16-26. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Texas -- San Antonio -- Interviews  Search this
Mexican American artists  Search this
Catholicism  Search this
Computer Art  Search this
Latino and Latin American artists  Search this
Gay artists  Search this
Artists (LGBTQ)  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)12193
(DSI-AAA_SIRISBib)247313
AAA_collcode_brisen04
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_247313
Online Media:

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