Quotes and excerpts must be cited as follows: Oral history interview with Rachel Pulley, 2000 Sept. 25. Archives of American Art, Smithsonian Institution.
Topic:
Artists' models -- California -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Susan Benay, 2000 November 30. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Naomie Kremer, 2001 Mar. 16. Archives of American Art, Smithsonian Institution.
Topic:
Artists' models -- California -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Kristina Faragher, 2002 Nov. 12. Archives of American Art, Smithsonian Institution.
The Dorothy Edinger scrapbook measures 0.1 linear feet and dates from circa 1900 to 1965. The mixed-media scrapbook, compiled by Edinger, concerns her personal life and professional career. Found are scattered biographical materials, clippings, correspondence, family photographs, and photographs of works of art. Also found is a watercolor sketch of flowers.
Scope and Contents:
The Dorothy Edinger scrapbook measures 0.1 linear feet and dates from circa 1900 to 1965. The mixed-media scrapbook, compiled by Edinger, concerns her personal life and professional career. Found are scattered biographical materials, clippings, correspondence, family photographs, and photographs of works of art. Also found is a watercolor sketch of flowers.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Dorothy Edinger (1894-1970) was a painter and photographer's model in San Francisco, California, New York City, New York, and Paris, France.
Edinger studied at the University of California, Berkeley. She was married to, and had a daughter with, the Viscount de Vaulchier and was known as the Vicomtesse de Vaulchier. She worked as a photographer's model and portrait painter. Additionally, she helped develop and publicize skin care techniques.
Provenance:
Donated 2010 by art historian and scholar D. Frederick Baker, Baker-Pisano 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.
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 -- New York (State) -- New York Search this
Artists' models -- New York (State) -- New York Search this
Painters -- California -- San Francisco Search this
Artists' models -- California -- San Francisco Search this
The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014. The collection comprises biographical materials; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files; teaching files for the California College of Arts and Crafts and other professional and project files; research and subject files; membership records, including born-digital material, and sound and video recordings, for various organizations; personal financial and legal records; printed materials featuring Dickinson and her artwork; and photographic materials of Dickinson in her studio and with friends, colleagues, and family, as well as exhibitions and other art events, and works of art.
Scope and Contents:
The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014.
The collection comprises biographical materials containing datebooks, certificates, resumes, and sketches; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files for Spirit in the Land: Photographs from the Bible Belt (1987) and various group exhibitions; files documenting Dickinson's professional activities outside of teaching at the California College of Arts and Crafts; and files that include video recordings for projects on artist's models, Revival!, and gender discrimination in the art field.
Also found are research and subject files on Howard Finster, professionalism in art, and other topics; California College of Arts and Crafts teaching files consisting of student and faculty records, course material, and administrative records; membership records that include born-digital material, and sound and video recordings for Artists Equity Association, Women's Caucus for the Arts, and other organizations; records documenting Dickinson's personal financial and legal dealings that include artwork sales records, studio expenses, and lists of artworks in the Eleanor and Wade Dickinson Art Collection; printed materials featuring Dickinson and her artwork; and photographic materials depicting Dickinson in her studio and with friends and colleagues, family, exhibitions and art events, and works of art.
Arrangement:
The collection is arranged as 12 series.
Series 1: Biographical Materials, 1957-2014 (1.0 linear feet; Box 1, OVs 32, 36)
Series 2: Correspondence, 1954-2013 (3.0 linear feet; Boxes 1-4)
Series 3: Interviews, 1976-2000 (2.5 linear feet; Boxes 4-7)
Series 4: Exhibition Files, 1960-2012 (0.8 linear feet; Boxes 7-8)
Series 5: Professional Files, 1963-circa 2005 (0.5 linear feet; Box 8, OV 34)
Series 6: Project Files, 1955-2001 (4.5 linear feet; Boxes 8-13, OVs 32-33)
Series 7: Research and Subject Files, circa 1970-circa 1997 (1.5 linear feet; Boxes 13-15)
Series 8: California College of Arts and Crafts Teaching Files, 1962-2002 (1.5 linear feet; Boxes 15-16)
Series 9: Membership Records, 1947-2014 (8.0 linear feet; Boxes 17-24, 31, OV 34, ER01)
Series 10: Personal Business Records, 1957-2011 (2.0 linear feet; Boxes 25-26)
Series 11: Printed Materials, 1951-2011 (4.0 linear feet; Boxes 26-30, OVs 32-33, 35-36)
Series 12: Photographic Materials, 1958-2012 (6 folders; Box 30)
Biographical / Historical:
Eleanor Dickinson (1931-2017) was a painter, graphic and video artist, and educator in San Francisco, C.A.
Dickinson was born in Knoxville, Tennessee in 1931. Shortly after graduating from University of Tennessee in 1952 with a Bachelor of Arts, Dickinson moved to California and established a studio in San Francisco. There she immersed herself in the counterculture of the 1960s, becoming friends with Allen Ginsberg and producing a poster with Ginsberg's fellow Beat poet Lawrence Ferlinghetti.
Dickinson's continuing interest in and activism for the rights and well-being of artists also influenced her work with the Artists Equity Association, the Women's Caucus for the Arts, and numerous other organizations. Though extremely active in the art world of the West Coast, she never forgot her southern roots and continued to visit Tennessee annually. Dickinson's close connection to her birthplace is evident throughout her career, with Southern religion often being central to her work. Among her most prominent projects are the multifaceted exhibition Revival!, the documentary "Artist's Models of San Francisco," the ink drawings seen in Old Lovers, and illustrations for the books Complete Fruit Cookbook and That Old-Time Religion.
Dickinson was married to Wade Dickinson and had three children: Mark, Katy, and Daniel. Dickinson died in San Francisco, California, in 2017.
Related Materials:
Also found in the Archives of American Art is an oral history with Eleanor Dickinson conducted on October 25, 2000 by Paul Karlstrom, for the Archives of American Art, in Dickinson's studio/home, in San Francisco, California.
Provenance:
The Eleanor Dickinson papers were donated from 1979 to 2005 by Eleanor Dickinson and in 2017 by the Eleanor Creekmore Dickinson Charitable Art Trust.
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 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 -- California -- San Francisco Search this
Video artists -- California -- San Francisco Search this
Graphic artists -- California -- San Francisco Search this
Educators -- California -- San Francisco Search this
Eleanor Dickinson papers, 1947-2014. 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.
The Sara R. Currie papers about sculptor Alfred Lenz measure 0.01 linear feet and date from circa 1899-circa 1926, circa 1950s. The papers include scattered documentation about Lenz including a biographical sketch by Currie, printed material, and photographs.
Scope and Contents:
The Sara R. Currie papers about sculptor Alfred Lenz measure 0.01 linear feet and date from circa 1899-circa 1926, circa 1950s. The papers include a biographical sketch of Lenz written by Currie; three postcards of the Panama-Pacific International Exposition held in San Francisco, California in 1915, including an image of a medal designed by Lenz; a printed reproduction of a 1910 bas relief of an Aztec Indian, The Vow, by Lenz; and photographs of Lenz taken from circa 1899-1925.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Sara R. Currie, a member of the Rockefeller family who settled in Jacksonville Florida, was a close friend and self-described assistant of Wisconsin-born New York sculptor Alfred Lenz. Currie remarked in her biographical notes on Lenz that she also modeled for his sculpture Senorita Hootch (1922). Lenz was born in Fon-du-Lac and moved to San Francisco at the age of 19 before settling in New York City where he spent a short period of time working for Gorham Silversmiths. Lenz became absorbed with sculpting and devoted the rest of his life to developing and perfecting a special lost wax technique of casting metals which was used by the ancient Chinese. He also designed a bas relief medallion for the Panama-Pacific International Exposition of 1915.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on Reel D24 including newspaper clippings, correspondence, and an exhibition catalog. Loaned materials were returned to the lender after microfilming and are not described in the collection container inventory.
Provenance:
The collection was donated by Sara R. Currie in 1958.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Assistants -- New York (State) -- New York Search this
Artists' models -- New York (State) -- New York Search this
Citation:
Sara R. Currie papers about Alfred Lenz, circa 1899-circa 1926, circa 1950s. Archives of American Art, Smithsonian Institution.
Torana Art League (Santa Ana, Calif.). The newd cook book, 1971 May. Cleo (Cleo Dorman) papers, 1924-1999. Archives of American Art, Smithsonian Institution.
The papers of artist's model Cleo Dorman measure 1.2 linear feet and date from 1924 to 1999. Found are biographical materials, correspondence, personal business records, photographs, printed material, a mixed-media scrapbook, and writings by Cleo and others.
Scope and Contents:
The papers of artist's model Cleo Dorman measure 1.2 linear feet and date from 1924 to 1999. Found are biographical materials, correspondence, personal business records, photographs, printed material, a mixed-media scrapbook, and writings by Cleo and others.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Cleo (Cleo Dorman) (1908-1990) was an artist's model in Los Angeles, California.
Born Essie Cleo Dorman, May 16, 1908, Cleo's first modeling job was at a Chicago art school. She subsequently modeled at the Cranbrook Academy, the Art Institute of Chicago, the Art Student's League in New York, the Pennsylvania Academy of Fine Art, the Otis Art Institue in Los Angeles and various other university art schools.
Cleo moved permanently to Los Angeles in 1949. She worked and became friends with painters such as Hans Burkhardt, Raphael Soyer, Joe Magnani and Charles White.
Provenance:
Donated 1995 and 2020 by Jennifer Coile, trustee of Cleo's estate.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists' models -- California -- Los Angeles Search this
Citation:
Cleo (Cleo Dorman) papers, 1924-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
Biographical materials include scattered doodles and notes. Correspondence is with artists, friends, and institutions including Cranbrook Academy of Art, Carlos Lopez, Quentin Neal, the Pennsylvania Academy of Fine Arts, and Dr. Millard Zisser. Also found are greeting and holiday cards, many of which are handmade. Contracts, posing schedules, and scattered correspondence regarding payment are found between the Buffalo Fine Arts Academy, Carnegie Institute of Technology, Dan Lutz, Massachusetts Institute of Technology, Pennsylvania Academy of the Fine Arts, and John Lyon Reid. Additional personal business records relate to the scholarship fund Cleo established to assist minority art students and the sale of her collection of works of art.
Photographs are of Cleo as a young woman and later in life; of events and exhibitions including Cleo: Fifty Years as an Artist's Model at the Otis/Parsons Art Institute, Los Angeles.; of others including Novella Joel and Jac Kennedy; and of works of art featuring Cleo. Of note is a portrait of Cleo by Deborah J. Youngman. Printed materials relate to artists for whom Cleo posed. Also found are two books, Memories of the Future by Gorgon Wagner and The Newd Cookbook compiled by the Torana Art League of Santa Ana, California.
A mixed media scrapbook, likely compiled by Cleo, documents her early career and includes clippings, exhibition announcements, press releases, notes, and unsigned sketches. Writings by Cleo include notes on artists for who she posed and her reflections on their techniques and styles, and an unpublished autobiography with notes entitled "Cleo: a Naked Woman's Handbook." Writings by others include a short story by Jack Bender and poems by Norma Green.
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.
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:
Cleo (Cleo Dorman) papers, 1924-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
The collection measures 0.5 linear feet, dates from 1920 to 1997, and documents the career of artist's model Florence Allen. Found within the papers are biographical material, letters, notes and writings, artwork, and printed material. Of particular interest are a wide variety of photographs, including 19th century photographs of Allen family members, photographs of Florence Allen posing for artists, socializing with famous friends such as Paul Robeson, Harry Belefonte, Paul Newman, Allen Ginsberg, and participating in protest marches. There is also an autographed photo of Bob Hope.
Scope and Content Note:
The papers of artist's model Florence Allen measure 0.5 linear feet and date from 1920-1997. Found within the papers are biographical material, scattered letters that generally discuss some of Allen's activities, miscellaneous notes and writings, a drawing and a silhouette, and clippings. The primary value of this collection rests in its wide variety of photographs. As well as 19th century photographs of Allen family members, the collection contains photographs of Florence Allen posing for artists, socializing with famous friends such as Paul Robeson, Harry Belefonte, Paul Newman and Allen Ginsberg, and participating in protest marches. There is also an autographed photo of Bob Hope.
Florence Allen was educated at Fremont High School and later became involved in the San Francisco literary and artistic community as a civil rights activist and newspaper columnist. She began modeling in 1933 and worked as an artist's model for most of the prominent figurative painters working in the Bay Area of San Francisco, including Diego Rivera, Mark Rothko, and Wayne Thiebaud. She also worked as a model in university art classes, including those at the San Francisco Art Institute, Mills College, University of California at Berkeley, Stanford University, and the California College of Arts and Crafts.
In 1945, Ms. Allen founded the San Francisco Models' Guild. After injuries from a traffic accident limited her mobility in 1987, she became the Model Coordinator at the College of Arts and Crafts in Oakland where she also taught a Model Certification Workshop.
Florence Allen died June 1, 1997 in El Sobrante, California.
Provenance:
The Florence Allen papers were donated in 1995 and 1999 by Florence Allen via Austin Conkey, an informal executor, who maintained Allen's papers.
Restrictions:
The collection is open for research. Use 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:
Artists' models -- California -- San Francisco Search this
The papers of San Francisco art patron and philanthropist Alma de Bretteville Spreckels measure 0.6 linear feet and date from 1920 to 1978. The collection focuses on Spreckels's founding of and service to the California Palace of the Legion of Honor and the Maryhill Museum of Fine Arts through correspondence, financial and legal records, meeting minutes, photographs, printed material, and registrarial records. Of note are Queen Marie of Romania's handwritten descriptions describing the provenance of her mementos and artifacts donated to the Maryhill Museum of Fine Arts.
Scope and Contents:
The papers of San Francisco art patron and philanthropist Alma de Bretteville Spreckels measure 0.6 linear feet and date from 1920 to 1978. The collection focuses on Spreckels's founding of and service to the California Palace of the Legion of Honor and the Maryhill Museum of Fine Arts through correspondence, financial and legal records, meeting minutes, photographs, printed material, and registrarial records. Of note are Queen Marie of Romania's handwritten descriptions describing the provenance of her mementos and artifacts donated to the Maryhill Museum of Fine Arts.
Biographical / Historical:
Alma de Bretteville Spreckels (1881-1968) was an art patron and socialite from San Francisco, California. Her early childhood was marked by near poverty but her fascination with art led her to studying at the Mark Hopkins Institute of Art (San Francisco Art Institute). Alma worked as an artist model for artists such as Robert Aitken, and she was purportedly the inspiration for Aitken's Dewey Monument in San Francisco.
Alma married the heir of a sugar fortune, Adolph B. Spreckels, with whom she had two children. Following Adolph's death in 1924, Spreckels focused her energies on art patronage and philanthropy, including the founding and sourcing of collections for the Palace of the Legion of Honor and the Maryhill Museum of Art.
Provenance:
The collection was donated to the Archives of American Art by Mrs. Dorothy Munn, daughter of Alma de Bretteville Spreckles, in 1980.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art patrons -- California -- San Francisco Search this
Philanthropists -- California -- San Francisco Search this
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.
Scope and Content Note:
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.
Correspondence primarily consists of incoming letters from art historians, students, publishers, museums, and galleries interested in obtaining biographical information, scheduling exhibitions, or seeking permission to reproduce artwork. Correspondents include Theodora Greenbaum, Sam Hunter, and Roberta Kimmel. Also found is a letter to Man Ray from Isamu Noguchi.
Exhibition files document some of Man Ray's solo and group exhibitions held at museums and galleries in the United States and abroad, including Galerie Anderson Mayer, the Philadelphia Museum of Art, Prakapas Gallery, Helen Serger, La Boetie, Inc., Ronny Van De Velde Gallery, Serpentine Gallery, Vered Gallery, and Zabriskie Gallery.
Writings and notes include typescripts of unpublished pieces on Man Ray and Surrealist photography and on Juliet Man Ray, miscellaneous writings, and Naomi Savage's list of Man Ray published work. Artwork consists of an artist's proof of a print by Paul Levitt.
Printed material houses news and periodical clippings on Man Ray and Juliet Man Ray, newsletters, reproductions of artwork, and miscellaneous printed material. Clippings provide documentation on Man Ray's early commercial photography for advertisements and fashion magazines as well as his experimental photographic work.
Photographs include portrait photographs of Man Ray and Juliet Man Ray. There are photographs of Man Ray and Juliet with family, friends, and colleagues, including photographs of Marcel Duchamp and Teeny Duchamp.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Naomi Savage Correspondence, 1939-1995 (Box 1; 0.1 linear feet)
Series 2: Man Ray Exhibition Files, 1941-1997 (Box 1, OV 4; 0.8 linear feet)
Series 3: Writings and Notes, 1974-1998 (Box 1, OV 4; 0.1 linear feet)
Series 4: Artwork, circa 1963 (Box 1; 1 folder)
Series 5: Printed Material, circa 1913-1998 (Boxes 1, 3; 0.2 linear feet)
Series 6: Photographs, 1913-1991 (Boxes 1-3; 0.4 linear feet)
Biographical Note:
Photographer Naomi Siegler Savage (1927-2007) lived and worked in Princeton, New Jersey. While a teenager, Savage attended a photography class taught by Berenice Abbott and pursued this interest at Bennington College in Vermont. In California, Savage apprenticed with her uncle Man Ray, who was a close friend as well as mentor to his niece.
Influenced by Man Ray's experimental techniques with film, Naomi Savage pioneered the use of the photographic metal plate which produced a three dimensional form with a metallic surface. One of her best-known photographic engravings is a magnesium mural for the Johnson Library and Museum in Austin, Texas, depicting the national elective offices held by President Johnson and the various Presidents under which he served. In later years, Savage continued to experiment with the photographic process by using digital cameras, color photocopiers, and computer imaging.
In 1952, Savage had her first exhibition at the Museum of Modern Art in New York. In addition to the Museum of Modern Art, Savage's work is also in the collections of the Art Institute of Chicago, the Fogg Museum at Harvard University, the International Center of Photography in New York, and the Museum of Fine Arts in Boston, Massachusetts.
Naomi Savage was married to the painter, sculptor, and architect, David Savage. Naomi Savage died in Princeton, New Jersey in 2007.
Man Ray (1890-1976) lived and worked in New York and Paris, France and was best known for his painting and photography.
Man Ray was born Emmanuel Radnitsky in Philadelphia, Pennsylvania in 1890. His family later moved to Brooklyn, New York. During this period, the family changed their name to Ray and Emmanuel shortened his first name to Man, gradually using Man Ray as his combined single name. Man Ray attended Boys High School from 1904-1908 where he developed an interest in painting. After high school, he worked as a commercial artist and technical illustrator in New York City while attending classes at the Art Students League, Ferrer School, and National Academy of Design.
Influenced by European artists, whose Modernist works were being shown at the 1913 Armory Show and Alfred Stieglitz's "292" Gallery, and other such venues, Man Ray began to incorporate elements of Cubism in his paintings and drawings. In 1915, Man Ray met Marcel Duchamp (1887-1968) and they formed a lifelong friendship and professional partnership. That same year, the Dada group, founded by a Tristan Tzara and other artists in Zurich, Switzerland also took root in New York; Man Ray, Marcel Duchamp and Francis Picabia were credited for starting the New York Dada movement.
Man Ray moved to Los Angeles, California in 1940. There he met New York City-born Juliet Browner (1910-1991), a trained dancer and professional artists' model. They married in 1946 in a double wedding ceremony with their friends Max Ernst and Dorothea Tanning. In 1951, Man Ray and Juliet Man Ray returned to live in the Montparnasse section of Paris.
Man Ray received an honorary Master of Fine Arts degree from Freemont University, Los Angeles, 1948 and the gold medal for photography at the Venice Photo Biennale, 1962. In 1967, Man Ray received an award from the Philadelphia Arts Festival honoring its native son for his accomplishments.
Man Ray died in Paris in 1976. Juliet Man Ray survived her husband and continued to live in Paris until her death in 1991.
Provenance:
The Naomi Savage papers were donated in 2007 by Lourie Savage Bates, Naomi Savage's daughter. Naomi Savage was Man Ray's niece.
Restrictions:
The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An interview of Judy Dater conducted 2000 June 2, by Paul Karlstrom, for the Archives of American Art,
The interview took place in Dater's home, Berkeley, California. Dater focuses on her experiences photographing the nude. Dater discusses the early influence on her of Thomas Hart Benton's "Persephone," a work that she says affected her on an emotional level; how voyeurism depicted informs "looking," a basic activity of the photographer and of many other artists; her collaboration with husband, Jack Welpott, working from the same nude model, and the differences in their objectives; her main interest is human energy, male or female; finding it easier to work with women; her feminism in connection with the subject of the nude and issues of power that arise.
Biographical / Historical:
Judy Dater (1941- ) is a photographer and photography model from Berkeley, California. Among Dater's best-known images is one of Imogen Cunningham photographing Twinka Thiebaud, Wayne Theibaud's daughter, at a field workshop in Yosemite. Dater also posed for Cunningham, Wynn Bullock, Ruth Bernhard, and, as a graduate student at San Francisco State University, her teacher and husband-to-be, Jack Welpott.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav file. Duration is 1 hr., 2 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 provided by Bente and Gerald E. Buck Collection.
Restrictions:
Transcript available on the Archives of American Art website.
Interview of Ann Karlstrom and Mimi Luebbermann conducted 1982 March 4, by Betsy Mize Currie, for the Archives of American Art California Oral History Project. Karlstrom and Luebbermann discuss their experiences as models for Bay Area artists. They recall artist Samuel Clayberger and photographer Jack Welpott.
Biographical / Historical:
Ann Karlstrom is the publications manager at the M.H. de Young Memorial Museum in San Francisco, California; Mimi Luebermann is an an amateur artists' model.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Patrons must use transcript.
Topic:
Artists' models -- California -- Interviews Search this
The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. the papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.
Scope and Contents:
The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. The papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.
Biographical materials consist of passports, an identification card, and a Who's Who entry. Correspondence is scattered and contains letters written by A.G. Warshawsky to his wife Ruth. There are also telegrams of congratulations for the Warshawskys' 1941 marriage and a few letters from museums and institutions regarding Warshawsky's art.
Writings and notes include three versions of Warshawsky's autobiography entitled: "My Brush with Life," "Adventures with Color and Brush," and "Warshawsky's Autobiography." The autobiography concerns his life in Paris, activities, and acquaintances as a young art student in Paris. Also found are other writings about art and a notebook.
Printed material includes exhibition catalogs, xeroxed copies of news clippings and a clippings file concerning Warshawsky's career, published material, and reproductions of works of art. Also found is a printed portfolio comprised of an introduction to Warshawsky and reproductions of his paintings.
There is one original and one xeroxed scrapbook, containing news clippings, and exhibition materials from 1913 to 1960.
Photographs includes eight photo albums and photographs of Warshawsky, of family and friends, and of works of art. The bulk of the photo albums contain photographs of works of art. Two photo albums consist of personal photos of Warshawsky and his wife Ruth in their home in California. Other photographs are of Warshawsky painting in his studio, with his art, and of his wife, family, friends, and artist models.
Twenty-six sketchbooks are primarily in pencil and are undated or unidentified. Some sketchbooks include place names such as Monterey and Carmel, California, Mexico, and Paris.
Additional artwork includes loose sketches and a print by Warshawsky. Also found are prints and drawings by others, including Goya, Edwin Kaufman, and Paul de Lassence.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1923-circa 1940 (3 folders; Box 1)
Series 2: Correspondence, 1941-1964 (4 folders; Box 1)
Series 3: Writings and Notes, circa 1930-circa 1950 (0.4 linear feet; Box 1)
Series 4: Printed Material, 1920-1964 (0.2 linear feet; Box 1, 6, OV 12)
Series 5: Scrapbooks, 1913-1960 (0.3 linear feet; Box 1, 9)
Series 6: Photographs, circa 1910-1988 (1.4 linear feet; Box 1-2, 5, 7-8, OV 10)
Series 7: Sketchbooks, circa 1910-circa 1950 (1.0 linear feet; Box 2-3, 5-6)
Series 8: Artwork, circa 1900-1951 (0.5 linear feet; Box 3-5, OV 11)
Biographical / Historical:
Impressionist painter A.G. Warshawsky (1883-1962) was active in Paris and Monterey, California.
Abel George "Buck" Warshawsky was born in Sharon, Pennsylvania in 1883. He spent his childhood in Cleveland, Ohio where he studied at the Cleveland Art Institute. Warshawsky moved to New York where he studied at the Art Students League and the National Academy of Design. His brother, Alexander also became an artist.
In 1909, Abel Warshawsky left the U.S. for Paris where he remained for thirty years. There, he developed his unique style, combining Impressionism and Realism. He returned to the United States annually, mostly to sell his paintings, but remained active in the Parisian art scene until 1939. He exhibited his works in Cleveland, New York, Chicago, San Francisco, Los Angeles, and Paris.
Before the start of World War II, Warshawsky left Paris and settled in Monterey, California. Warshawsky married Ruth Tate in 1941. He died from heart failure in 1962. His works are in the permanent collections of the Akron Art institute, the Cleveland museum of Art, the Luxembourg Museum, the De Young Museum, the Petit Palais, and the Los Angeles County Museum of Art.
Separated Materials:
The Western Reserve Historical Society in Cleveland, Ohio holds the Abel G. Warshawsky Family papers.
Provenance:
The bulk of the A.G. Warshawsky papers were donated in 1996 by Froma Goldberg, Warshawsky's niece. In 1978, Ruth Warshawsky donated a typescript copy of her husband's autobiography, "My Brush with Life."
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington D.C. Research Facility. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An interview of Nathan Oliveira conducted 1978 Aug. 9-1981 Dec. 29, by Paul Karlstrom, for the Archives of American Art.
Oliveira speaks of his family background and ancestry; his childhood; his education; the development of his interest in art; working as a bookbinder; his inspirations from the old masters; studying with Max Beckmann and Otis Oldfield; his U.S. Army service; working with Richard Diebenkorn; getting established in galleries as a printmaker; teaching printmaking; his European travels; living in Illinois and its effect on his career; moving to California; and meeting and working with Martha Jackson. He recalls Billy Al Bengston, Ivan Albright, and Willem de Kooning, and discusses de Kooning's influence on him.
Oliveira also speaks of subject matter in his paintings, and his departure from and his later return to the human figure; the relationship between artist and model; the importance and persistence of the figurative tradition in American art; artists he admires. He recalls Keith Boyle and Frank Lobdell.
Biographical / Historical:
Nathan Oliveira (1928-2010) was a painter, printmaker, and sculptor from Stanford, Calif.
General:
Originally recorded on 3 sound tape reels and 2 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 39 min.
Provenance:
These interviews are 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 others.
Restrictions:
1978-1980 session; transcript: Transcript available on microfilm.
Art Schools in California Oral History Project Search this
Extent:
30 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 October 26
Scope and Contents:
An interview of Paul Carey and Stephanie Caloia conducted 1997 October 26, by Paul Karlstrom, for the Archives of American Art.
The topic of discussion in this interview was pioneer modernist, Edward Hagedorn (1902-1982). Paul Carey was a fellow student at California School of Fine Arts and studio mate in San Francisco's "Monkey Block"; Stephanie Caloia was Hagedorn's final model and weekly companion. They shared reminiscences of Hagedorn from the 1920s and 1930s to the late 1970s. Carey began the interview with a discussion of Hagedorn's background, including his family circumstances, personality, ideas on art, and interest in women. Caloia recalls her years with Hagedorn (1975-1982), when he would engage models to pose for him in his Berkeley home. Eventually she became his only model and accompanied him to North Beach restaurants and bars where he apparently was a well-known character. Both interviewees related anecdotes about Hagedorn that create a picture of a complex, introspective, and mysterious loner whose striking expressionism reflects personal fears and obsessions. Hagedorn's work is receiving new attention after its "rediscovery" a decade ago.
Biographical / Historical:
Paul Carey (1904-2001) was an artist from Piedmont, California. Stephanie Caloia (1951-) is an artists' model.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 3 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.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Funding for the transcription of this interview is provided by the Bente and Gerald E. Buck Collection. 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.