Skip to main content Smithsonian Institution

Search Results

Collections Search Center
24 documents - page 1 of 2

Cleve Gray papers

Creator:
Gray, Cleve  Search this
Names:
Berry-Hill Galleries  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Jacques Seligmann & Co  Search this
Neuberger Museum of Art  Search this
Pratt Institute  Search this
Princeton University  Search this
Rhode Island School of Design  Search this
Barzun, Jacques, 1907-  Search this
Calder, Alexander, 1898-1976  Search this
Davis, Jim, 1901-1974  Search this
Dillenberger, Jane  Search this
Duchamp, Marcel, 1887-1968  Search this
Ernst, Jimmy, 1920-1984  Search this
Gabo, Naum, 1890-1977  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marin, John, 1870-1953  Search this
Pollock, Jackson, 1912-1956  Search this
Richter, Hans, 1888-1976  Search this
Smith, David, 1906-1965  Search this
Villon, Jacques, 1875-1963  Search this
Weber, Nicholas Fox, 1947-  Search this
Extent:
9.2 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Date:
1933-2005
Summary:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs 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:
Painters  Search this
Topic:
Women artists  Search this
Art, Modern -- 20th century -- United States  Search this
Women artists -- Photographs  Search this
Vietnamese Conflict, 1961-1975 -- Protest Movements -- United States  Search this
Sculptors  Search this
Designers  Search this
Genre/Form:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.grayclev
See more items in:
Cleve Gray papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-grayclev

Bertha Fanning Taylor papers

Creator:
Taylor, Bertha Fanning, 1883 or 8-1980  Search this
Names:
Barzun, Jacques, 1907-  Search this
Tate, Allen, 1899-  Search this
Extent:
0.6 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1929-1972
Scope and Contents:
REEL 286: Papers reflecting Taylor's activity as an American-born artist, teacher, art critic and lecturer working in France between the two World Wars and her later activities as a teacher at the Norfolk Division of William and Mary College. Included are correspondence, a typescript of her autobiography, My Fifteen Years in Paris; exhibition catalogs and announcements; and two scrapbooks of articles she wrote as assistant art critic for the Paris edition of the New York Herald, 1930-1936. Correspondents include poet Allen Tate and Jacques Barzun.
UNMICROFILMED: Typewritten drafts for memoirs, "Building Anew in a Southern City," 1953-1972.
Biographical / Historical:
Painter, lecturer, teacher, museum curator and art critic; Paris, France and Norfolk, Va.; d. 1980.
Related Materials:
Papers of Bertha Fanning Taylor, 1915-1979, are also located at Old Dominion University's Special Collections and University Archives.
Provenance:
Microfilmed material donated 1971 by Fanning. The unmicrofilmed memoirs were donated 1992 by her granddaughter, Claire M. Taylor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Educators  Search this
Painters  Search this
Art critics -- France -- Paris  Search this
Topic:
Painting, Modern -- France -- Paris  Search this
Art criticism -- France -- Paris  Search this
Women painters  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.taylbert
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-taylbert

[Jacques Barzun : miscellaneous uncataloged material]

Author:
Smithsonian Libraries Art and Artist Files Collection DSI  Search this
Subject:
Barzun, Jacques 1907-  Search this
Physical description:
folders ; 25 x 38 cm
Type:
Mixed archival materials
Vertical files
Artist files
Call number:
AAF--Barzun, Jacques
Restrictions & Rights:
Photocopies of items in the folder(s) are available upon request, subject to fees and other current copyright guidelines for reproduction.
FOLDER(S) DO NOT CIRCUATE. FOLDERS MUST BE CONSULTED ON SITE
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_739712

Raymond Han : still lifes, June 5-28, 1997, Hackett-Freedman Gallery / [essay by Jacques Barzun]

Title:
Still lifes
Author:
Han, Raymond 1931-  Search this
Barzun, Jacques 1907-  Search this
Hackett-Freedman Gallery  Search this
Subject:
Han, Raymond 1931-  Search this
Physical description:
16 p. : col. ill. ; 22 cm
Type:
Books
Exhibitions
Date:
1997
Call number:
ND237.H29 A4 1997
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_814545

Modern American usage : a guide / Wilson Follett ; edited and completed by Jacques Barzun in collaboration with Carlos Baker ... [et al.]

Author:
Follett, Wilson 1887-1963  Search this
Barzun, Jacques 1907-  Search this
Baker, Carlos 1909-1987  Search this
Physical description:
[xii], 436 p. ; 22 cm
Type:
Dictionaries
Place:
United States
Date:
1970
1970, c1966
Topic:
English language--Usage  Search this
Americanisms  Search this
Call number:
PE2835 .F6 1970
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_740601

Race: a study in superstition

Author:
Barzun, Jacques 1907-  Search this
Physical description:
xxiv, 263 p. 22 cm
Type:
Books
Date:
1965
1937
[c1965]
Topic:
Race  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_766032

The American university : how it runs, where it is going / by Jacques Barzun ; with a new introduction by Herbert I. London

Author:
Barzun, Jacques 1907-  Search this
Physical description:
xxxvi, 319 p. : chart ; 21 cm
Type:
Books
Place:
United States
Date:
1993
1968
C1993
Topic:
Education, Higher  Search this
Call number:
LA226.B27 1993X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_437144

The energies of art

Author:
Barzun, Jacques 1907-  Search this
Physical description:
367 p. 19 cm
Type:
Books
Date:
1962
Topic:
Literature--History and criticism  Search this
Call number:
PN511 .B35 1962Y
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_499695

A stroll with William James / Jacques Barzun

Author:
Barzun, Jacques 1907-  Search this
Subject:
James, William 1842-1910  Search this
Physical description:
viii, 344 p. ; 24 cm
Type:
Books
Date:
1983
C1983
Call number:
B945.J24B37 1983X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_319247

The interpretation of history / by Jacques Barzun ... [et al.] ; edited with an introduction by Joseph R. Strayer

Author:
Barzun, Jacques 1907-  Search this
Strayer, Joseph Reese 1904-1987  Search this
Physical description:
186 p. ; 21 cm
Type:
Books
Date:
1950
1950, c1943
Topic:
History--Philosophy  Search this
Call number:
D16.8 .S87 1950Z
D16.8.S87 1950Z
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_339021

Art in basic education : two papers / by Jacques Barzun and Robert J. Saunders

Author:
Barzun, Jacques 1907-  Search this
Physical description:
32 p. ; 22 cm
Type:
Books
Place:
United States
Date:
1979
Topic:
Art--Study and teaching (Elementary)  Search this
Call number:
N362 .A78
N362.A78
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_122460

Critical questions on music and letters, culture and biography, 1940-1980 / Jacques Barzun ; selected, edited and introduced by Bea Friedland

Author:
Barzun, Jacques 1907-  Search this
Friedland, Bea  Search this
Subject:
Berlioz, Hector 1803-1869  Search this
Physical description:
xvii, 269 p. ; 21 cm
Type:
Books
Date:
1982
C1982
Topic:
Music  Search this
Arts  Search this
Call number:
ML60.B278 1982X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_192159

Papers on educational reform delivered at the second annual meeting of the Open Court Editorial Advisory Board [by] Jacques Barzun [and others]

Author:
Open Court Publishing Company Editorial Advisory Board  Search this
Barzun, Jacques 1907-  Search this
Physical description:
96 p. 21 cm
Type:
Congresses
Date:
1970
[c1970]
Topic:
Education  Search this
Call number:
L107 .O64
L107.O64
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_10400

Science: the glorious entertainment

Author:
Barzun, Jacques 1907-  Search this
Physical description:
x, 322 p. 22 cm
Type:
Books
Date:
1964
[1964]
Topic:
Science and civilization  Search this
Call number:
CB358 .B29
CB358.B29
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_18706

The modern researcher [by] Jacques Barzun and Henry F. Graff

Author:
Barzun, Jacques 1907-  Search this
Graff, Henry F (Henry Franklin) 1921-  Search this
Physical description:
386 p. 22 cm
Type:
Books
Date:
1957
[1957]
Topic:
Historiography  Search this
Authorship  Search this
Call number:
D13 .B29
D13.B29
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_18729

Modern American usage; a guide. Edited and completed by Jacques Barzun in collaboration with Carlos Baker [and others

Author:
Follett, Wilson 1887-1963  Search this
Barzun, Jacques 1907-  Search this
Baker, Carlos 1909-1987  Search this
Physical description:
[xi], 436 p. 22 cm
Type:
Books
Place:
United States
Date:
1966
[1966]
Topic:
English language--Dictionaries  Search this
Call number:
PE2835 .F6
PE2835.F6
PE2835.F66
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_37847

The use and abuse of art

Author:
Barzun, Jacques 1907-  Search this
Physical description:
150 p. 27 cm
Type:
Books
Date:
1974
[1974]
20th century
Topic:
Arts and society  Search this
Arts, Modern  Search this
Arts and religion  Search this
Call number:
NX456 .B38X
NX456.B38X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_38337

The French race; theories of its origins and their social and political implications prior to the revolution, by Jacques Barzun ..

Author:
Barzun, Jacques 1907-  Search this
Physical description:
275 p. 23 cm
Type:
Books
Place:
France
Date:
1932
Topic:
Ethnology  Search this
French--Race identity  Search this
Politics and government  Search this
Social conditions  Search this
Call number:
DC34 .B29
DC34.B29
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_49948

Exploration of the ways, means, and values of museum communication with the viewing public. Principal speakers: Marshall McLuhan, Harley Parker [and] Jacques Barzun

Author:
McLuhan, Marshall 1911-1980  Search this
Parker, Harley  Search this
Barzun, Jacques 1907-  Search this
Museum of the City of New York  Search this
New York State Council on the Arts  Search this
Physical description:
80 p. illus. 28 cm
Type:
Congresses
Date:
1969
1969]
Topic:
Museums  Search this
Call number:
AM1 .E96 1967
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_522

Simple & direct : a rhetoric for writers / Jacques Barzun

Author:
Barzun, Jacques 1907-  Search this
Physical description:
ix, 212 p. ; 22 cm
Type:
Books
Date:
1975
[1975]
Topic:
English language--Rhetoric  Search this
Call number:
PE1408 .B436X
PE1408.B436X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_62259

Modify Your Search







or


Narrow By