Primarily research files and notes, subject files, interview tapes and transcripts, correspondence, writings, and other materials compiled by Harmon for a never-published biography of art dealer J.B. Neumann, titled The Art Lover. Found are photocopies of J.B. Neuman's correspondence with Karl Nierendorf, Clifford Odets, Elsa Schmid, and Alfred Stieglitz; photocopies and other materials from the J.B. Neumann Collection at the University of Texas at Austin, Harry Ransom Humanities Center, including photocopies of the magazine published by Neumann titled Art Lover Library, 1930-1957 (volume 1, 1930 is original bound volume), copyprints and photocopies of photographs of Neumann, his family, and of other subjects; interview transcripts and audio tapes with numerous artists conducted in the mid-1980s; research notes and files; and subject files on numerous artists (all photocopies).
Harmon's personal papers include resumes; copies of letters from friends, family, dealers and others; photographs of Harmon's paintings; writings, including poems, excerpts from diaries, autobiographical essays, and her autobiography FREEHAND; photocopies of various mss. drafts of Harmon's biography of Neumann, The Art Lover, and related writings by Harmon, including The Art Dealer and the Playwright, and Synopsis of Art Lover, ca. 1987-1990 ; a transcript of an interview of Harmon conducted by Karl Fortress, 1967; magazine and newspaper clippings; exhibition announcements and catalogs; and miscellany.
Interviewees include: Dore Ashton, Sally Avery, Alfred Barr, Phillip Bruno, Al Copley, Dorothy Dehner, Bettina Drew (about Nelson Algren), Elsie Driggs (also found is a video interview and transcript of Driggs by Merryman Gatch, n.d.), Ben Hertzberg, Leonard Hutton, Lewis Isaacs, Max Kahn, Katharine Kuh, Johanna Neumann Lamm, Frances Manacher, Peter Neumann, Albrecht Neumann, Nolbert Rothbaum, Margarete Schultz, Joseph Solman, Margarete Sapanel, Hugh Stix, Ilse Vogel with Howard Knotts, and Edward M.M. Warburg.
Biographical / Historical:
Painter and sculptor; New York City. Harmon worked for the influential art dealer J.B. Neumann, and spent several years preparing a biography of him which was never published. As an artist, she lived in Europe in the early part of the century, and worked on WPA art projects in the 1930s.
Provenance:
Donated 1983 and 1998 by Lily Harmon.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Scope and Contents:
The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.
Biographical materials include awards, biographies and chronologies, family history materials, membership cards,
writings by Liberman's mother, and a scrapbook about his father.
Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).
There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.
Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.
Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.
Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.
Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.
There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.
Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.
Arrangement:
The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.
Missing Title
Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)
Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)
Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)
Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)
Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)
Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)
Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)
Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)
Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)
Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)
Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)
Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)
Biographical / Historical:
Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.
Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.
Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.
Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.
Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.
Related Materials:
Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.
Provenance:
The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.
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 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:
Publishers -- New York (State) -- New York Search this
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.
Scope and Content Note:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.
Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.
Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.
Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.
Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.
Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.
The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
Arrangement:
The collection is arranged as 15 series:
Missing Title
Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)
Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)
Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)
Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)
Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)
Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)
Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)
Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)
Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)
Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)
Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)
Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)
Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)
Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)
Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)
Biographical Note:
Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.
Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.
After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.
In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.
Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."
Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.
In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.
Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.
In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.
In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.
Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.
Related Material:
The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.
The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.
Provenance:
The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.
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.
Occupation:
Art historians -- New York (State) -- New York Search this
Topic:
Art museum curators -- New York (State) -- New York Search this
The records of the Washington, D.C. arts and educational organization, Institute of Contemporary Arts, measure 36 linear feet and date from 1927-circa 1985, with the bulk of the material spanning the organization's active years, 1947-1967. The collection documents the arts and cultural programming organized by the ICA through correspondence, artists' files, program and exhibition files, administrative and financial records, printed materials and photographs. Also found are administrative, student, and teacher records of the ICA school; records of the Fine Arts Committee of the People-to-People Project; and some personal papers of the ICA's founder, Robert Richman.
Scope and Contents:
The records of the Washington, D.C. arts and educational organization, Institute of Contemporary Arts, measure 36 linear feet and date from 1927-circa 1985, with the bulk of the material spanning the organization's active years, 1947-1967. The collection documents the arts and cultural programming organized by the ICA through correspondence, artists' files, program and exhibition files, administrative and financial records, printed materials and photographs. Also found are administrative, student, and teacher records of the ICA school; records of the Fine Arts Committee of the People-to-People Project; and some personal papers of the ICA's founder, Robert Richman.
Robert Richman's professional and personal relationships with numerous artists and writers which the ICA hosted in D.C. are documented in Correspondence and Artists' Files. Correspondence files include letters from Joseph and Anni Albers, Alfred Barr, e.e. cummings, Alexander Giampietro, Naum Gabo, Walter Gropius, Erick Hawkins, Duncan Phillips, Hans Richter, Kay Sage and Yves Tanguy, and William Carlos Williams. Also found is correspondence with benefactors, board members, and arts organizations regarding exhibitions and administrative details; and with teachers and the Veteran's Administration regarding school issues.
Artists' Files contains mostly incoming and outgoing correspondence, but also found are biographies, exhibition printed materials, handwritten notes, newspaper clippings and scattered portrait photographs. Of interest are files on Aaron Copland, e.e. cummings, T.S. Eliot, Wojciech Fangor, Nadine Gordimer, Robert Graves, Aldous Huxley, Janheinz Jahn, Kathleen Raine, and Sir Herbert Read.
In addition to Correspondence and Artists' Files, materials regarding ICA's programming, such as correspondence with artists and galleries, press releases, shipping records, financial records, printed materials, photographs, inventory and price lists, are found in ICA Program Files.
The ICA and Robert Richman collaborated with numerous arts and international exchange organizations to organize exhibitions, performances, symposium, and to host visiting artists. Materials regarding such collaborations are found in Organizations and includes correspondence, scattered financial records, notes, and printed materials such as bulletins, brochures, schedules, reports, and press releases. This series also includes substantial material related to the Fine Arts Committee of the People-to-People Program, an international exchange initiative of President Dwight D. Eisenhower begun in 1956.
The school's records include correspondence, notebooks (attendance books), teacher files documenting classes and grades, extensive student files and student enrollment cards, mailing lists, class cards, and notes for classes taught by Robert Richman.
Administrative and Financial Files include accounting and banking records, budgets, founding documents, fundraising records, grants records, mailing lists, membership lists, and Meridian House Foundation records.
ICA's programs are also documented by comprehensive printed materials arranged by ICA seasons, 1947-1967. Printed materials include program calendars, exhibition announcements, invitations, membership forms, and press releases. Also found are newspaper clippings and three oversized clippings scrapbooks.
Photographs include black and white photographs and negatives of people, most of whom are unidentified. Robert Richman's personal papers includes personal correspondence, correspondence related to "New Republic," handwritten and typed writings, some bills, and his curriculum vitae.
Unrepresented in this collection are records of ICA's ICONART Collection (Contemporary Arts Archives), an archive of films and tapes of artists' performances, lectures and events held by ICA.
Arrangement:
The collection is arranged as 9 series.
Missing Title
Series 1: Correspondence, 1937, 1944-1980 (2.7 linear feet; Boxes 1-3)
Series 2: Artists' Files, 1943-1967, 1970-1979 (4.9 linear feet; Boxes 3-8)
Series 3: ICA Program Files, circa 1947-1968 (5.2 linear feet; Boxes 8-13, 27)
Series 4: Organizations, 1927, 1940s-1967 (7.3 linear feet; Boxes 13-20, OV 39)
Series 5: ICA School Files, 1945-1953 (7.0 linear feet; Boxes 21-27)
Series 6: Administrative and Financial Files, 1945-1979, 1983 (5.2 linear feet; Boxes 28-33, 38)
Series 7: Printed Materials, 1945-1970 (2.9 linear feet; Boxes 33-35, 38)
Series 8: Photographs, circa 1930s-1960s, circa 1985 (0.4 linear feet; Boxes 35-36)
Series 9: Personal Papers of Robert Richman, 1940s-1980 (0.4 linear feet; Boxes 36-37)
Biographical / Historical:
The Washington, D.C. arts and educational organization, Institute of Contemporary Arts (ICA), was founded by poet Robert Richman in 1947 to bring arts and culture to the nation's capital. The school, originally named the King-Smith School of Creative Arts, was redesigned and renamed Institute of Contemporary Arts by Richman in 1948. The school's philosophy was based on Sir Herbert Read's Education Through Art, and provided professional training in painting, sculpture, literature, music, and theater. In addition, the ICA operated an evening school and brought prominent artists and literary figures to the nation's capital for exhibitions, concerts, workshops, lectures, readings, and performances. Teachers at the school included potter Alexander Giampietro, sculptor David Aaron, designers Beatrice Takeuchi and Hubert Leckie, and painter Kenneth Noland.
The school closed in August 1951, but the ICA continued to provide an impressive roster of programs and performances held at the Corcoran Gallery of Art and other D.C. institutions, such as exhibitions by Naum Gabo, Bernard Leach, Isamu Noguchi, and Hans Richter; readings by W.H. Auden, T.S. Eliot, Katherine Anne Porter, and Dylan Thomas; lectures by Charles Eames, Aldous Huxley, Octavio Paz, and Frank Lloyd Wright; and performances by Aaron Copland, Paul Hindemith, José Limón Dance Company, and Ravi Shankar. The organization also sponsored visiting professorships for international artists and writers, such as Nadine Gordimer, and hosted an annual Congress of Artists and Writers from 1959-1964.
In the late 1950s and early 1960s, the ICA was successful in securing some large grants to continue and expand its programming and to secure permanent space at the Meridian House Foundation. However, by the late 1960s the organization's programming declined.
ICA founder Robert Richman was a poet and literary editor at New Republic magazine in the early 1950s. He was active in the arts community in D.C. and in international exchange organizations, including the Fine Arts Committee of the People-to-People Project, an initiative started by President Dwight D. Eisenhower in the late 1950s. Robert Richman passed away in 1987.
Provenance:
The Institute of Contemporary Arts records were donated by Maida Richman, the wife of the ICA's founder, Robert Richman, in 1986.
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.
Function:
Arts organizations -- Washington (D.C.)
Genre/Form:
Scrapbooks
Photographs
School records
Citation:
Institute of Contemporary Arts records, 1927-circa 1985, bulk 1947-1967. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund.
New York N.Y. -- Buildings, structures, etc., Photographs
Date:
1840-1967
bulk 1900-1960
Summary:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.
Scope and Content Note:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.
Biographical material includes Watson's Harvard diploma, documents concerning his service with the Red Cross in World War II, biographical accounts, and obituaries.
Correspondence is primarily with colleagues and includes scattered letters from Alfred H. Barr, Jr., Ira Glackens, Allen Tucker, and Max Weber. Other letters are from artists, art historians, and museum curators. A notebook contains shorthand drafts of letters from Watson.
Business records include personal business records consisting of various tax and stock records. The Arts Publishing Corporation records concern Watson's tenure as editor of The Arts magazine and contains a contract, correspondence, financial records, stockholders reports, press releases, a scrapbook, and issues of The Arts. Also included are business records pertaining to the Art in Federal Buildings, Inc..
The U.S. Treasury Department file is the largest series and documents Watson's federal employment as technical director, chief advisor, and consultant for Treasury Department's public art programs - the Public Works of Art Project and the Section of Painting and Sculpture. The files contain correspondence, financial reports, prospectuses, exhibition files, typescripts, clippings, exhibition catalogs, miscellaneous printed material, and photographs, and a scrapbook. The files contain a record of Watson's and other federal administrators' interactions with many artists during the Depression Era. Correspondence is primarily between Watson and Edward Bruce, Olin Dows, Henry and Elinor Morgenthau, and Edward B. Rowan. Found are scattered letters from artists including Yasuo Kuniyoshi, Paul Manship, and William Zorach, among many others. There are exhibition files for "Art for Bonds," "Army at War," and "War Against Japan." There are also photographs of U. S. Treasury Department events including a radio broadcast by John Dewey, Robert La Follette, Jr., and Sumner Welles.
Documents from the Pepsi-Cola Company's Third Annual Exhibition at the National Academy of Design contains a prospectus, an exhibition catalog and artists' statements.
Artist/Patron files contain reference material concerning painters, sculptors, photographers, dancers, composers, authors, art collectors, art dealers, and museum administrators. Files may include writings, notes, artworks, exhibition catalogs and other printed materials. Of particular note are photographs, which include portrait photographs of artists and of artists in their studios. Notable photographers include Ansel Adams, Arnold Genthe, Man Ray, photographs of New York City by Charles Sheeler and a photo of Henri Matisse by A. E. Gallatin. Files for Nan Watson, Symeon Shimin, and Glenn O. Coleman contain artworks. A file for Constantin Brancusi contains legal documents concerning U. S. Customs vs. Brancusi.
Art and Architecture files consist of reference material including photographs and notes concerning miscellaneous unattributed art works, American architecture, and furnishings.
Notes and writings consist of miscellaneous notes and typescripts of lectures and published articles, and notebooks.
Nine scrapbooks and loose scrapbook pages contain clippings of articles written by Watson, lists, and exhibition announcements and catalogs. Additional printed material includes clippings, copies of the Hue and Cry newspaper, exhibition announcements and catalogs, press releases, calendars of events, brochures for the Art Students League, book catalogs, published books, and miscellaneous printed material.
Photographs are of Forbes Watson; family members including his wife, painter Nan Watson; and members of the Art Students League including Peggy Bacon, Minna Citron, Stewart Klonis, Yasuo Kuniyoshi, and Reginald Marsh. There are also photographs of juries for the Carnegie Institute International Exhibitions that include colleagues Alfred H. Barr, Jr., Gifford Beal, Guy Pene DuBois, Leon Kroll, Henri Matisse, Homer Saint-Gaudens, and Maurice Sterne.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1902-1960 (Box 1; 4 folders)
Series 2: Correspondence, 1913-1960 (Box 1; 33 folders)
Series 3: Business Records, 1920-1944 (Box 1-3, 14, 22; 2.0 linear feet)
Series 4: U. S. Treasury Department File, 1926-1945 (Box 3-6, 14, 17, 22, OV 21; 3.4 linear feet)
Series 5: File for Pepsi-Cola Company's Third Annual Exhibition "Paintings of the Year," 1946 (Box 6; 5 folders)
Series 6: Artist/Patron Files, 1840-1967 (Box 6-9, 15, OV 21; 2.8 linear feet)
Series 7: Art and Architecture File, 1929-1930 (Box 9; 35 folders)
Series 8: Notes and Writings, 1875-1950 (Box 9-10, 22; 1.3 linear feet)
Series 9: Scrapbooks, 1904-1951 (Box 9, 11, 14, BV 18, BV 19, BV 20; 1.8 linear feet)
Series 10: Printed Material, 1900-1961 (Box 10, 12-13, 16-17, 22; 1.5 linear feet)
Series 11: Photographs, 1900-1950 (Box 13, 22; .4 linear feet)
All material is arranged chronologically, with the exception of the Artist/Patron Files which are arranged alphabetically.
Biographical Note:
Forbes Watson (1879-1960) worked primarily in New York City and Washington, D.C. as an art critic, writer, lecturer, and consultant to the U. S. Treasury Department's Public Works of Art Project and Section of Painting and Sculpture (Section of Fine Arts).
Forbes Watson was born on November 27, 1879 in Boston, the son of stockbroker John Watson and his wife Mary. Watson grew up in Cambridge, Massachusetts, attending the Phillips Academy in Andover, and graduating from Harvard University in 1902. After a brief period of freelance writing, he was hired by The New York Evening Post as an art critic in 1911 and worked there until 1917. In 1910, he married Agnes, professionally known as painter Nan Watson.
During World War I, Watson served with an American volunteer ambulance unit with the French army, later working with the American Red Cross in Paris. After the war, he moved back to New York City and worked as art critic for The World, from the early 1920s until 1931 and as editor of The Arts magazine from 1923-1933. Watson also lectured at the Art Students League, and at various universities and arts organizations.
In 1933, Watson moved to Washington, D.C. to serve as technical director of the U. S. Treasury Department's short-lived Public Works of Art Project. In October 1934, Watson was employed as Chief Adviser to the Treasury Department's Section of Painting and Sculpture (later renamed the Section of Fine Arts) and later as Consultant to the Secretary's Office of the Treasury. During World War II, he organized various traveling exhibitions including "Art for Bonds" that promoted the sale of war bonds. Watson retired in 1946 and lived in Gaylordsville, Connecticut.
Watson was the author of numerous essays and reviews, and several books including American Painting Today and Winslow Homer, a biography of the noted American artist. With Edward Bruce, he produced a pictorial volume Art in Federal Buildings, Vol. I: Mural Designs. At his death he was working on his autobiography.
Forbes Watson died on May 31, 1960 in New Milford, Connecticut.
Provenance:
The Forbes Watson papers were donated by Watson's widow, Nan Watson, in 1961. An additional folder of material was donated in 2018 by the Museum of Modern Art via Michelle Elligott, Chief of Archives, Library and Research.
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.
Occupation:
Art critics -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York Search this
An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kuh speaks of her childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.
Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.
Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.
Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.
Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).
Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.
Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.
Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.
Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.
Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.
Kuh describes her work as a collector for the First National Bank of Chicago.
Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.
Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.
Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.
Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.
Biographical / Historical:
Katharine Kuh (1904-1994) was an art consultant, curator, and critic from Chicago and New York City.
General:
Originally recorded on 16 sound cassettes. Reformatted in 2010 as 31 digital wav files. Duration is 21 hrs., 52 min.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript: Patrons must use microfilm copy.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission from Avis Berman. Contact Reference Services for more information.
American realists and magic realists. Edited by Dorothy C. Miller and Alfred H. Barr, Jr., with statements by the artists and an introd. by Lincoln Kirstein
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art 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. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York Search this
An interview of Dorothy Miller conducted 1970 May 26-1971 Sept. 28, by Paul Cummings, for the Archives of American Art.
Miller speaks of her childhood and family background; the beginning of her career in museums; her first trip to Europe; the Depression and its effect on the art world; the establishment of the WPA Federal Art Project; the scandal over the Diego Rivera mural in Rockefeller Center; getting started with the Museum of Modern Art in its early years; working with Alfred Barr; early exhibitions at the MOMA; meeting Mark Tobey and Morris Graves; meeting Holger Cahill; Cahill's background; Cahill's involvement with the WPA Federal Art Project, and the Project's early years; post-war changes in American art and the post-war years at the MOMA; Shaker design; some of her colleagues at the MOMA.
She recalls Duncan Phillips, Rene D'Harnoncourt, Jackson Pollock, Edward M.M. Warburg, Nelson Rockefeller, Mark Rothko, Louise Nevelson, Alexander Calder, Lyonel Feininger, Walker Evans, and Edwin Dickinson.
Biographical / Historical:
Dorothy C. Miller (1904-2003) was an art museum curator from New York, N.Y.
General:
Originally recorded on 10 sound tape reel. Reformatted in 2010 as 18 digital wav files. Duration is 20 hrs., 42 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Available on microfilm.
Occupation:
Art museum curators -- New York (State) -- New York Search this
An interview of Edith Gregor Halpert conducted 1965 Jan. 20, by Harlan Phillips, for the Archives of American Art new deal and the Arts Project.
Halpert speaks of some of her activities in connection with the Federal Art Project, discusses some of the exhibitions that were shown, and gives her opinions on federal support for the arts. Halpert recalls Lloyd Goodrich, Holger Cahill, Dorothy Miller, Alfred Barr, and others.
Biographical / Historical:
Edith Gregor Halpert (1900-1970) was an art dealer fromf New York, N.Y. Halpert founded Downtown Gallery.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2011 as 3 digital wav files. Duration is 2 hours, 14 minutes.
Transferred from original acetate tape reels.
Sound quality is poor.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- New York (State) -- New York Search this
Interview of Larry Aldrich conducted 1972 April 25-June 10, by Paul Cummings, for the Archives of American Art. Aldrich speaks of his acquisitions and his program for selling art at Christmas and praises William S. Lieberman as "the curator of collectors". He discusses funds given to museums by the Larry Aldrich Foundation; visits to artists' studios; exhibiting a portion of his collection for the first time at the Virginia Museum of Fine Arts in Richmond, Virginia, exhibitions at the Aldrich Museum of Contemporary Art; Robert Indiana's "Love Series"; and modern movements including "Lyrical Abstraction" and "Cool Art." He recalls Stephen Antonakos, Richard Brown Baker, Alfred H. Barr, Jr., Leo Castelli, Grace Hartigan, Budd Hopkins, Jasper Johns, John Myers, Dorothy Miller, Robert Rauschenberg, Frank Stella, Robert Smithson, and others.
Biographical / Historical:
Larry Aldrich (1906-2001) was an art collector from New York, New York.
General:
Originally recorded on 9 sound tape reels. Reformatted in 2010 as 18 digital wav files. Duration is 17 hrs., 11 minutes.
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:
Transcript available on the Archives of American Art website.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
An interview of Sidney Laufman conducted 1965 Jan. 29, by Joseph Trovato, for the Archives of American Art.
Laufman speaks of his background and education; studying under Robert Henri at the Art Students League; the development of his interest in art; going to Europe in 1920; his first exhibition in Paris; his involvement with the Federal Art Project in Key West, Fla., and later in New York City; how the project functioned; and the effect of the project on him and on his career. He recalls Alfred Barr.
Biographical / Historical:
Sidney Laufman (1891-1985) was a painter in Sarasota, Fla.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 37 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
The papers of architectural historian, author, critic, teacher, and museum director, Henry-Russell Hitchcock, date from 1919-1987 and measure 24.8 linear feet. Almost all of the collection is comprised of Hitchcock's correspondence files relating to academic research, teaching, curatorial interests, and professional associations. Letters are from prominent architectural historians, architects, artists, preservationists, museum directors and curators, and family and friends. Also found are two feet of writings by Hitchcock and others, scattered biographical information, printed material, and photographs of Hitchcock and architecture.
Scope and Content Note:
The papers of architectural historian, author, critic, teacher, and museum director, Henry-Russell Hitchcock, date from 1919-1987 and measure 24.8 linear feet. Almost all of the collection is comprised of Hitchcock's correspondence files relating to academic research, teaching, curatorial interests, and professional associations. Letters are from prominent architectural historians, architects, artists, preservationists, museum directors and curators, and family and friends. Also found are two feet of writings by Hitchcock and others, scattered biographical information, miscellaneous records, printed material, and photographs of Hitchcock and architecture.
Among the biographical documents are Hitchcock's birth certificate, passport, and wills. Awards, citations, honorary degrees and commendations are from the University of Pennsylvania, Wesleyan University, the Friends of Cast Iron Architecture, National Institute of Arts and Letters, and the Victorian Society in America.
Chronological name and subject files consist mostly of correspondence and printed material along with a small number of photographs. They include personal and professional correspondence and subject files relating to academic research, teaching, curatorial interests, and professional associations. The correspondence includes large numbers of letters from prominent architectural historians, architects, artists, preservationists, museum directors and curators. Also included are students, friends, relatives, publishers, and representatives of organizations and institutions. Among those of note are: Jere Abbott, Everett A. (Chick) Austin, Alfred H. Barr, Bernard Berenson, Eugene Berman, Leonid Berman, Lyonel Feininger, Henry (Harry) Sayles Francis, Brendan Gill, Robert Goldwater, George Howe, Philip C. Johnson, Edgar Kaufmann, Jr., Lincoln Kirstein, Thomas J. McCormick, Lewis Mumford, J.J.P. Oud, Erwin Panofsky, Nikolaus Pevsner, Kingsley Porter, Paul J. Sachs, R. M. Schindler, Vincent Scully, Jr., Theodore Sizer, E. Baldwin Smith, Peter van der Meulen Smith, James Soby, Victor Spark, Harold Sterner, John Summerson, Virgil Thomson, Paul Vanderbilt, Theo Van Doesburg, Helmut von Erffa, Gordon Washburn, Rudolf Wittkower, and Frank Lloyd Wright.
Writings by Hitchcock consist of manuscripts and drafts of numerous published and unpublished articles, book chapters, and his masters thesis. Other writings by Hitchcock include lecture notes and texts, book reviews, notes, outlines, photo lists, and a bibliography. Among the other authors represented in this series are John Coolidge and Sir Wilfred Green.
Miscellaneous records consist of the alien registration card of Hitchcock's friend Peter van der Meulen Smith, architectural drawings by Hitchcock, book contracts, and a small number of receipts and invoices.
Printed material consists of articles about, by, or mentioning Henry-Russell Hitchcock, along with advertisements for his books, and postcards of architectural subjects.
Photographs are of architecture, art work, events, people, places, and miscellaneous subjects; also included are color slides, negatives, and transparencies. Architectural subjects include the work of Frank Lloyd Wright and Gaudi, as well as interior and exterior views of buildings identified only by location. Photographs of people include Henry-Russell Hitchcock, Chick Austin and Ernestine Carter, Alexander Dorner, Tammy Grimes, Lincoln Kirstein, the Steinway family, and Edgar Tafel. Events recorded include the Society of Architectural Historians at the Newport Casino, Hitchcock receiving honorary degrees at the University of Glasgow and Wesleyan University, and a high tea sponsored by the Victorian Society in America. Family houses and views of Greece are among the photographs of places. Miscellaneous subjects include exhibition installations and family heirlooms.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Information, 1922-1984 (Box 1; 0.1 linear ft.)
Series 2: Chronological Name and Subject Files, 1919-1987 (Boxes 1-22; 21.9 linear ft.)
Series 3: Writings, 1922-circa 1978 (Boxes 23-24; 2.0 linear ft.)
Series 4: Miscellaneous Records, 1928-1977 (Box 25; 0.1 linear ft.)
Series 5: Printed Material, 1922-1984 (Boxes 25-26; 0.4 linear ft.)
Series 6: Photographs, circa 1926-1979 (Box 26; 0.3 linear ft.)
Biographical Note:
Henry-Russell Hitchcock, considered the "father" of modern architectural historiography, played a major role in bringing modern architecture to the United States. As an eminent professor for more than forty years, Hitchcock trained and influenced several generations of scholars and critics. He combined a love of architecture with criticism and scholarship to produce a large number of distinguished monographs and articles on a broad range of styles and periods.
Born in Boston in 1903, Henry-Russell Hitchcock was the son of Mayflower descendants. At Harvard University, he studied medieval history with A. Kingsly Porter as his mentor and completed the undergraduate curriculum in three years. Hitchcock spent his senior year studying architecture, graduated in 1924, and stayed to study for a master's degree, which was awarded in 1927. During his years at Harvard, he wrote for Hound and Horn and knew Alfred Barr, T. S. Eliot, Philip Johnson, Lincoln Kirstein, Virgil Thomson, and others who became leaders in the modernist movement.
Henry-Russell Hitchcock's teaching career began when he was appointed an assistant professor at Vassar College for the academic year 1927-28. In 1929, he joined the faculty of Wesleyan University, where he remained for two decades before moving to Smith College in 1949. During his tenures at Wesleyan and Smith, his services as a visiting lecturer were employed on many occasions by Cambridge University, Connecticut College, Harvard University, the Institute of Fine Arts, Massachusetts Institute of Technology, and Yale University. Upon retiring from Smith College in 1968, Hitchcock moved to New York City and taught briefly at Columbia University, the Institute of Fine Arts, and the University of Massachusetts, at Amherst.
Best known as a proponent of modernism, Hitchcock wrote more than two dozen books about a wide range of styles and periods, and most are considered standard works on their subjects. His first, Modern Architecture: Romanticism and Reintegration, appeared in 1929 and was the first book on the subject to be published in English; his final book, German Renaissance Architecture, was published in 1981.
Henry-Russell Hitchcock served as director of the Smith College Museum between 1949 and 1955. In addition, he was curator of several exhibitions, the first and most important of which was Modern Architecture: International Exhibition, organized in collaboration with Philip C. Johnson and held at the Museum of Modern Art. Their book, The International Style: Architecture Since 1922, was published in 1932 in conjunction with the exhibition.
During World War II, Hitchcock's civilian service included working as director of the U. S. Navy's Photographic Library and writing Pratt and Whitney aircraft engine manuals.
Henry-Russell Hitchcock was an active member of many professional associations. He served as president of the Society of Architectural Historians from 1952 to 1954. In addition, he was a founding member of The Victorian Society in Great Britain, and between 1969 and 1974 was president of its sister organization, The Victorian Society in America.
During his long and illustrious career, Henry-Russell Hitchcock won many awards and honors. Awards for Early Victorian Architecture in Britain and Architecture: Nineteenth and Twentieth Centuries were conferred by the Society of Architectural Historians (1955) and College Art Association (1960), respectively. Hitchcock received the Royal Society of Arts Medal for Best Lecture (1956) and its Benjamin Franklin Medal (1970), in addition to the American Institute of Architects' Architectural Critics' Medal (1970). Other awards include: National Institute of Arts and Letters Award (1956), American Council of Learned Societies Prize for Distinguished Accomplishment in Humanistic Scholarship (1961), Friends of Cast-Iron Architecture Certificate of Commendation (1978), the American Institute of Architects Award of Merit (1978), and Municipal Art Society Certificate of Merit (1978).
He received honorary degrees from Glasgow University and the University of Pennsylvania in 1973, and in 1979 from Wesleyan University. In Search of Modern Architecture: A Tribute to Henry-Russell Hitchcock, edited by Helen Searing, was published by The Architectural History Foundation in 1982.
Due to declining health, Henry-Russell Hitchcock lectured rarely and wrote little in the three years preceding his death from cancer. He died in New York City, February 19, 1987.
Related Material:
The Archives of American Art also holds Henry-Russell Hitchcock letters to Dorothy Stroud and John N. Summerson, 1946-1949. Additional Henry-Russell Hitchcock papers (circa 8 linear feet) are in the Special Collections division of Wesleyan University Library.
Provenance:
Mosette Broderick, assistant to Hitchcock and his literary executor, donated the papers to the Archives of American Art in 1988.
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:
Architectural historians -- New York (State) -- New York Search this
Topic:
Museum directors -- New York (State) -- New York Search this
Genre/Form:
Writings
Photographs
Citation:
Henry-Russell Hitchcock papers, 1919-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
William C. (William Chapin) Seitz. William Chapin Seitz letter to Alfred H. Barr, 1956 January 30. William C. Seitz papers, circa 1930-1995. Archives of American Art, Smithsonian Institution.
Saarinen, Aline B. (Aline Bernstein), 1914-1972 Search this
Extent:
2 Sound tapes ((37 p. transcript), 7 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Sound recordings
Date:
1954 Mar. 16
Scope and Contents:
A tape-recording of a forum presented by the American Abstract Artists at the Museum of Modern Art. Panel members include Josef Albers, Alfred H. Barr, Jr., Saburo Hasegawa, Franz Kline, George L. K. Morris, and Aline Saarinen with Henry Botkin as moderator. Botkin, Albers, Barr, Hasegawa, and Kline are on tape 1. Morris, Saarinen and others are on tape 2.
Biographical information on Rutherford, Harriet and Lydia Boyd; awards and membership certificates; correspondence (some illustrated) with Boyd's wife, Harriet A. Repplier Boyd, and other family members; letters from Josef Albers, Architectural League of New York, Alfred Barr, Elizabeth J. Blake, Claude Bragdon, Central Manual Training School, Philadelphia, Wilford S. Conrow, Edward B. Edwards, Edwin W. Fiske, Leon Kroll, J. Scott Williams and others; and letters of condolence to Boyd's widow; a photocopy of a letter to David Boyd from Conway Scott Williams regarding Dynamic Symmetry; a subject file on the film "Parabola" by Boyd; manuscripts and typescripts of articles by Boyd on design theory; financial documentations and legal records; 2 poems, "Harriet" and Catching the Cat"; sketches; annotated illustration proofs; exhibition announcements and catalogs; photographs of Boyd and his work; and miscellaneous printed materials.
Biographical / Historical:
Magazine illustrator and sculptor; Leonia, New Jersey. Influenced by Jay Hambidge's theory of Dynamic Symmetry.
Provenance:
Donated 1984 by David Boyd, son of Rutherford Boyd.
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.
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.
Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.
There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.
Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.
Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.
Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.
Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.
Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.
Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.
Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.
Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.
Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.
Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)
Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)
Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)
Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)
Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)
Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)
Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)
Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)
Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.
Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.
After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.
In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.
After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.
In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.
A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.
Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional 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.
The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.
Scope and Contents:
The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.
Biographical material on William Baziotes consists of a bibliography, teaching files, a sound recording of an interview, membership cards, sales records, a sketchbook, and other miscellaneous material. There is one folder regarding Ethel Baziotes containing a few certificates and her college diploma.
Correspondence consists of letters to William and Ethel Baziotes. Notable correspondents include Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Maria and Robert Motherwell, Jackson Pollock, and others. There are also letters from the Samuel M. Kootz Gallery regarding the sales of William Baziotes's artwork and letters written by William Baziotes to his brother Christos. Letters to Ethel Baziotes include condolence letters as well as letters from museum and galleries regarding exhibitions of her husband's work.
Writings include William Baziotes's notes on various subjects, a list of book titles, and a transcript for a speech. Writings by others include essays about William Baziotes and other subjects.
Printed materials consist of clippings, announcements, magazines, and many exhibition catalogs, mostly on group exhibitions which included artwork by William Baziotes.
Photographs are of William Baziotes, Ethel Baziotes, family and friends, their residence, and his artwork. There are a also photographs of Meir Bernstein, Samuel Kootz, Paul Bodin, Maria Motherwell, Pablo and Maya Picasso, Rudi Blesh, Nathan Halper, Ethel Schwabacher, Clyfford Still, and others.
Arrangement:
The collection is arranged as 5 series.
Series 1: Biographical Material, 1933-1982 (Box 1; 0.3 linear feet)
Series 2: Correspondence, 1936-1988 (Boxes 1-2; 1 linear feet)
Series 3: Writings, circa 1950-1992 (Box 2; 0.2 linear feet)
Series 4: Printed Material, 1944-1992 (Boxes 2-7, 9; 4.1 linear feet)
Series 5: Photographs, circa 1900-1979, bulk 1940-circa 1963 (Boxes 7-9; 0.7 linear feet)
Biographical / Historical:
William Baziotes (1912-1963) was an abstract expressionist painter in New York City. Born in Pittsburgh, Pennsylvania, Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940.
In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. The Samuel M. Kootz Gallery, Inc. held a solo show for Baziotes in 1946 and continued to exhibit his works until 1958.
Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School and New York University, 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Baziotes died in 1963.
Provenance:
The William and Ethel Baziotes papers were donated by Ethel Baziotes, widow of William Baziotes, in several installments from 1969 to 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
