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Phyllis Freeman research material on artists' manifestos

Creator:
Freeman, Phyllis  Search this
Names:
American Abstract Artists  Search this
Brucke (Artists' group)  Search this
Société Anonyme  Search this
Extent:
10.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1966-1997
Scope and Contents:
Research materials assembled by Phyllis Freeman, on the subject of 20th century artists' manifestos. Files include research correspondence, mss. drafts of the monograph (never published), "Manifestos in the Visual Arts: Programs and Movements Since 1900," and eight feet of subject files, covering movements and groups such as Abstract Expressionism, American Abstract Artists, Blaue Reiter, Die Brucke, Constructivism, Dadaism, Fluxus, Futurism, MA (Hungarian avant-garde), Mexican murals, Orphism, the Société Anonyme, De Stijl, and Vorticism.
Arrangement:
Arranged into five series: Series: I. Correspondence, II. Writings, III. Subject Files, IV. Projects, V. Printed Materials.
Biographical / Historical:
Art historian, writer, editor; New York, N.Y. Born 1929. Died 1997.
Provenance:
Donated in 1997 by Phyllis Freeman's cousin, Nancy Price Freedman, and her husband Morris Freedman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Topic:
Mural painting and decoration -- 20th century -- Mexico.  Search this
Die Brücke (Dresden)  Search this
Vorticism  Search this
Dadaism  Search this
Futurism (Art)  Search this
Blaue Reiter (Group of artists)  Search this
De Stijl (Art movement)  Search this
Abstract expressionism  Search this
Constructivism (Art)  Search this
Fluxus (Group of artists)  Search this
Orphism (Art)  Search this
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Identifier:
AAA.freephyl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freephyl

Perry Townsend Rathbone papers

Creator:
Rathbone, Perry Townsend, 1911-2000  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Christie, Manson & Woods International Inc.  Search this
City Art Museum of St. Louis  Search this
Museum of Fine Arts, Boston  Search this
Beckmann, Max, 1884-1950  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Gonzalez, Xavier, 1898-1993  Search this
Howe, Thomas Carr, 1904-1994  Search this
Moore, Lamont  Search this
Parkhurst, Charles  Search this
Ritchie, Andrew Carnduff  Search this
Sabersky, Jane, 1911-1983  Search this
Stout, George L. (George Leslie)  Search this
Swarzenski, Hanns, 1903-1985  Search this
Valentin, Curt, 1902-1954  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Willard, Marian, 1904-  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.3 Linear feet (5 boxes, 1 OV)
Type:
Collection descriptions
Archival materials
Transcripts
Photographs
Interviews
Date:
1929-1985
Summary:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Scope and Contents:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.

Biographical materials contain curriculum vitae, biographical sketches, citations for honorary degrees and for Rathbone's appointment as Chevalier of the French Legion of Honor, a passport, a transcript of an interview with Rathbone and articles written by others about Rathbone, including one by S. Lane Faison.

Correspondence is with Rathbone's friends and colleagues. Notable correspondents include Max Beckmann, Xavier Gonzalez, Hanns Swarzenski, Curt Valentin, Jane Sabersky, William R. Valentiner, and Marian Willard, among others. Rathbone knew several art historians and conservators who served in the U.S. Army as members of the Monuments, Fine Arts and Archives Section, also known as the Monuments Men. Correspondence with these colleagues is arranged together as a subseries and includes correspondence with S. Lane Faison, Thomas Carr Howe, Lamont Moore, Charles Parkhurst, Andrew Ritchie, George Leslie Stout, and Otto Wittman. Most of the correspondence with other Monuments Men is post World War II.

Writings by Rathbone consist of student papers, typescript drafts of articles and entries for exhibition catalogs, notes and notebooks from European trips, and lectures.

Professional files encompass a range of documents related to Rathbone's museum directorships, projects, travels and professional affiliations. The folders about his work at the City Art Museum of St. Louis and the Museum of Fine Arts in Boston include correspondence, reports, meeting minutes, press releases and notes. There are also folders on specific projects such as the renovation of the historic Dederer-Blodgett House and Rathbone's membership on various art commissions and committees. Also found within this series are correspondence, notebooks, receipts, itineraries and vouchers for Rathbone's business trips to Europe and other locations while working for the Boston Museum of Fine Arts.

Printed materials include news clippings, articles, press releases, a few art magazines and exhibition catalogues, and invitations to events. There are also black and white photographs of exhibitions, including a Max Beckmann exhibit, and a few images of Rathbone.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Materials, 1930-1982 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1940-1985 (1.1 linear feet; Box 1-2)

Series 3: Writings, 1929-1967 (0.8 linear feet; Box 2)

Series 4: Professional Files, 1938-1984 (2 linear feet; Box 2-4, OV 6)

Series 5: Printed Materials, 1954-1975 (0.2 linear feet; Box 4-5, OV 6)

Series 6: Photographs, 1936-1972 (0.1 linear feet; Box 5)
Biographical / Historical:
Perry Townsend Rathbone (1911-2000) was a prominent museum director who worked primarily in Boston and New York City. He was an early supporter of German Expressionism in America.

Rathbone was director of the City Art Museum of St. Louis from 1940-1955, moving on to direct the Museum of Fine Arts, Boston from 1954-1972, where he led a period of extensive reform. After retiring from the museum, he worked for one year for the Chase Manhattan Bank as an art consultant. Rathbone worked as director and senior vice president of Christies USA auction house from 1973-1987. After 1987, he continued working at Christies as a consultant.

Rathbone was born in Germantown, Pennsylvania on July 3, 1911 and grew up in New Rochelle, New York. He attended Harvard College, majoring in Art History and graduating in 1933. He then completed the graduate "museum course" taught by Professor Paul Sachs in 1934. The Paul Sachs museum course was famous for cultivating future directors at some of this country's most prestigious museums. After Harvard, Rathbone was appointed as curator of Alger House (later renamed the Grosse Pointe War Memorial), a branch of the Detroit Institute of Arts. Rathbone directed the ''Masterpieces of Art'' exhibit at the 1939 New York World's Fair. The success of the exhibit led to his appointment as director of the City Art Museum of St. Louis, Missouri in 1940 at the age of 29, making him the youngest American museum director at the time.

During World War II, Rathbone served in the U.S. Navy from late 1942-1945. He was a commissioned officer in charge of the Navy Art and Poster Section, Office of Public Relations in Washington, D.C. He supervised five Navy "combat artists," who painted naval battles and depicted the daily lives of soldiers. He also served as an officer in New Calcedonia. He separated from service as a Lieutenant Commander in late 1945. This collection does not contain records directly related to his military service. In 1945 Rathbone married Euretta de Cosson while on leave in Washington, D.C. They had three children together: Peter, Eliza, and Belinda.

Rathbone resumed his position as the director of the City Art Museum of St. Louis after the war. The Detroit Institute of Arts director William R. Valentiner introduced Rathbone to German Expressionism. Rathbone helped the German Expressionist painter Max Beckmann, labeled a ''degenerate artist'' by Hitler, and his wife immigrate to America and then arranged a teaching position for Beckmann at Washington University. Rathbone and Beckmann became close, and in 1948, Rathbone organized a Beckmann retrospective at the City Art Museum. Beckmann made a portrait of Rathbone and one of his wife Euretta. Rathbone gave the eulogy at Beckmann's funeral in 1950.

In 1955 Rathbone became the director of the Museum of Fine Arts (MFA) in Boston. During his tenure there he expanded the museum by 80,000 square feet, doubled the staff, and oversaw the renovations of 57 of the Museum's 189 galleries. He mounted exhibitions of Rembrandt, Matisse, Modigliani, Cezanne, van Gogh and Courbet. The Boston Museum's first acquisitions of Pablo Picasso, Alexander Calder, Constantine Brancusi, Paul Klee, Alberto Giacometti and other works by 20th-century artists occurred under Rathbone's directorship. Rathbone also served as curator of paintings and wrote the catalog essays for many of the museum's exhibitions. Working with Frances Weeks Hallowell, he established the first "Ladies Committee" for the museum, which substantially increased membership. He was appointed as Chevalier de Légion d'Honneur by the French government in 1964.

In 1969, the Museum of Fine Arts purchased what was believed to be a Raphael portrait of Eleonora Gonzaga, 1505, from a Genoa art dealer. The work was meant to be the highlight of the museum's centennial celebration. However controversy arose when the Italian government alleged that the work was smuggled out of the country and the museum was forced to return the painting to the Italian government. The situation caused Rathbone to resign in 1972.

At the request of David Rockefeller, Rathbone became an art consultant to Chase Manhattan Bank for one year. In 1973, he became director of Christie's auction house in New York and senior vice president in 1977, working there until 1987, when he retired but still worked as a consultant.

Perry Townsend Rathbone died on January 22, 2000 at the age of 88.
Related Materials:
The Archives of American Art also holds an oral history interview of Perry Townsend Rathbone conducted in 1975-1976 by Paul Cummings for the Archives of American Art's oral history program.
Provenance:
Perry Townsend Rathbone donated his paper to the Archives of American Art in 1977 and 1988.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Museum directors -- Massachusetts -- Boston  Search this
Genre/Form:
Transcripts
Photographs
Interviews
Citation:
Perry Townsend Rathbone papers, 1929-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rathperr
See more items in:
Perry Townsend Rathbone papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rathperr
Online Media:

Manuscripts and Drafts

Collection Creator:
Hess, Thomas B.  Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Date:
undated
Scope and Contents:
Andrew Wyeth, Michael Heizer, various exhibitions, Social Realists, "Let Us Make Man in Our Image, After Our Likeness," "In the Palace of Plastics," "A Private Life for General Ideas," "Public Works in Private Art," "Sketch for a Portrait of the Art Historian Among Artists," "Rules of the Game, Part 2: Marden and Rockburne," "The Great Paper Chase," "Sitting Pretty," "What's a Polish Constructivist?," "Collecting at the Met, I: The Poetics of Greed," "Connections at the Met," "Five Bywaymen."
Oversized writing on photography in painting housed in OV 12
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Thomas Hess papers, 1939-1978. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Hess papers
Thomas Hess papers / Series 3: Writings and Notes / By Hess
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hessthom-ref42

John McDonald Moore papers

Creator:
Moore, John McDonald, 1919-1999  Search this
Names:
New School for Social Research (New York, N.Y.)  Search this
Werblud, Elaine R. (Bobbie)  Search this
Extent:
21.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
1948-2015
bulk 1968-1999
Summary:
The papers of art historian and educator John McDonald Moore measure 21.5 linear feet and date from 1948-2015, with the bulk dating from 1968-1999. Included are biographical material regarding Moore; his writings, including book proposals and lectures; correspondence regarding teaching and letters from students; voluminous notecards for lectures; and sound recordings of lectures.
Scope and Contents:
The papers of art historian and educator John McDonald Moore measure 21.5 linear feet and date from 1948-2015, with the bulk dating from 1968-1999. Included are biographical material regarding Moore; his writings, including book proposals and lectures; correspondence regarding teaching and letters from students; voluminous notecards for lectures; and sound recordings of lectures.

This collection documents Moore's career as an art historian and educator at the New School for Social research and his contribution to understanding the New York Art Scene from the late 1960s through the 1990s. It also provides insight on Elaine R. (Bobbie) Werblud's long career as Moore's teaching assistant. Materials include Moore's academic transcripts and diplomas; resumes; a 1989 teaching award; certificates; correspondence related to his education and courses he taught at NYU's Liberal Arts Extension and the New School for Social Research; draft manuscripts; academic papers; book proposals; handwritten and typed lectures; lecture notebooks including lecture and research notes; lecture notebooks maintained by Werblud; lecture notecards documenting research for Moore's course lectures and hand written lectures; course descriptions; flyers; clippings; photographs; exams; enrollment lists; a sound recording of Moore's Memorial service; and sound recordings of a sample of Moore's lectures from circa 1969-1998.
Arrangement:
The collection is arranged as 4 series.

Series 1: Biographical Material, 1948-2015 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1959-1999 (0.2 linear feet; Box 1)

Series 3: Writings, circa 1960s-1986 (0.8 linear feet, Box 1-2)

Series 4: Teaching Material, circa 1967-2000 (20.3 linear feet, Box 2-25)
Biographical / Historical:
John McDonald Moore (1919-1999) was a lecturer in art history at the New School for Social Research in New York City from 1968 until his death in 1999. Moore was born in the state of Georgia, where he attended the High Museum School of Art. He served as an illustrator for the U.S. Army Air Force during World War II. After the war he worked as an advertising illustrator in New York. In 1961, Moore realized his true vocation was teaching. He began teaching part time at New York University, and in 1968 became a lecturer in art history at the New School, where he continued to teach until his death. There he met his wife, Elaine R. (Bobbie) Werblud, who became Moore's teaching assistant in 1970. Werblud was instrumental in supporting Moore's work through her extensive logging of course lectures in notebooks, transcribing lectures on notecards, recording weekly lectures, and organizing trips to exhibitions and artist studios, as well as studies abroad. From 1968-1971 Moore earned a B.A. and M.A. in art history at Goddard College. Moore was an inspirational lecturer acclaimed by many New York artists who were his students, including Mary Frank and Ursula von Rydingsvard. The John McDonald Moore Memorial Lecture series at the Vera List Center for Art and Politics was established in his honor.
Separated Materials:
193 audio cassettes documenting 10 lecture courses taught by John McDonald Moore from 1971 through 1998 were transferred to the New School Libraries and Archives in 2019.
Provenance:
Donated in 2018 by Debra Werblud, Moore's step-daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Citation:
John McDonald Moore papers, 1948-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moorjohn
See more items in:
John McDonald Moore papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moorjohn

Writings

Collection Creator:
Moore, John McDonald, 1919-1999  Search this
Extent:
0.8 Linear feet (Box 2)
Type:
Archival materials
Date:
circa 1960s-1986
Scope and Contents:
Writings document John McDonald Moore's formal education and career as an art historian. Included are drafts of articles; academic papers; published articles; student papers; and a lecture-discussion program prepared by Paul Branch at NYU. Most of his writing is also reflected throughout his lecture materials from the New School including "Art and Social Change," "Social Determinations of Art Form," and "Symmetry and the Sense of Power." One article of note, "The Drawings of Mary Frank," is accompanied by an illustrated letter from Mary Frank to Moore.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John McDonald Moore papers, 1948-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moorjohn, Series 3
See more items in:
John McDonald Moore papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-moorjohn-ref3

Teaching files

Collection Creator:
Moore, John McDonald, 1919-1999  Search this
Extent:
20.3 Linear feet (Box 2-12, 22-25)
Type:
Archival materials
Date:
circa 1967-2000
Scope and Contents:
The bulk of the collection, teaching files document John McDonald Moore's career as an art historian and educator at the New School for Social Research from 1968-1999, and Elaine R. (Bobbie) Werblud's career as Moore's teaching assistant beginning in 1970. Materials include correspondence, course descriptions, enrollment lists, and bibliographies from the New School and one folder from NYU's Liberal Arts Extension; clippings; flyers; pamphlets; a 1967 annual meeting address from the National Science Teachers Association; exams; discussion questions; typed and handwritten lectures; color and black and white photographs and slides depicting Moore giving lectures in the classroom, on exhibition tours with students, and with study abroad groups; a sample of sound recordings of Moore's New School lectures from circa 1969-1998; Moore's lecture and research notebooks that document research for lectures and scholarly publications; lecture notebooks logged by Werblud that document Moore's lectures beginning in 1970; and Moore's notecards that document Moore's lecture research from 1968-1999, including a small group of handwritten lectures. The handwritten lectures were written by Moore and transcribed more legibly by Werblud, and housed in small wooden notecard boxes that were inscribed on the bottom with Moore's full name and the date ranges for the lectures. Lecture sound recordings and notebooks are arranged chronologically, and the notecards are arranged by subject. Also included with the notecards are photographs and snapshots from Moore's U.S. and European travels. These images show physical environments that have changed over time. Moore never gave the same lecture twice. His extensive research was compiled in notecards which comprised of ideas that were inspired by readings and visits to museums, galleries, and artist studios. Moore would pull notecards to create his lectures along with accompanying slides that provided visual documentation to support the lectures. Topics included periods, movements, styles, geographic locations, artists and authors.
Arrangement:
The sound recordings of lectures are arranged by semester and course name and can be cross referenced with the lecture notebooks and some of the notecards.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John McDonald Moore papers, 1948-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moorjohn, Series 4
See more items in:
John McDonald Moore papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-moorjohn-ref4

Julia P. Herzberg papers

Creator:
Herzberg, Julia P.  Search this
Names:
Alfonzo, Carlos, 1950-1991  Search this
Kaikkonen, Kaarina, 1952-  Search this
Katz, Leandro, 1938-  Search this
Lam, Wifredo  Search this
Rabinovich, Raquel, 1929-  Search this
Extent:
7.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1977-1918
bulk 1987-2011
Summary:
The papers of curator and art historian Julia P. Herzberg measure 7.6 linear feet and date from 1977-2018. Included are Herzberg's files on exhibitions and artists containing correspondence, printed material, interview transcripts, and notes and drafts by Herzberg. Artists include Wilfredo Lam, Doris Salcedo, Ana Mendieta, and Jorge Tacla among others.
Scope and Contents:
The papers of curator and art historian Julia P. Herzberg measure 7.6 linear feet and date from 1977-2018. Included are Herzberg's files on exhibitions and artists containing correspondence, printed material, interview transcripts, and notes and drafts by Herzberg. Artists include Wilfredo Lam, Doris Salcedo, Ana Mendieta, and Jorge Tacla among others.

Materials in this collection document Herzberg's career as a curator, art historian, and editor, and consist of Herzberg's curatorial and project files related to artists, exhibitions, writing, and other professional projects. Included are draft lectures, essays, and articles; bibliographies; clippings; exhibition catalogs, announcements, flyers, and posters; correspondence with artists and curators; notes; clippings; pamphlets; artist biographies and CVs; exhibition planning documents including proposals, wall texts, working checklists, and diagrams; interview transcripts; photographs, slides, and negatives; and press releases. Some of Herzberg's files, including photographs and writings, are in born-digital format.
Arrangement:
The collection is arranged as 4 series.

Series 1: Writing Projects, 1998-2018 (1.1 linear feet, Box 3, 5, 6, 8)

Series 2: Artist Files, 1977-2018 (5.2 linear feet, Box 1-8)

Series 3: Exhibition Files, 1990-2017 (1.0 linear feet, Box 1, 3, 8)

Series 4: Professional Files, 2003-2014 (0.3 linear feet, Box 1, 3, 8)
Biographical / Historical:
Julia P. Herzberg (194?-) is a curator, art historian and editor in New York, N.Y. Herzberg specializes in Latin American contemporary art. Her work is centered on the research, scholarship, and cultural production of artistic practices within interdisciplinary global contexts. She has curated numerous exhibitions throughout North America and Latin America.
Provenance:
Donated by Julia P. Herzberg in 2018.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own in the following material: all writings by Julia P. Herzberg in the form of essays, talks, lectures, and emails.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Art museum curators -- New York (State) -- New York  Search this
Topic:
Art, Latin American  Search this
Genre/Form:
Interviews
Citation:
Julia P. Herzberg papers, 1977-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.herzjuli
See more items in:
Julia P. Herzberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-herzjuli

Robert Rosenblum Papers

Creator:
Rosenblum, Robert  Search this
Names:
Columbia University -- Faculty  Search this
Harry N. Abrams, Inc.  Search this
Los Angeles County Museum of Art  Search this
Musée d'Orsay  Search this
National Museum of American Art (U.S.)  Search this
New York University -- Faculty  Search this
Princeton University -- Faculty  Search this
Solomon R. Guggenheim Museum  Search this
University of Michigan -- Faculty  Search this
Yale University -- Faculty  Search this
Becraft, Melvin E.  Search this
Ingres, Jean-Auguste-Dominique, 1780-1867  Search this
Kramer, Hilton  Search this
Rockwell, Norman, 1894-1978  Search this
Rosenquist, James, 1933-  Search this
Extent:
38.3 Linear feet
1.17 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Collages
Sound recordings
Sketches
Interviews
Transcripts
Date:
circa 1927-2009
bulk 1950-2006
Summary:
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.
Scope and Contents:
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.

Biographical materials include Rosenblum's bibliography and resume materials, various school related ephemera and diplomas, a transcript of an interview with Amy Newman for Artforum, and a digital video recording of a Josef Levi interview. Extensive personal and professional correspondence is with friends, family, colleagues, publishers, museums, and others. Some of the correspondents include Melvin Becraft, the Guggenheim, Harry Abrams, Inc., Hilton Kramer, the Los Angeles County Museum of Art, and the National Museum of American Art. Also found are numerous postcards.

Lectures, writings, and writing project files document Rosenblum's prolific writing and speaking career, and include notes, copies, and manuscript drafts of lectures, articles, catalog essays, and books, as well as additional materials related to the writings and the publication of books, such as as correspondence, editing feedback, photographs, and lists of photographs. There are manuscript, notes, and other materials related to many of Rosenblum's notable books, including Transformations in Late Eighteenth-Century Art, Paintings in the Musee D'Orsay, 19th-Century Art, The Dog in Art, Ingres, Modern Painting and the Northern Tradition, and others. Also found are Rosenblum's dissertation and other student writings. There is also a series containing writings by or about others, such as students and colleagues.

Rosenblum planned and facilitated numerous exhibitions that are well-documented within the exhibition files, including French Painting, 1774-1830: The Age of Revolution (1974), 1900: Art at the Crossroads (2000), Norman Rockwell: Pictures for the American People (2001), Best in Show: Dogs in Art from the Renaissance to the Present (2006), and Citizens and Kings: Portraits in the Age of Revolution, 1760-1830 (2007), among many others. Contents of each exhibition file vary considerably but often include correspondence, lists of artwork, proposals, notes, catalog drafts and outlines (see also series 3), and printed materials. There are a few sound cassettes, including a recorded interview with James Rosenquist with transcripts. Also included are digital photographs of Norman and Irma Braman Collection exhibition.

Research reference files cover a wide variety of art related topics, but are arranged within a separate series because they are not related to specific named projects as are the files in Series 3. These files contain research notes, bibliographies, and syllabi kept by Rosenblum presumably for a variety of publications, research interests, and teaching references.

Teaching files and class notes document Rosenblum's professorial career at Columbia University, New York University, Princeton University, University of Michigan, Yale College, and Yale University, and include a variety of course materials.

Personal business records consist of various financial and legal documents, expense and income records, publishing and speaking contracts, and royalties received.

The papers also include a variety of printed materials, photographs, student sketches by Rosenblum, and an unidentified collage.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, 1927-2006 (0.5 linear feet; Box 1, 1.00 GB; ER02)

Series 2: Correspondence, circa 1927-2006 (4.5 linear feet; Boxes 1-5)

Series 3: Lectures, Writings, and Writing Project Files, 1940-2006 (13.5 linear feet; Boxes 5-16, OV 39-41, 0.063 GB; ER01)

Series 4: Writings by Others, circa 1954-2006 (2.9 linear feet; Boxes 16-19)

Series 5: Exhibition Files, circa 1965-circa 2006 (5.2 linear feet; Boxes 19-24, 0.109 GB; ER03)

Series 6: Research Files, circa 1927-2006 (2.9 linear feet; Boxes 24-27)

Series 7: Teaching Files and Class Notes, 1955-2006 (4.3 linear feet; Boxes 27-31)

Series 8: Personal Business Records, 1951-2009 (4.4 linear feet; Boxes 31-36)

Series 9: Printed Material, 1927-2009 (2.4 linear feet; Boxes 36-38)

Series 10: Photographs, circa 1950s-circa 2000 (0.3 linear feet; Box 38, OV 41)

Series 11: Artwork, circa 1940s-circa 1980s (0.1 linear feet; Box 38)
Biographical / Historical:
Robert Rosenblum (1927-2006) was an art historian, curator, and professor who worked primarily in New York City.

Rosenblum received his B.A. from Queens College, his M.A. from Yale, and his Ph.D. from the Institute of Fine Art at New York University in 1956. He spent a year teaching art at the University of Michigan before becoming an associate professor at Princeton, ultimately accepting a Professor of Fine Arts position at NYU in 1966, where he spent the rest of his professorial career interspersed with visiting professorships at Oxford University and Yale University. Rosenblum was named Henry Ittleson, Jr. Professor of Modern European Art at NYU in 1976, and received the Frank Jewett Mather Award for Distinction in Art Criticism in 1981. After being appointed Stephen and Nan Swid Curator of 20th-Century Art at the Solomon R. Guggenheim Museum in 1996, Rosenblum went on to curate such exhibitions as 1900: Art at the Crossroads (2000) and Norman Rockwell: Pictures for the American People (2001). Prior to this appointment, he was one of the organizers of the Metropolitan Museum of Art's French Painting, 1774-1830: The Age of Revolution (1974). He received a Distinguished Teaching Award from NYU in 2005, and continued to curate, lecture, teach, and write.

Rosenblum was a prolific author, and his seminal works include: Cubism and Twentieth-Century Art (1959), Transformations in Late Eighteenth-Century Art (1967), Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko (1975), and 19th-Century Art (co-authored with H.W. Janson, 1984).

Rosenblum married Jane Kaplowitz in 1978. He died in New York City in 2006.
Provenance:
The papers were donated in multiple accessions by Robert Rosenblum between 1986 and 2003, and by his widow, Jane Kaplowitz between 2010 and 2013.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and electronic media with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Art museum curators  Search this
Topic:
Art -- Study and teaching  Search this
Art -- 19th century  Search this
Art -- 18th century  Search this
Painting, Modern  Search this
Portraits  Search this
Dogs in art  Search this
Painting, French  Search this
Photographs  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Collages
Sound recordings
Sketches
Interviews
Transcripts
Citation:
Robert Rosenblum Papers, circa 1927-2009, bulk 1950-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.roserobe
See more items in:
Robert Rosenblum Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-roserobe
Online Media:

William Baziotes (1912-1963): the formation of a subjectively based imagery / by Melinda Anne Lorenz

Creator:
Lorenz, Melinda A.  Search this
Names:
Baziotes, William, 1912-1963  Search this
Extent:
132 Pages
Type:
Collection descriptions
Archival materials
Pages
Date:
undated
Scope and Contents:
Photocopy of thesis (M.A.)--University of Maryland, College Park, 1972. Thesis is a study of "major themes and images in William Baziotes' paintings during the late 1930's and 1940's..."
Biographical / Historical:
Art historian. Born in Evanston, Ill. B.A., Univ. of Maryland, 1968. Taught Art History at Mary Washington College, Fredericksburg, Va. M.A., Univ. of Maryland, 1972. Ph.D., Univ. of Calif., 1981. Baziotes was an abstract painter whose work was noted for its mysterious expressions. Studied under Leon Kroll at the National Academy of Design in New York.
Other Title:
Melinda A. Lorenz papers.
Provenance:
Donated by Mrs. Ethel Baziotes, who received it from Lorenz upon its completion, 1972. Photocopy discarded after microfilming.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Painters  Search this
Topic:
Art, Abstract -- New York (State) -- New York  Search this
Identifier:
AAA.loremeli
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loremeli

Demi and Arturo Rodríguez papers

Creator:
Rodríguez, Arturo, 1956-  Search this
Demi, 1955-  Search this
Names:
Goldman, Shifra M., 1926-2011  Search this
Hassold, Cris  Search this
Kohen, Helen L.  Search this
Verdecia, Carlos, 1955-  Search this
Wojnarowicz, David  Search this
Extent:
6.42 Linear feet
12.79 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Interviews
Sketchbooks
Sound recordings
Video recordings
Date:
circa 1957-2016
Summary:
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.
Scope and Contents:
The papers of Cuban born Miami painters Demi and Arturo Rodríguez measure 6.42 linear feet and 12.79 GB and date from 1957 to 2016. The collection documents Arturo Rodríguez's career, travels, and childhood as well as the artwork of Demi, Rodriquez's wife and partner, and their relationship. Included are biographical materials, correspondence, interviews, writings, project and exhibition files, personal business records, printed and digital material, artwork, and photographic materials.

Personal and professional correspondence is with artists, curators, galleries, museums, art historians, and collectors, including Shifra M. Goldman, Cris Hassold, Helen L. Kohen, collectors Judith and Bill Ladner, Minuca Villaverde, and others. Interviews include video and sound recordings of Demi and Arturo discussing lives and artwork, as well as one interview with Carlos Verdecia Jr. about Arturo. Writings include statements on artwork and autobiographical essays, lectures and talks, and notes. Project files concern the exhibitions The Rage of Children (1991), Walls & Murals: Mike Glier, Arturo Rodríguez & David Wojnarowitz, and Far from Cuba. Other documentation includes a project overview for the Joan Mitchell Foundation, artwork for music album covers, and plans for a retrospective of Demi and Arturo's work that was cancelled due to lack of support.

Personal business records consist of files for donations, financial investments, gallery consignments, receipts, sales lists, and collector information. Printed material includes clippings, exhibition announcements and catalogs, journal and magazines, posters, programs, and several children's books illustrated by Arturo using the pseudonym Hieronimus Fromm. Artwork includes drawings and comics by Arturo, collages, drawings and sketches, and 30 sketchbooks belonging to Demi and Arturo. Photographic materials depict Demi and Arturo together and with others, Demi and Arturo's home and studio, exhibitions, still lives, travel, and works of art.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Material, circa 1957-2013 (Box 1; 4 folders)

Series 2: Correspondence, 1978-2015 (Box 1; 0.8 linear feet, ER01; 0.023 GB)

Series 3: Interviews, 1991-2010 (Boxes 1-2; 0.5 linear feet, ER02-ER07; 6.01 GB)

Series 4: Writings, circa 1975-2015 (Box 2; 0.3 linear feet, ER08; 0.012 GB)

Series 5: Project and Exhibition Files, 1986-2015 (Box 2; 0.8 linear feet, ER09-ER11; 0.607 GB)

Series 6: Personal Business Records, 1988-2012 (Boxes 2-3; 0.4 linear feet; ER12; 0.007 GB)

Series 7: Printed Material, 1979-2016 (Boxes 3-4, 7, OV 8; 0.5 linear feet)

Series 8: Artwork, 1963-2016 (Boxes 4-5, 7, OV 8; 1.5 linear feet)

Series 9: Photographic Material, 1977-2012 (Boxes 5-7; 1.5 linear feet, ER13-ER29; 6.13 GB)
Biographical / Historical:
Demi (1955- ) and Arturo Rodríguez (1956- ) are painters in Miami, Florida.

Demi was born in Camagüey, Cuba. In 1961, her father was executed by the Cuban government. Demi's mother struggled to take care of Demi and her sisters alone and Demi was sent to live with relatives in Puerto Rico in 1962. She came to the U.S. in 1971 where she was able to join her sisters and mother. Eventually Demi settled in Miami in 1978. She attended Miami-Dade College where she studied drama with the Prometeo Theater Group. In 1980, she met Arturo at one of his exhibitions. They married in 1984. Demi worked as a bookkeeper before she knew she could draw and paint. Her first attempts at creating art were in 1984 using a wedding photograph of herself and Arturo as her subject. Her first exhibition was in 1987 at the Cuban Museum in Miami. As she developed as an artist, children became the prime subjects in Demi's paintings. She was the recipient of the Florida State Visual Artist Grant for 1992 to 1993.

Arturo Rodríguez was born in Ranchuelo, Cuba, and showed an interest in art as a small child. Arturo and his family were exiled to Spain in 1971. While in Spain, his visits to see the paintings of Goya and Velázquez at the Prado Museum helped solidify his interest in art. Rodríguez settled in Miami with his family in 1973 where he eventually attended Miami Dade College. Arturo's works are often influenced by his relationship with Demi. In 1995, he created a series of collages using images of Demi as a way to deal with her cancer diagnosis. He has been the recipient of numerous awards including the prestigious Cintas Foundation Fellowship, Florida Arts Council Fellowships, and a Joan Mitchell Foundation grant.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Demi conducted on November 20, 1997 and an oral history interview with Arturo Rodríguez conducted on November 14, 1997 at Demi and Arturo's home/studio in Miami, F.L. by Juan A. Martínez for the Archives of American Art.
Provenance:
The papers were donated by Demi and Arturo Rodríguez in increments from 1997 to 2016.
Restrictions:
One folder of samples of payments for sales is ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Photograph of Demi by Ramon Guerrero: Authorization to publish, quote or reproduce requires written permission from Demi. 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 -- Florida -- Miami  Search this
Topic:
Women artists  Search this
Cuban American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Drawings
Interviews
Sketchbooks
Sound recordings
Video recordings
Citation:
Demi and Arturo Rodríguez papers, circa 1957-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rodrartu
See more items in:
Demi and Arturo Rodríguez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rodrartu

Correspondence

Collection Creator:
Rodríguez, Arturo, 1956-  Search this
Demi, 1955-  Search this
Extent:
0.8 Linear feet (Box 1)
0.023 Gigabytes (ER01)
Type:
Archival materials
Gigabytes
Date:
1978-2015
Scope and Contents:
General correspondence is with museums, collectors, artists, friends, galleries, and organizations. Other correspondence is with art historians Alejandro Anreus, Shifra M. Goldman, and Helen Kohen; collectors Judith and Bill Ladner and Mike Thomas; Cris Hassold regarding research on Demi for a book; art dealer Kurt Delbanco; and letters of recommendation for Demi and Arturo.
Collection Restrictions:
One folder of samples of payments for sales is ACCESS RESTRICTED; use requires written permission. Contact Reference Services for more information.

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Rights:
Photograph of Demi by Ramon Guerrero: Authorization to publish, quote or reproduce requires written permission from Demi. 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:
Demi and Arturo Rodríguez papers, circa 1957-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rodrartu, Series 2
See more items in:
Demi and Arturo Rodríguez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-rodrartu-ref2

Q and A with art historians

Creator:
Archives of American Art  Search this
Type:
YouTube Videos
Uploaded:
2016-02-26T22:06:12.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
SmithsonianAAA
Data Source:
Archives of American Art
YouTube Channel:
SmithsonianAAA
EDAN-URL:
edanmdm:yt_ihEYb62M5I0

Correspondence

Collection Creator:
Ojeda, Naúl, 1939-2002  Search this
Extent:
0.8 Linear feet (Box 1, OV 9 )
Type:
Archival materials
Date:
1960s-2002
Scope and Contents:
Ojeda's correspondence is both personal, with family and friends, and professional, with colleagues, galleries, museums, and other art and civic organizations, although the majority of Ojeda's correspondence related to galleries and exhibitions can be found in Series 3. Correspondence is primarily incoming, although some outgoing letters can be found primarily in the general correspondence files, in a folder of photocopies of outgoing letters to friends, and in other files described below.

Letters from Ojeda to his wife Philomena were written during Ojeda's 1984 trip to Uruguay for the election there. There are four folders of letters from Ojeda's ex-wife and daughter Ana Gabriela, sent during their exile in the Netherlands, and a folder of printed email messages between Ojeda and his daughter Maria Antonia de Leguiza, who connected with Ojeda in 2001. Ojeda had previously been unaware of his daughter's existence – the result of a brief relationship he had in Argentina after covering events in Chile – and the two formed a strong bond based on shared political experiences and beliefs.

Letters to friends and colleagues include three folders of letters from Azucena Berrutti, who later became Uruguay's National Defense Minister, and other family members including Berrutti's husband, activist Walter Jesus Gonzalez, and individuals named David and Coco, whose letters were often received together. Other correspondents of note include journalist and writer Armando Caicedo Garzón, Uruguayan journalist Eduardo Galeano, Uruguayan art historian Alicia Haber, Chilean artist José Palomo who went into exile in Mexico after Pinochet's rise to power, and Uruguayan painter Ernesto Vila. Vila's files include an exhibition catalog with an inscription by Vila, and a letter from Philomena Ojeda that provides context for the material.

General correspondence includes responses to inquiries made by Ojeda and requests from various organizations and individuals for permission to use Ojeda's work in publications; invitations; thank you letters; and other documentation from civic and political organizations to which Ojeda lent his time and support.
Arrangement:
Correspondence is arranged alphabetically either by name or type, such as "Friends" or "General."
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ojednaul, Series 2
See more items in:
Naúl Ojeda papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ojednaul-ref2

TransAfrican Art Invitational Exhibition (1997-1998)

Collection Creator:
Donaldson, Jeff, 1932-2004  Search this
Type:
Archival materials
Date:
1980s-1998
Scope and Contents:
Records of the TransAfrican Art Invitational Exhibition, curated by Donaldson at the Orlando Museum of Art in 1997, include biographical information about the participating artists, general records, and draft materials for the exhibition catalog. Information about the participating artists may include photographs and slides of the artists and their artworks, resumes, artist statements, exhibition publications, and press clippings. General records primarily include correspondence with the Orlando Museum of Art and others, planning documents, checklists, agreements, and a few photographs. Materials for the exhibition catalog include draft essays by several art historians, photographs of exhibited works, artist bios, and catalog proposals. Researchers should note that this exhibition coincides with Donaldson's guest editorship of a TransAfrican themed issue of the International Review of African American Art. Documentation about this publication (in subseries 10.5), may overlap with the documentation for the TransAfrican Art Invitational Exhibition catalog, which was never published.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.donajeff, Subseries 6.1
See more items in:
Jeff Donaldson papers
Jeff Donaldson papers / Series 6: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-donajeff-ref163

Comments by Colette Roberts on the "Meet the Artist" course at New York University

Creator:
Roberts, Colette Jacqueline, 1910-1971  Search this
Type:
Sound Recording
Date:
1967 May 19
Topic:
Art galleries, Commercial  Search this
Women art historians  Search this
Record number:
(DSI-AAA)10807
See more items in:
Colette Roberts Papers and Interviews with Artists, 1918-1971
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10807

Barbara Rose, New York, New York letter to Ronald Bladen, New York, New York

Creator:
Rose, Barbara, 1938-2020  Search this
Bladen, Ronald, 1918-1988  Search this
Subject:
Art in America  Search this
Type:
Correspondence
Date:
1966
Topic:
Sculptors  Search this
Record number:
(DSI-AAA)19747
See more items in:
Barbara Rose papers, 1962-circa 1969
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19747

Lincoln Kirstein, New York, N.Y. letter to Honor? Sharrer, New York, N.Y.

Creator:
Kirstein, Lincoln Edward, 1906-1996  Search this
Sharrer, Honoré Desmond, 1920-2009  Search this
Type:
Correspondence
Date:
1953 May 17
Topic:
Art criticism  Search this
Art critics  Search this
Art historians  Search this
Record number:
(DSI-AAA)7810
See more items in:
Honoré Sharrer papers, circa 1920-2007
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7810
Online Media:

Erwin Panofsky letter to Walter F. Friedlaender, New York, N.Y.

Creator:
Panofsky, Erwin, 1892-1968  Search this
Friedlaender, Walter F., 1873-1966  Search this
Type:
Correspondence
Date:
1949 Nov. 21
Topic:
Art historians  Search this
Record number:
(DSI-AAA)11894
See more items in:
Erwin Panofsky papers, 1904-1990, bulk 1920-1968
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11894

New York Artists Equity Association panel discussion

Creator:
New York Artists Equity Association  Search this
Subject:
Baur, John I. H. (John Ireland Howe)  Search this
Lerner, Abram  Search this
Neuberger, Roy R. (Roy Rothschild)  Search this
Roberts, Colette Jacqueline  Search this
Waddell, Richard H.  Search this
Type:
Sound Recording
Date:
between 1967 and 1970
Record number:
(DSI-AAA)16006
See more items in:
New York Artists Equity Association records, 1920-2012
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16006

Frederic Edwin Church and Theodore Winthrop

Subject:
Church, Frederic Edwin  Search this
Winthrop, Theodore  Search this
Type:
Photographs
Date:
ca. 1860
Record number:
(DSI-AAA)2473
See more items in:
Miscellaneous photographs collection, circa 1845-1980
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_2473

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