The papers of Joseph J. Greenberg measure 0.5 linear feet and date from 1939-1989. The papers document Greenberg's career through biographical materials, including resumes and award certificates, professional correspondence, and printed material such as news clipping and exhibition catalogs. Also found is a scrapbook which contains clippings and catalogs, press releases, correspondence regarding his sculptures, a poem Greenberg wrote and notes. Photographic material contains photographs of Greenberg, his colleagues, and his artwork.
Scope and Contents:
The papers of Joseph J. Greenberg measure 0.5 linear feet and date from 1939-1989. The papers document Greenberg's career through biographical materials, including resumes and award certificates, professional correspondence, and printed material such as news clipping and exhibition catalogs. Also found is a scrapbook which contains clippings and catalogs, press releases, correspondence regarding his sculptures, a poem Greenberg wrote and notes. Photographic material contains photographs of Greenberg, his colleagues, and his artwork.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Joseph J. Greenberg (1915-1991) was a sculptor and educator from Philadelphia, Pennsylvania. Greenberg first became interested in sculpture as a child while attending the Oak Lane Country Day School and meeting sculptor Boris Blai, who was working as the school's art teacher. Years later Greenberg discovered Blai had become the director of the Tyler School of Art at Temple University prompting him to transfer there from the Massachusetts Institute of Technology, where he had been studying engineering. Greenberg graduated from the Tyler School of Art in 1939 as a member of the first class of Tyler's complete five-year program. He went on to study in Italy where he had his first solo show in Rome and exhibited in the twenty sixth Venice Biennale. In 1951, Greenberg was the winner of a prize from the Metropolitan Museum of Art's National Sculpture Exhibition. He returned to Philadelphia in 1953 and continued living and working in the city until his death in 1991.
Greenberg was known for his large public sculptures in Pennsylvania include Bear and Cub in the Philadelphia Zoo, the aluminum seal of Pennsylvania on the State Office Building, and Symbol of Progress located in the heart of Bethlehem, PA by the entrance of the Bethlehem Area Public Library. In addition to his studio work, Greenberg taught at the Oak Lane Country Day School, the Tyler School, the New Hope Fine Arts Workshop, the Philadelphia Museum of Art and the Fleisher Memorial.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4566) including two photograph albums containing photographs of Greenberg's sculptures. Loaned materials were returned to the lender, Mrs. Sheila Greenberg, and are not described in the collection container inventory.
Provenance:
Donated 1991 by Sheila Greenberg, Joseph's widow, except for the photograph albums which were lent for microfilming. Collected and microfilmed as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
Genre/Form:
Scrapbooks
Citation:
Joseph J. Greenberg papers, 1939-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Quotes and excerpts must be cited as follows: Oral history interview with Rudolf Staffel, 1987 July 17-August 6. Archives of American Art, Smithsonian Institution.
Topic:
Glass craft -- Pennsylvania -- Philadelphia Search this
Artisans -- Pennsylvania -- Philadelphia -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Nelli Bar Wieghardt, 1987 July 9-1989 April 29. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- Pennsylvania -- Interviews Search this
Theme:
Chicago's Art-Related Archival Materials: A Terra Foundation Resource Search this
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Scope and Contents:
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Letters include a photocopy of a 1901 letter signed by 28 students of the Shinnecock Summer School thanking Chase for a painting; a 1903 postcard to Mr. Harold R. Shiffer from his aunt; a 1912 letter to Chase signed by 32 pupils of the Art Students League thanking him for his efforts on their behalf and acknowledging his "qualities of sympathy, interest, and an understanding of our individual needs;" a 1915 note from an unidentified writer; a 1920 letter to Chase's wife Alice, from Gertrude Abbey, wife of Edwin Austin Abbey, referencing a tile possibly created by Edwin Abbey that Mrs. Chase owns; a 1935 postcard to Chase's daughter Helen from an unidentified writer; and a 1964 letter to Helen Storm from Ala Story in which Story describes a Chase exhibition that he is organizing and apologizes for having given a sketchbook of drawings owned by Helen to the Morgan Library.
Writings include 4 sets of lecture notes (one labeled as being notes for a lecture at Shinnecock), which are a combination of annotated typescripts and handwritten pages, and a typescript of a 1906 "Talk on the Old Masters by Mr. Chase" for the New York School of Art. Also found is a notebook with handwritten notes on a talk Chase gave to students in Philadelphia, presumably at the Pennsylvania Academy of Fine Arts.
Writings by others consist of a six-page typescript entitled "Reminiscences of a Student," by F. Usher De Voll, describing his experiences of Chase as a teacher.
Postcards (blank) include 3 reproductions of works of art by Chase, 8 reproductions of works of art by other artists, and 2 scenic views.
A Chase family scrapbook consists of mounted prints, primarily cyanotypes, that document Chase's travels to Rome, Milan, Gibraltar and the Loire Valley, and visits to major monuments, and also includes images of Chase and his family at leisure during their travels, as well as five family portraits.
Photographs of the Chase family include one of Chase with his son, Dana, and one of Chase with his wife, Alice, both undated. Other family members and friends are generally unidentified but do include Virginia Gerson and possibly Alice Gerson. Also found are four portraits of Chase, four photographs of Chase in his studio, a copy print of students at the Shinnecock Art School in circa 1895, and a copy print of an 1880 Tile Club trip up the Hudson River. In addition to circa 1960 copy prints, photographs include a variety of vintage prints such as albumen cabinet cards, silver gelatin prints, and a tintype.
Arrangement:
Due to the small size of the collection, the papers are arranged as 1 series.
Missing Title
Series 1: William Merritt Chase Papers, circa 1890-1964 (0.3 linear feet.; Box 1, OV 2)
Biographical / Historical:
William Merritt Chase (1849-1916) was one of America's most prominent painters and art instructors in New York, New York and Shinnecock, Long Island, during the late 19th century. One of the first Impressionist landscape painters in the U. S, Chase was also a highly accomplished portrait and still life painter.
Born in Indiana, Chase lived in New York and St. Louis, Missouri, before traveling to Europe and studying at the Royal Academy in Munich. After returning to New York in 1878, he taught at the Art Students League until 1896. His studio in the Tenth Street Studio building became an important gathering place for artists, students and patrons. Chase was also a member of the Tile Club whose members shared an interest in the decorative arts and sought to have their designs translated into ceramic tiles, from 1877-1887.
Chase became one of the most important teachers of American artists around the turn of the century. He opened the Shinnecock Hills Summer Art School in 1891 and taught there until 1902, living in a house at Shinnecock designed by Stanford White. In 1896 he opened the Chase School of Art and also taught at the Brooklyn Art Association in 1887, and 1891-1896, and the Pennsylvania Academy of Fine Arts from 1896-1909.
Chase was a member of the National Academy of Design, and was president of the Society of American Artists from 1885 to 1895.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel N69-115 includes an additional family scrapbook, undated, containing photographs of Chase, his wife and children, a notice of sale of the Chase house in Shinnecock Hills, N.Y. designed by Stanford White, and photographs of the house. Found on reel N69-119 are circa two hundred photographs of Chase at work, his wife, his studios in Philadelphia and on 5th Avenue and 10th Street New York City, and numerous snapshots of characters in a tableau vivant that include his family, friends, Mary S. Moore Cross, and others. Reel N69-137 contains letters from Chase to his wife during his travels abroad, one note from John Singer Sargent requesting the use of Chase's studio for the famous party Sargent gave for Isabella Stewart Gardner in 1890, and a six-page typescript, "Reminiscences of a Student," by F. Usher De Voll, and photographs of Chase's studio. Loaned materials were returned to the lenders and are not described in the collection container inventory.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Richard Hood, 1964 Dec. 15. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Walter Erlebacher, 1991 Jan. 19. Archives of American Art, Smithsonian Institution.
Topic:
Sculpture, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Quotes and excerpts must be cited as follows: Oral history interview with Jimmy C. Lueders, 1990 Nov. 14. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Abstract -- Pennsylvania -- Philadelphia Search this
Painting, Modern -- 20th century -- Pennsylvania -- Philadelphia Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia Search this
Quotes and excerpts must be cited as follows: Oral history interview with Hugh Mesibov, 2012 Dec. 4. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Eleanor Moty, 2014 November 18-20. Archives of American Art, Smithsonian Institution.
137 pages of notes covering 33 lectures given by Violette De Mazia at the Barnes Foundation on 19th and 20th century art. These unauthorized notes include the orientation lecture, reading assignements, and class discussions.
Biographical / Historical:
Painter, art instructor; Wilmington, Del. Loper studied at the Barnes Foundation.
Provenance:
Edward Loper was given a copy of short hand notes taken in De Mazia's class by an unidentified student. Loper then had one of his students, Janet Neville, type the notes. Neville, who later became Loper's wife, kept a copy of the notes, and they were microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers -- Pennsylvania -- Merion Search this
Topic:
Art, Modern -- 20th century -- History Search this
Art -- Study and teaching -- Pennsylvania -- Merion Search this
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; eight sketchbooks; and photographs of Clements, her family and friends, and her work.
Scope and Contents:
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; 8 sketchbooks; and photographs of Clements, her family and friends, and her work.
Biographical material consists of an address book, artwork sales and price lists, and autobiographical notes.
Correspondence is primarily with Clements' family, friends, and business associates. The series includes significant correspondence from Clements to her mother during her college years at Cornell University.
Writings include notes and essays on art history and etching techniques, 2 notebooks of poetry, and a travel diary chronicling a trip to Egypt with Ellen Day Hale.
Printed material includes clippings, exhibition catalogs, a map of the artists' colony at Rockport, Folly Cove in Massachusetts, and a copy of the book Suggestions for Illuminating by W. Randle Harrison.
Artwork consists of sketches and original etchings by Clements and artwork by others.
There are 8 sketchbooks consisting primarily of cityscapes, landscapes, and figure and portrait studies.
Photographs are of Clements, her family and friends, artists models, and work by Clements and others.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical materials, circa 1920-1944 (3 folders; Box 1)
Series 2: Correspondence, circa 1875-1945 (0.3 linear feet; Box 1)
Series 3: Writings, circa 1885-1940 (8 folders; Box 1)
Series 4: Printed material, circa 1860-1948 (5 folders; Box 1)
Series 5: Artwork, circa 1895-1940 (3 folders; Box 1)
Series 6: Sketchbooks, circa 1884-1940 (0.3 linear feet; Box 1)
Series 7: Photographs, circa 1875-1940 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter, printer, and art teacher Gabrielle de Veaux Clements (1858-1948) lived and worked in Philadelphia, Pennsylvania; Baltimore, Maryland; and Folly Cove near Gloucester, Massachusetts. She was known for her etchings and her commissioned murals for the cities of Baltimore and Washington, D.C.
Clements was born in Philadelphia, Pennsylvania to physician Richard Clements and his wife, Gabrielle De Vaux. Her interest in art was supported by her family and, at the age of seventeen, she began studying lithography with the designer Charles Page at the Philadelphia School of Design for Women. After graduating in 1880 from Cornell University, where she had produced a number of scientific drawings and lithographs, Clements studied with painter Thomas Eakins at the Pennsylvania Academy of Fine Arts and won the school's Toppan Prize. In 1883, Clements was introduced to etching techniques by the artist Stephen Parrish and began exhibiting and printing her works professionally.
In 1884, Clements traveled abroad to Paris to study at the Academie Julian where she was joined in 1885 by fellow painter and future lifelong companion Ellen Day Hale. Upon returning to her Philadelphia studio in 1885, Clements taught other female artists, including Margaret Bush-Brown, and exhibited in numerous institutions, including the National Academy of Design and the Boston Museum of Fine Arts. In 1895, Clements moved to Baltimore to teach art at the newly established Bryn Mawr School, where she remained until 1908. During her tenure in Baltimore, she was commissioned by the Bendann Galleries to etch nine views of Baltimore and also painted five church murals in Washington, D.C., which led to subsequent murals in Detroit, Philadelphia, and Chicago.
Clements and Hale frequently traveled abroad, visiting France, Italy, Egypt, Syria, and Palestine, and spent summers at "The Thickets," the house they purchased in the artists' colony at Folly Cove. During World War I, they wintered in Charleston, South Carolina where they opened their studios to young female artists and taught innovative etching, painting, and color printmaking techniques. After the war, they again opened their studios in Folly Cove to young artists and continued to teach and experiment with soft-ground etching and aquatints in color. This work was highlighted in special exhibitions at the J.B. Speed Art Museum and the Smithsonian Institution. Clements died in Rockport, Massachusetts in 1948.
Provenance:
The Gabrielle de Veaux Clements papers were donated by Mrs. Harlan Starr, Jr. in 1983.
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.
