Timothy Asch was an anthropologist and ethnographic film maker who devoted his professional life to using film as a recording and teaching medium. His papers cover the period from 1966 until his premature death in 1994 and reflect his active career in the field. A large portion of the files relates to his work among the Yanomami people of Venezuela and to his concern with bias in film making.
Scope and Contents:
The papers of Timothy Asch document his career as an anthropologist, educator,
photographer and filmmaker through correspondence, photographs, research files
(articles and notes), and teaching materials (course information and lecture notes). The
files relating to Asch's film projects include articles, field notes, and reviews. The major
correspondents in this collection are Patsy Asch, Tom Beidelman, Napoleon Chagnon,
James Fox, Robert Gardner, Douglas Lewis, Peter Loizos, David & Olga Sapir, and
Minor White.
Arrangement:
The collection is arranged into the following 13 series:
Series 1) Correspondence (1953-1994)
Series 2) College and graduate School (1955-1965)
Series 3) Teaching materials (1964-1993)
Series 4) Film projects (1964-1991)
Series 5) Articles and reviews (1972-1994)
Series 6) Alpha-Subject (1955-1989)
Series 7) Conferences, film festivals, and film organizations (1963-1993)
Series 8) Grants (1962-1993)
Series 9) Other people's work (1952-1995)
Series 10) Personal and family (1951-1994)
Series 11) Photographs (1947-1991)
Series 12) Sound recordings (bulk 1960s-1970s)
Series 13) Note slips, rolodexes, and business cards (1987, undated)
Biographical note:
Asch studied photography at the California School of Fine Arts in San Francisco. While serving in the United States Army in Japan from 1951-55 he spent his off-duty hours photographing rice production and household activities in remote Japanese villages. After his military service, he enrolled in Columbia University graduating in 1959 with an undergraduate degree in Anthropology. After graduation, he went to work at the Peabody Museum at Harvard as an assistant editor to John Marshall on the Kung Bushmen film project. In 1964, he received a Masters Degree in Anthropology from Boston University where he studied in the African Studies Progam and read Anthropology with T.O. Beidelman at Harvard. In 1968, Asch and Marshall founded Documentary Educational Resources, a film distribution company. Anthropologist Napoleon Chagnon approached Asch in 1968 to film among the Yanomammmi people of Venezuela. This collaboration led to a major project resulting in over thirty films.
Chronology
1950-1951 -- California School of Fine Arts and Apprenticeships with photographers Minor White, Edward Weston and Ansel Adams
1953-1954 -- Military Service in Korea
1959 -- B.S. in Anthropology Columbia University
1959-1962 -- Ethnographic film consultant, Harvard University's Peabody Museum
1964 -- M.A. in Anthropology Harvard University
1965-1966 -- Curriculum Consultant, Ethnographic studies and the Bushmen Social Studies Curriculum Project (initially Educational Services, Inc., later called Educational Development Center)
1966-1968 -- Lecturer in Anthropology and Theater Arts, Brandeis University
1966-1968 -- Anthropology Curriculum and Media Consultant to the Newton Public Schools
1967-1994 -- Co-Founder and Director of Documentary Educational Resources, Watertown, Massachusetts, a non-profit curriculum development corporation distributing educational media
1968-1970 -- Visiting Assistant Professor, Anthropology Department, New York University
1969-1973 -- Lecturer, Department of Anthropology, Brandeis University
1973-1979 -- Research Fellow in Ethnographic film, Peabody Museum of Archaeology and Ethnology, Harvard University
1974-1976 -- Lecturer, Department of Anthropology, Harvard University
1975 -- Research Cinematographer, National Anthropological Film Center, Smithsonian Institution, Washington, D.C.
1976-1981 -- Senior Research Fellow, Department of Anthropology, Institute of Advanced Studies, the Australian National University, Canberra, Australia
1982 -- Visiting Research Scholar, Department of Anthropology at Macquarie University, Sydney, Australia
1983-1994 -- Director, Center for Visual Anthropology, Department of Anthropology, University of Southern California
Related Materials:
The Human Studies Film Archives holds 93,000 feet (43 hours) of original film footage and the accompanying sound as well as the edited films from the 1968 and 1971 film projects by Timothy Asch and Napoleon Chagnon documenting the Yanomamo Indians of southern Venezuela and northern Brazil (between the Negro and Upper Orinoco rivers).
Provenance:
Donated to the National Anthropological Archives by Patsy Asch in 1996.
This microfilm collection of the papers of African American painter, sculptor, illustrator, printmaker, and educator John Woodrow Wilson contains biographical material such as autobiographical notes, school records, personal documents, and a bibliography; personal and business correspondence, undated and 1938-1993; files on the New York City Board of Education, 1959-1965, regarding his teaching; and project files, including Wilson's submission for the competition for a Frederick Douglass statue, Eternal Presence, Father and Child Reading, and Wilson's monuments and bust of Martin Luther King, Jr. Correspondents represented include the Albany Institute of History and Art, Atlanta University, Carnegie Institute, Ebony, David Porter of the G Place Gallery, the Institute of Modern Art, Alain Locke, Gloria May, the Museum of Modern Art, Frederick G. Rice, and Hale Woodruff.
Also included in the collection are files on exhibitions; notebooks, 1958-1960; lesson plans, 1959, 1963; notes, writings, and lectures, circa 1945-1993; transcripts of interviews of Wilson and related correspondence, 1978-1987; legal material, 1978; financial records 1944-1991, including a notebook of sales and expenses 1945-1950; photographs, 1940-1990, of Wilson, his work, sculpture, and exhibition installations; a scrapbook, 1939-1967; artwork, including sketchbooks, 1970-1992, life studies completed as a student, 1939-1947, and miscellaneous art work, 1939-1992; and printed material, 1939-1993, including exhibition catalogs, illustrated books and book jackets, and ephemera. The collection also includes a copy of a sound recording of an interview of Wilson conducted by Alan Trachtenberg, circa 1979 (untranscribed).
Biographical / Historical:
John Woodrow Wilson (1922-2015) was an African American painter, sculptor, illustrator, printmaker, and educator in Boston, Massachusetts. Wilson studied at the School of the Museum of Fine Arts, Boston under Ture Bengtz and Karl Zerbe, graduating in 1945. He lived in Paris through the MFA fellowship and studied with modern artist Fernand Leger. He then attended Tufts University, graduating in 1947. Wilson received a John Hay Whitney fellowship and lived in Mexico for five years with his wife, Julie Kowtich. After his return from Mexico in 1956, Wilson made artwork for Chicago labor unions and taught in New York City before returning to teach at Boston University in 1964. During his career, Wilson won competitions to execute statues of Martin Luther King, Jr. for the city of Buffalo, New York and for the Capitol Rotunda in Washington, D.C.
Provenance:
Lent for microfilming 1993 by John W. Wilson, except for the 1979 sound recording which he lent for copying.
Restrictions:
Microfilm portion must be consulted on microfilm. Use of untranscribed interview requires an appointment.
New School for Social Research (New York, N.Y.) -- Faculty Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Sketches
Drawings
Photographs
Illustrated letters
Date:
1846-1981
Summary:
The papers of painter and teacher Julian E. (Edwin) Levi date from 1846 to 1981, and comprise 6.9 linear feet. They include biographical information and extensive correspondence with museums and galleries, as well as letters written to his family, circa 1927, while Levi was living in Paris. Also found within the papers are scattered drawings and sketches by Levi, writings and notes, financial records, two scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.
Scope and Content Note:
The papers of painter and teacher Julian E. Levi date from 1846 to 1981, and comprise 6.9 linear feet. They consist of biographical information, correspondence, artwork, writings and notes, financial records, scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.
Biographical information includes French documents regarding his trips to Paris in 1920 and 1926-1927. Julian E. Levi's Correspondence, 1914-1981, and undated, concerns professional and personal matters and consists primarily of incoming letters from friends and colleagues, arts organizations, museums, schools, and galleries. Also found are approximately sixty letters he wrote to his family circa 1927, while living in Paris. In addition, a small number of Henderson Family letters, 1846-1886, are included with the Julian E. Levi papers; their relationship to Levi is unclear. Found within the correspondence are illustrated letters and original artwork in the form of greeting cards. Additional Artwork consists mainly of pencil drawings and sketches by Levi, including a large number of stage costume designs.
Writings by Levi consist of brief statements concerning his work and other artists, brief reminiscences of friends, a poem, and the text of a speech. Notes contain miscellaneous jottings, lists of paintings, addresses and telephone information, and address books. Among the writings by others are catalog introductions for Levi exhibitions by unknown authors, and by Lewis Mumford and Archibald MacLeish for An American Group, Inc.
Financial Records concern both business and personal transactions and document art sales, commissions, consignments, and gallery expenses. Also included are receipts, a small number of banking and tax records, and scattered documentation of purchases, appraisals, and sales of antiques in his collection.
Scrapbooks (2 disbound volumes) contain clippings, other printed items, and a few photographs documenting Levi's exhibitions. There are a substantial number of exhibition catalogs and announcements. Miscellaneous printed material includes brochures, newsletters and publications, clippings, invitations, announcements of meetings, blank postcards, travel brochures and printed souvenirs. Also found is a copy of his book, Modern Art: An Introduction, and one of the articles he published in the American expatriate periodical Gargoyle.
Items of note among the Miscellaneous Records pertain to the American Artists' Congress, An American Group, Inc., Downtown Gallery, and New York City Council for Art Week. Other items of interest are a blueprint of plans for Levi's studio at his home in Easthampton, New York, and records regarding the New School for Social Research where Levi taught for many years.
Photographs of artwork include a disbound album of Levi's work and exhibition installation views that show paintings by Levi. Pictures of Levi include some taken when he was a young child, along with many views of him in his studio, with students, and others. Many views of places probably were used as reference for paintings. Other places recorded in photographs include Downtown Gallery, Stuart Davis's grave, and studios he occupied while in Paris, circa 1926-1927 and at the American Academy in Rome, 1967-1968. Of particular note are copies of Resettlement Administration and Farm Security Administration photographs.
Arrangement:
The collection is organized into 9 series. Correspondence and Scrapbooks are arranged chronologically. Other series are further categorized by record type or broad topic, with material in each folder arranged chronologically or alphabetically, as noted in the series descriptions.
Missing Title
Series 1: Biographical Information, circa 1906-1980 (Box 1; 14 folders)
Series 2: Correspondence, circa 1846-1981 (Boxes 1-3, OV 9; 2.3 linear ft.)
Series 3: Artwork, circa 1922-1972 (Box 3; 8 folders)
Series 4: Writings and Notes, circa 1938-1978 (Box 3; 11 folders)
Series 5: Financial Records, 1920s-1980 (Box 3; 0.4 linear ft.)
Series 6: Scrapbooks, 1921-1940(Box 4; 2 folders)
Series 7: Printed Material, circa 1922-1981(Boxes 4-6 and OV 10; 2.3 linear ft.)
Series 8: Miscellaneous Records, circa 1940-1974 (Box 6 and OV 9; 0.2 linear ft.)
Series 9: Photographs, circa 1902-1974 (Boxes 6-8 and OV 11; 1.1 linear ft.)
Biographical Note:
Julian Edwin Levi was born in New York in 1900, and his family relocated to Philadelphia six years later. At age 17, Levi enrolled in the Pennsylvania Academy of the Fine Arts where he studied under Henry McCarter and Arthur B. Carles. Upon completing his studies at the Academy in 1919, Levi was awarded one of the Pennsylvania Academy's Cresson Traveling Scholarship which enabled him to travel to Italy during the summer of 1920.
Levi then headed to Paris where he spent the next four years. During this time he became fluent in French, looked at a wide variety of art that influenced him to experiment with abstraction, and had paintings accepted for exhibition the Salon d'Automne of 1921 and 1922. He met many artists in Paris, and developed a close friendship with Jules Pascin. He retuned for a second stay in Paris during 1926 and 1927.
Upon his return to Philadelphia in 1924, Levi and several other modern artists in the city (including his former instructors Carles and McCarter) began exhibiting together under the name "31." The group's work was not well-received. For the remainder of his time in Philadelphia, he continued to paint and on several occasions was able to see Albert Barnes' collection that normally was not open to the public. Levi moved to New York City in 1932 and was attracted to the support and cooperation offered by various artists' organizations. He became a member of An American Group, Inc., in 1933, and was in active in the American Artists' Congress beginning around 1937. Later, Levi was elected to the National Institute of Arts and Letters, an Associate Artist of the National Academy of Design, and a member of the Century Association.
The sea, beaches, dunes, and shores served as inspiration for many of Levi's paintings. He studied his subjects closely, amassing a wide knowledge of boats, fishing, and related equipment; he even learned professional fishing and sailing techniques in order to better understand his subjects. Levi also focused on painting people, and his wife often served as his model. Paintings by Levi are in many museums, among them: Albright-Knox Art Gallery, Art Institute of Chicago, Butler Institute of American Art, Cranbrook Academy of Art, Des Moines Art Center, Detroit Institute of Arts, Guild Hall, Museum of Modern Art, Metropolitan Museum of Art, Newark Museum, Norton Simon Museum, Santa Barbara Museum, Springfield Museum of Art, Toledo Museum, University of Illinois, and the Whitney Museum of American Art.
Many of the paintings Levi produced while employed by the Federal Art Project, 1936-1938, served as the nucleus of his first one-man show held in 1940 at Downtown Gallery. He remained with Downtown Gallery for more than a decade. Later, he was associated with the Alan Gallery, Frank K. M. Rehn Galleries, and Nordness Gallery, each of which staged frequent solo exhibitions of Levi's work. He participated in most of the major national exhibitions and in the Venice Biennale, winning prizes awarded by the Art Institute of Chicago, Carnegie Institute, National Academy of Design, University of Illinois, Guild Hall, and the Pennsylvania Academy of the Fine Arts. A large retrospective exhibition of his work was organized by Boston University in 1962, and a small retrospective was held in 1971 at Wake Forest University, Winston-Salem, North Carolina.
A highly respected and much loved teacher, Levi emphasized the importance of drawing and provided individualized instruction. He considered himself a "coach" and viewed his students as less experienced artists (all were encouraged to call him Julian instead of Mr. Levi). His teaching career, which lasted for more than three decades, began in 1946 with his appointments as a painting instructor at the Art Students League and the New School for Social Research in New York City (later the New School appointed him director of its Art Workshop). In 1964 he began making weekly trips to the Pennsylvania Academy of the Fine Arts in Philadelphia, where he taught painting; at the start of the 1977 academic year, he reduced his schedule to once a month and acted as a general critic. During the 1967-68 academic year, Levi was on sabbatical leave while artist-in-residence at the American Academy in Rome. In addition, he taught summer courses at Columbia University in the early 1950s and occasionally served as a guest instructor at other summer programs over the years.
Julian Levi died in New York City, February 28, 1982, after a brief illness.
Provenance:
The papers were a gift received in several accessions between 1969-1982 from Julian E. Levi and his estate (Herman Englander, executor). Portions of the collection were microfilmed upon receipt.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. office.
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 African American graphic artist and arts educator Calvin Burnett measure 6.1 linear feet and date from 1920 to 1979, with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, correspondence, writings, material related to his education and professional activities, personal business records, printed material, a scrapbook, and a small amount of photographs and artwork.
Scope and Contents:
The papers of graphic artist and arts educator Calvin Burnett measure 6.1 linear feet and date from 1920 to 1979, with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, correspondence, writings, material related to his education and professional activities, personal business records, printed material, a scrapbook, and a small amount of photographs and artwork.
Biographical material consists of resumes, biographical notes/drafts, certificates from volunteer organizations, an interview transcript, and personal calendars.
Correspondence consists of letters and drafts of letters to and from Burnett. Some partial fragments of letters are housed with the undated correspondence.
Writings consist of two subseries and includes both materials related to Burnett's book, Objective Drawing, as well as notes, notecards, poetry, and some class assignments.
Education and professional activities also includes two subseries. Teaching and education files consist of materials related to Burnett's time as both a student and an instructor. These include class notes, assignments, course materials, correspondence, etc. Black Artists Union, committee work, and related materials include materials related to the Black Artists Union (BAU), the Committee on Urban Education (CUE), and the Committee on Minority Affairs, and their work. These items include memos, printed materials, reports, and other documentation.
Personal business records consist of correspondence, financial documents, printed material, and notes related to commercial art jobs, consultations, sales, loans, and exhibitions.
Photographs are of Burnett, other individuals, and works of art. Not all of the works of art appear to be by Burnett.
Artwork includes drawings and three small sketchbooks.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, 1947-1979 (Box 1; 0.2 linear feet)
Series 2: Correspondence, circa 1941-1979 (Box 1; 0.4 linear feet)
Series 3: Writings, 1950s-1970s (Boxes 1-2; 0.9 linear feet, OV 7)
Series 4: Education and Professional Activities, 1920-1970s (Boxes 2-5; 2.5 linear feet)
Series 5: Personal Business Records, 1947-1979 (Box 5; 0.3 linear feet)
Series 6: Printed Material, 1938-1979 (Boxes 5-6; 0.5 linear feet, OV 7)
Series 7: Scrapbook, 1937-1951 (Box 6; 0.2 linear feet)
Series 8: Photographs, 1946-1972 (Box 6; 1 folder)
Series 9: Artwork, 1941-1942 (Box 6; 2 folders)
Biographical / Historical:
Calvin Burnett (1921-2007) was an African American graphic artist, illustrator, and arts educator. He graduated from the Massachusetts School of Art (also known as MassArt; now the Massachusetts College of Art and Design) in 1942, and earned his MFA from Boston University in 1960. He later received another degree in arts education. Burnett taught at a number of institutions in the Northeast, including the DeCordova Museum and the Massachusetts School of Art, where he was the first African American to be appointed to the faculty, and where he taught for 33 years.
While on the faculty at the Massachusetts School of Art, Burnett was involved with the Black Artists Union, the Committee on Urban Education, and the Committee on Minority Affairs. Among their many functions, these groups advocated for more diverse representation in faculty and more funding for minority and disadvantaged students.
In 1966, Burnett published the book, Objective Drawing, about perspective. His interest in the subject and the idea for the book grew out of his teaching the perspective course at the Massachusetts School of Art (Oral history interview with Calvin Burnett, 1980 June 13-1981 January 6. Archives of American Art, Smithsonian Institution. Transcript p.41).
Related Materials:
Also found in the Archives of American Art is an oral history interview with Calvin Burnett conducted by Robert Brown, June 13, 1980-January 6, 1981.
Provenance:
The papers were donated to the Archives of American Art by Calvin Burnett in 1990.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Authorization to publish, quote or reproduce requires written permission from Calvin Burnett or his heirs. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
"Surface Quality versus Cutting Fluids and Speed Tool stopped in cut to leave Built-up edge and chip attached," O.W. Boston, University of Michigan, ca. 1927
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Orlan W. Boston Papers, 1926-1947, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Orlan W. Boston Papers, 1926-1947, Archives Center, National Museum of American History.
"Nomenclature and Terminology Applied to Teeth of Milling Cutters," O.W. Boston, University of Michigan, November, 1937. Later Paper 91 and "SA Standard B5cl-1947.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Orlan W. Boston Papers, 1926-1947, Archives Center, National Museum of American History.
The Development and Evaluation of Procedures for Using the Voice Visualizer as an Aid in Teaching Speech to the Deaf / Wilbert Pronovost, Delmar Anderson, Robert Lerner, Linda Yenkin [Boston: Boston University]
final report for Project No. 6-2017, Grant No. OE-1-6-062017-15888 by the University of Boston; sent to ? on 1/17/1969
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Harriet Green Kopp Papers, Archives Center, National Museum of American History
The papers of sculptor and educator Marianna Pineda (1925-1996) date from 1943-1998 and measure 3.7 linear feet and 0.001 GB. The collection documents Pineda's career through biographical material, correspondence, exhibition files, project files, personal business records, printed and digital material, photographs, and some audiovisual material.
Scope and Contents:
The papers of sculptor and educator Marianna Pineda (1925-1996) date from 1943-1998 and measure 3.7 linear feet and 0.001 GB. The collection documents Pineda's career through biographical material, correspondence, exhibition files, project files, personal business records, printed and digital material, photographs, and some audiovisual material. Biographical material includes correspondence with art historians, museums and galleries, and family, writings, teaching files, membership records, and some material related to Pineda's memorial organized by her husband, Harold Tovish. Exhibition files include checklists and pricelists, loan agreements, shipping information, catalog mock-ups as well as some printed and digital material and photographs from group and solo exhibitions. Project files include correspondence, printed material, sketches, photographs, and contracts related to Pineda's commissions, most notably her 6-foot bronze sculpture of Queen Lili'uokalani, The Spirit of Lili'oukalani, located in Honolulu, Hawaii. Other materials include drafts, correspondence, and printed matter related to her lecture "Rodin's Portrayal of Women." Personal business records consist of sales records, gallery files, grant and fellowship applications, records of artwork gifted as well as some invoices and receipts. Printed material includes exhibition material such as invitations, catalogs, clippings, and postcards; news clippings written about Pineda and her artwork; an article written by Pineda; and some material related to other artists. Photographs depict Pineda, Harold Tovish and other family members, artwork, Pineda's solo exhibition in 1970, and scenes from inside Pineda's studio.
Arrangement:
The collection is arranged as 6 series.
Series 1: Biographical Material, 1943-1998 (Box 1; .7 linear feet)
Series 3: Project Files, 1971-1996 (Box 2-3; 1.3 linear feet)
Series 4: Personal Business Records, 1951-1996 (Box 3; .5 linear feet)
Series 5: Printed Material, 1947-1996 (Box 3-4; .5 linear feet)
Series 6: Photographs, circa 1947-1996 (Box 5, OV 6; .3 linear feet)
Biographical / Historical:
Marianna Pineda (1925-1996) was a sculptor and educator from Boston, Massachusetts. Pineda studied at Cranbrook Academy with Carl Milles, Bennington College with Simon Moselsio, University of California, Berkley, with Raymond Puccinelli, Columbia University with Oronzio Maldarelli, and in Paris with Ossip Zadkine. She met her future husband while studying at Columbia, fellow sculptor Harold Tovish. Pineda exhibited her work in group exhibitions held at Brooklyn Museum, New York, Museum of Modern Art, New York, and the Carnegie Institute, Pennsylvania, and had solo shows at the Honolulu Academy of Art, Hawaii, Walker Art Center, Minnesota, George Washington University, Washington, D.C., and Swetzoff Gallery, Boston. Her public commissions include a 6-foot bronze sculpture, The Spirit of Lili'oukalani, located in Honolulu, Hawaii. Pineda's sculptures are found in the permanent collections of the Boston Public Library, Walker Art Center, Fogg Art Museum, Munson-Williams-Proctor Institute, and others. Pineda was an instructor at Newton College of the Sacred Heart and Boston College, and was an adjunct professor of sculpture at Boston University.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Marianna Pineda conducted by Robert Brown, May 26 and June 14, 1977.
Provenance:
The collection was donated by Marianna Pineda in 1989, and after her death by her widower, Harold Tovish, in 1997 and 1998.
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.
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.
Marianna Pineda papers, 1943-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Elisabeth Zogbaum papers regarding Franz Kline measure 11.5 linear feet and date from 1892 to circa 2005, bulk 1930-1990. Zogbaum was a close companion to the New York-based painter Franz Kline and she managed his estate after his death. These papers include biographical material on Franz Kline, documents related to the Franz Kline estate and Franz Kline Foundation, and other material about the artist compiled by Elisabeth Zogbaum. In addition to the aforementioned material, the collection also includes correspondence, exhibition files, printed material, Zogbaum's research and notes, photographic material, artifacts, sound recordings of interviews, and books from Franz Kline's personal library.
Scope and Contents:
The Elisabeth Zogbaum papers regarding Franz Kline measure 11.5 linear feet and date from 1892 to circa 2005, bulk 1930-1990. Zogbaum was a close companion to the New York-based painter Franz Kline and she managed his estate after his death. These papers include biographical material on Franz Kline, documents related to the Franz Kline estate and Franz Kline Foundation, and other material about the artist compiled by Elisabeth Zogbaum. In addition to the aforementioned material, the collection also includes correspondence, exhibition files, printed material, Zogbaum's research and notes, photographic material, artifacts, sound recordings, and books from Franz Kline's personal library.
Franz Kline biographical material includes Kline's passport, will, address books, biographical outlines, obituaries, health and financial records, high school yearbooks, military training camp material, bills and receipts, loose pages of a high school scrapbook, and other material. There are also drawings and sketches by Franz Kline and a few drawings by others.
Correspondence is divided into two sections: correspondence with Franz Kline and correspondence with Elisabeth Zogbaum. Franz Kline correspondence mostly consists of letters to Franz Kline from friends, colleagues, artists, museums, and galleries. Notable correspondents include Sabro Hasegawa, Hedy Lamarr, John Ferren, Jack Micheline, William Morris, and Shinichi Segui. Elisabeth Ross Zogbaum correspondence consists of condolence letters upon the death of Franz Kline and professional correspondence with museums, galleries, foundations and collectors regarding his art.
The estate of Franz Kline includes financial and legal records on the Franz Kline estate, which Elisabeth Zogbaum managed as the sole executrix. There are art inventories, price lists, condition reports, sales reports, correspondence, contracts, tax records, and documents related to Marlborough Gallery and other galleries.
The Franz Kline Foundation series includes a range of material, such as a survey of public and private collections with Franz Kline artwork, related to the catalogue raisonne which the foundation began work on but did not complete. The series also contains correspondence, administrative records, lists, inventories, and sound recordings.
Elisabeth Zogbaum research and notes includes lists, notes, printed material, correspondence, and sound recordings compiled by Zogbaum regarding Franz Kline. Zogbaum produced an audiovisual presentation consisting of slides of Kline's artwork and an accompanying soundtrack. She recorded dozens of conversations with artists, friends, dealers, and contemporaries of Kline, including James Brooks, Louise Bourgeois, Willem de Kooning, George McNeil, Joan Mitchell, Giuseppe Panza, Ludwig Sander, Aaron Siskind, Ray Spillenger, and Joe Stefanelli, among others.
Exhibition files consist of correspondence, loan forms and agreements, checklists, and itineraries on various posthumous Franz Kline exhibitions.
Printed material includes exhibition catalogs, announcements, clippings, press releases, newsletters, magazines, postcards, and other miscellaneous material. Most of the material is about Franz Kline, but there is also material about other artists.
Photographic material includes photographs of Franz Kline, Elisabeth Zogbaum, family, friends, other artists, houses, studios, artwork, exhibition installations, Japanese calligraphy, and other subjects. There are mostly photographic prints, but there are also a few negatives, slides, and transparencies. There is an album of Franz Kline's artwork.
Franz Kline Library consists of various books which were probably in his office. Some books contain articles about Franz Kline or images of his artwork. The rest are miscellanous titles that have been inscribed to Kline. There are also books with artwork by the artist Phil May.
There is a random assortment of artifacts that belonged to Franz Kline including a metal lantern, model car, tea pot, dominoes, a ring, and other objects.
Arrangement:
This collection is arranged as 10 series.
Series 1: Franz Kline Biographical Material, 1925-1962, circa 1998 (Box 1, OV 13; 0.6 linear feet)
Series 2: Correspondence, 1929-1998 (Boxes 1-2, OV 13; 0.7 linear feet)
Series 3: Estate of Franz Kline, 1955-1991 (Box 2; 0.4 linear feet)
Series 4: Franz Kline Foundation, circa 1961-1997, bulk 1980-1990 (Boxes 2-4, 19; 1.6 linear feet)
Series 5: Elisabeth Zogbaum Research and Notes, 1951-1995 (Box 4, 19, OV 14; 1.3 linear feet)
Series 6: Exhibition Files, 1954-1995, bulk 1963-1995 (Box 4; 0.4 linear feet)
Series 7: Printed Material, 1936-circa 2005 (Boxes 4-6, OV 14-15; 2.7 linear feet)
Series 8: Photographic Material, circa 1915-1962, bulk 1936-1962 (Boxes 6-7, OV 14; 0.7 linear feet)
Series 9: Franz Kline Library, 1892-1962 (Boxes 7-10, BV 16-18; 3.2 linear feet)
Series 10: Artifacts, circa 1930-circa 1962 (Boxes 11-12; 0.4 linear feet)
Biographical / Historical:
Elisabeth Zogbaum was a close friend and companion of Franz Kline. She was married to sculptor Wilfrid Meynell Zogbaum. Upon Kline's death in 1962, Elisabeth Zogbaum became the sole executrix of his estate and later the president of the Franz Kline Foundation.
Franz Kline was an Abstract Expressionist painter based in New York City. Kline was born in a coal-mining town in Pennsylvania in 1910. He studied art at Boston University and at the Heatherley Fine Art School in England. He moved to New York City in the late 1930s and became a widely recognized and acclaimed artist. He died in 1962.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Elisabeth Zogbaum conducted by Garnett McCoy on December 3, 1981.
Provenance:
The Elisabeth Zogbaum papers regarding Franz Kline were donated to the archives in multiple installments from 1991 to 2010. The first 1991 donation was made by Elisabeth Ross Zogbaum. Subsequent donations in 2004 and 2010 were made by her son, Rufus Zogbaum.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Images of works of art by Franz Kline copyright held by Franz Kline Estate / Licensed by Artists Rights Society (ARS), NY. Requests for permission to reproduce images of works of art by Franz Kline should be submitted to ARS.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.
Scope and Content Note:
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.
Biographical material includes registration documents for births, marriages, and naturalization of Murch family members, biographical accounts, resumes, school and award certificates, passports, Selective Service records, and address books.
One diary by Walter Murch and three diaries by Katharine Murch contain sporadic entries briefly describing daily activities.
Correspondence primarily consists of letters exchanged between Murch, art schools and universities, arts organizations, galleries including the Betty Parsons Gallery, miscellaneous companies and publishers that commissioned commercial art work, and students. There are scattered letters from Isabel Bishop, Leonard Bocour, Xavier Gonzales, and Gyorgy Kepes. There is also correspondence with miscellaneous family members and letters to Katharine Scott.
Personal business records include organizational membership records, family legal documents, insurance records, leases, loan and consignment records, contracts and invoices for art work sold by the Betty Parsons Gallery, expense notebooks, and other routine financial documents.
Exhibition files include documentation of miscellaneous exhibitions of Murch's art work and of exhibitions juried and organized by Murch, including the Jean Dubuffet exhibition organized by Murch and retrospectives of Murch's art work at the Rhode island School of Design and at the Brooklyn Museum.
Notes and writings include the funeral register for Murch, miscellaneous address lists, travel notebooks of Murchs' 1934 trip to Mexico, miscellaneous notebooks concerning various art-related topics, classroom lectures and notes, and miscellaneous writings by others.
Art work includes two sketchbooks, drawings and sketches, woodcuts, sketches for "Novel in Woodcut," an oil portrait of a woman, a mock-up for book Notes on the Hound of Heaven, and art work by others including a sketchbook by Murch's son, Walter Scott Murch.
Printed material includes clippings, a copy of a handmade Collegiate School magazine The New Thinker, and exhibition announcements and catalogs. for Murch and others, press releases, prospectuses, reproductions of art work and book jackets designed by Murch, programs, brochures, a book about Pierre Bonnard, and miscellaneous printed material.
Photographs are of Murch, family members, travel, buildings, Murch's studio, Murch with colleagues, And art work by Murch and others. There are also photographs of various resource subjects.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Material, 1924-1968 (Box 1, 10; 24 folders)
Series 2: Diaries, 1941-1965 (Box 1; 3 folders)
Series 3: Correspondence, 1880-1969 (Box 1-3, 10; 1.8 linear feet)
Series 4: Personal Business Records, 1928-1970 (Box 3-5; 2.9 linear feet)
Series 5: Exhibition Files, 1953-1968 (Box 6; 17 folders)
Series 6: Notes and Writings, 1907-1968 (Box 6-7, 10, OV 11; 1.5 linear feet)
Series 7: Art Work, 1891-1967 (Box 7, 10, OV 11; 33 folders)
Series 8: Printed Material, 1926-1968 (Box 7-8, 10, OV 11; 50 folders)
Series 9: Photographs, 1908-1967 (Box 9-10; 41 folders)
Biographical Note:
Walter Tandy Murch (1907-1967) of Toronto, Canada, was a painter and art teacher. His painting were primarily of still life subjects including machine parts, tools, broken dolls, and scientific equipment mingled with fruit, bread and fragments of rock as if seen through frosted glass.
Walter Tandy Murch was born on August 17, 1907, in Toronto, Canada, the son of Clara Louise Tandy and jeweller Walter Murch. Following his studies of architectural drafting and woodworking at the Technical High School in Toronto, he studied at the Ontario College of Art in Toronto with Arthur Lismer from 1924 to 1927. During the following year, Murch studied at the Grand Central School of Art in New York City with Arshile Gorky. From 1927 to 1929, he studied with Von Schlegel and K. H. Miller at the Art Students League. In 1930, Murch married Katharine Louise Scott.
From 1930 to 1933, Murch designed stained glass windows for Montague Castle, Inc., in New York City. Following a lengthy painting trip to Mexico in 1934, Murch returned to New York City and earned a living painting murals, designing department store windows, and creating illustrations for various magazines including Fortune and Scientific American.
Murch had his first solo exhibition at Betty Parsons' Wakefield Gallery in New York in 1941, and for many years Parsons was his principal dealer. Murch became a United States citizen in 1947.
Beginning in the 1950s, Murch taught at Pratt Institute, Columbia University, New York University, and at Boston University, and attended summer sessions at Yaddo and Skowhegan. In 1966, the Rhode Island School of Design organized Murch's first major retrospective.
Murch's work is in the collections of the Barnes Foundation, Brooklyn Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Smithsonian American Art Museum, and the Whitney Museum of American Art.
Walter Tandy Murch died on December 11, 1967 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N707, N708, N713, and N68-5) including correspondence, notes, sketchbooks, clippings, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1967-1968, Walter Tandy Murch loaned the Archives of American Art material for microfilming. The artist's widow, Katharine Scott Murch, donated papers 1969.
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 teachers -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Von Mohrenschildt, Dimitri Sergius, 1902-2002 Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Motion pictures (visual works)
Sketches
Sketchbooks
Photographs
Date:
circa 1920s-circa 1973
Summary:
The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five short film reels containing amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.
Scope and Contents:
The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five reels of motion picture films, consisting of amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.
Biographical materials include address books, annotated memorabilia, awards and certificates, curriculum vitae and resume materials, and identification materials. Correspondence is with friends and fellow artists, including actress Osceola Archer and Henry Crapo, galleries, and others. Writings and notes include eleven notebooks, miscellaneous undated notes and papers, annotated drafts and writings by William Christopher, and writings by others. There are five diaries written by William Christopher from the 1940s to the 1960s.
Subject files document miscellaneous projects in which Christopher was involved and/or interested, and include several about Dr. Martin Luther King, Jr. containing correspondence, printed material, and two diaries written by Christopher during his attendance of the Civil Rights march from Selma to Montgomery.
Scattered personal business papers concern artwork sold and loaned and personal finances. Printed materials include clippings, exhibition catalogs and materials, magazines and programs, and posters. Photographs are of William Christopher, Henry Crapo, Margaret French, Charles Howard, Bernard Perlin, George Tooker, male models and figures, furniture, landscapes, buildings, and artwork.
Christopher's papers include over one hundred sketches and watercolors, eleven sketchbooks, an artwork by Dimitri Von Mohrenshildt, and one sketch by George Tooker. Also found among the papers are five film reels made by Christopher for an unfinished project, containing footage of New York City cityscapes and street scenes.
Arrangement:
This collection is arranged as 10 series:
Missing Title
Series 1: Biographical Material, circa 1940s-circa 1973 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1947-circa 1973 (1.9 linear feet; Boxes 1-3)
Series 3: Writings and Notes, circa 1947-1970 (0.4 linear feet; Box 3)
Series 4: Diaries, circa 1940s-circa 1960s (0.2 linear feet; Boxes 3-4)
Series 5: Subject Files, 1943-1972 (0.7 linear feet; Boxes 4, 9)
Series 6: Personal Business Records, circa 1950-circa 1972 (0.3 linear feet; Box 4)
Series 7: Printed Material, circa 1950s-circa 1972 (1.4 linear feet; Boxes 4-5, 9, OV12)
Series 8: Photographs, circa 1920s-circa 1970s (0.7 linear feet; Boxes 6, 8, MGP 4)
Series 9: Artwork and Sketchbooks, circa 1940s-circa 1970s (1.6 linear feet; Boxes 6-8, OV10-11, 13-18)
Series 10: Unidentified Project, Motion Picture Films, 1961 (0.5 linear feet; FC 19-23)
Biographical / Historical:
William Christopher was a painter, art instructor, and Civil Rights activist living and working in New York, New Hampshire, and Vermont. He was born in Columbus, Georgia on March 4, 1924, and served in the U. S. Navy from 1941 to 1943.
Aided by grants and scholarships, Christopher studied in France at the Sorbonne, Academie Julian, and the Ecoles d'Art Americaines between 1946-1948. While there, he also studied with Ossip Zadkine. He returned to New York and studied with Amedee Ozenfant and Hans Hofmann between 1948 and 1950.
Christopher's painting was greatly influenced by his time spent in Paris and New York, and his later involvement with the Civil Rights movement, Dr. Martin Luther King, Jr., and the march in Selma in 1965. His first U. S. solo exhibition was in 1952 at the Roko Gallery in New York, and he exhibited widely in New York, Boston, Washington, D.C. at the Nexus Gallery, the Boston Arts Festival, the Corcoran Gallery of Art, Joan Peterson Gallery, Galeria Juana Mordo, and the Whitney Museum of American Art, among others. In 1964, Christopher was invited to present his paintings to Dr. Martin Luther King, Jr. during the presentation of Dr. King's papers to Boston University. This is where Christopher met King.
Christopher moved to Hartland, Vermont in 1960, with his partner painter George Tooker. He remained there for the rest of his life. Christopher died in 1973.
Provenance:
William Christopher donated his papers to the Archives of American Art in 1972.
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. Glass plate negatives are housed separately and not served to researchers.
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 Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.
Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.
Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.
Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.
Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.
Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.
The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:
Missing Title
Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)
Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)
Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)
Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)
Series 6: Printed Material, 1883-1951 (8 folders; Box 7)
Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.
Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.
In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.
In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).
Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.
In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.
Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.
Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.
Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
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.
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 teachers -- Massachusetts -- Boston Search this
Art critics -- Massachusetts -- Boston Search this
Quotes and excerpts must be cited as follows: Oral history interview with Pat Steir, 2008 March 1-2. Archives of American Art, Smithsonian Institution.
Biographical information; business correspondence; exhibition material, 1965-1985; teaching notes from the San Francisco Art Institute and UCLA; photographs of Weeks and his wife Lynn, 1980s; photographs of work (billboards), 1950s; and clippings.
Biographical / Historical:
Painter, educator; San Francisco, Calif. and Boston, Mass. Weeks was a prominent San Francisco Bay area painter in the 1950s and 1960s, who has continued those ties since coming to teach at Boston University in 1970 by steadily exhibiting at the Charles Campbell Gallery in San Francisco as well as Hirschl and Adler in New York.
Provenance:
Donated 1986 by James Weeks. Additional material expected including correspondence, photographs, and slides of work.
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.
