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Painting fictions/painting history : modernist pioneers at Senegal's Ecole des arts / Joanna Grabski

Author:
Grabski, Joanna  Search this
Harney, Elizabeth  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Lods, Pierre 1921-1988  Search this
Tall, Papa Ibra  Search this
Thiam, Chérif 1951-  Search this
École nationale des beaux-arts (Senegal)  Search this
École de Dakar  Search this
Type:
Articles
Place:
Senegal
Dakar
Date:
2006
20th century
Topic:
Artists  Search this
Art--Study and teaching  Search this
Modernism (Art)  Search this
Art schools  Search this
Art, Senegalese--History  Search this
Call number:
N1 .A258
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_898258

Florescence of the arts in the "New Flower" (Addis Ababa) before 1974 / Heran Sereke-Brhan and Shiferaw Bekele

Author:
Sereke-Brhan, Heran  Search this
Šifarāw Baqala  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Type:
Articles
Place:
Ethiopia
Date:
2007
20th century
Topic:
Art, Ethiopian--History  Search this
Arts, Ethiopian--History  Search this
Arts, Ethiopian--Study and teaching  Search this
Cultural policy  Search this
Call number:
N7386 .C67 2007
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_830510

Proceedings of the Fifth and Sixth Symposia on Collection Building and Natural History Studies in Asia and the Pacific Rim edited by Shinobu Akiyama [and others]

Author:
Symposium on Collection Building and Natural History Studies in Asia and the Pacific Rim (5th : 2002 : Kokuritsu Kagaku Hakubutsukan (Japan))  Search this
Akiyama, Shinobu  Search this
Kokuritsu Kagaku Hakubutsukan (Japan)  Search this
Symposium on Collection Building and Natural History Studies in Asia and the Pacific Rim (6th : 2003 : Kokuritsu Kagaku Hakubutsukan (Japan))  Search this
Physical description:
viii, 292 pages illustrations (some color), maps 26 cm
Type:
Congresses
Conference papers and proceedings
Place:
Southeast Asia
Pacific Area
Date:
2004
Topic:
Natural history museums  Search this
Natural history--Study and teaching (Higher)  Search this
Natural history  Search this
Call number:
QH70.A785 S96 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_739246

Egyptian hieroglyphs, jewelry and tapestry weaving / Jo Miles Schuman

Author:
Schuman, Jo Miles  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Type:
Articles
Place:
Egypt
Date:
1981
Topic:
Hieroglyphics  Search this
Tapestry--Study and teaching (Elementary)  Search this
Necklaces  Search this
Call number:
TT157 .S39 1981
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_490288

The story of Karl Stojka a childhood in Birkenau : exhibition at the embassy of Austria, April 30 to May 29, 1992 : catalogue by the United States Holocaust Memorial Museum ; a project of the United States Holocaust Memorial Council ; [primary author Sybil Milton]

Artist:
Stojka, Karl 1931-  Search this
Author:
Milton, Sybil  Search this
Author:
United States Holocaust Memorial Museum  Search this
United States Holocaust Memorial Council  Search this
Subject:
Birkenau (Concentration camp) In art  Search this
Physical description:
64 pages illustrations (some color) 25 cm
Type:
Exhibitions
Chronology
Pictorial works
Personal narratives, Austrian
Government publications
Chronologies
Exhibition catalogs
Personal narratives
Place:
Austria
Germany
Date:
1992
Topic:
Romani Genocide, 1939-1945  Search this
Nazi concentration camp inmates  Search this
World War, 1939-1945  Search this
Holocaust, Jewish (1939-1945), in art  Search this
Holocaust, Jewish (1939-1945)--Study and teaching  Search this
Art  Search this
Concentration camp inmates  Search this
Holocaust, Jewish (1939-1945) in art  Search this
Romanies--Nazi persecution  Search this
Study skills  Search this
Call number:
ND511.5.S75 A4 1992
ND511.5.S75A4 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_432867

Arts & crafts a review of the work executed by students in the leading art schools of Great Britain and Ireland ed. by Charles Holme

Author:
Holme, Charles 1848-1923  Search this
Author:
International Studio  Search this
Physical description:
iii, 204 pages illustrations, color plates 30 cm
Type:
Books
Date:
1916
Topic:
Arts and crafts movement  Search this
Decorative arts--Study and teaching  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_277784

Knowing native arts Nancy Marie Mithlo

Author:
Mithlo, Nancy Marie  Search this
Physical description:
1 online resource (xi, 254 pages) illustrations (some color)
Type:
Electronic resources
Electronic books
Date:
2020
Topic:
Indian arts--Study and teaching  Search this
Education, Higher--Aims and objectives  Search this
Cultural awareness  Search this
SOCIAL SCIENCE / Ethnic Studies / Native American Studies  Search this
Museums and Indians  Search this
Call number:
E98.A73 M57 2020 (Internet)
Restrictions & Rights:
3-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153340

Uncovering Student Ideas in Life Science, Volume 1

Author:
Keeley, Page  Search this
Physical description:
1 online resource (185 pages)
Type:
Electronic resources
Electronic books
Date:
2011
Topic:
Educational evaluation  Search this
Science--Study and teaching  Search this
Science  Search this
Education  Search this
Call number:
QH315 .K37 2011 vol. 1 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147307

Making history the IAIA Museum of Contemporary Native Arts : Institute of American Indian Arts edited by Nancy Marie Mithlo ; foreword by Robert Martin

Editor:
Mithlo, Nancy Marie  Search this
Physical description:
1 online resource (xvii, 196 pages) illustrations (some color)
Type:
Electronic resources
Electronic books
Place:
United States
Date:
2020
Topic:
Indian art--Study and teaching  Search this
Art criticism--Study and teaching  Search this
Call number:
N6538.A4 M35 2020 (Internet)
Restrictions & Rights:
Unlimited users
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147918

Museums at the forefront of the history and philosophy of geology : history made, history in the making / edited by Gary D. Rosenberg, Renee M. Clary

Editor:
Rosenberg, Gary D.  Search this
Clary, R. M (Renee M.)  Search this
Publisher:
Geological Society of America  Search this
Physical description:
viii, 348 pages : illustrations (some color), maps (some color) ; 28 cm
Type:
Exhibitions
Date:
2018
Topic:
Geological museums  Search this
Geology  Search this
Geology--Social aspects  Search this
Geology--Study and teaching  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1104419

The Abayomi Barber Art School creative reformation of the existing art tradition in Nigeria, 1972-1998 by Odiboh, Otunokpaiwo Freeborn

Author:
Odiboh, Freeborn  Search this
Subject:
Barber, Abayomi 1928-  Search this
Physical description:
195 pages color illustrations 28 cm
Type:
Manuscripts
History
Theses
Place:
Nigeria
Date:
2003
20th century
Topic:
Art schools  Search this
Art, Nigerian--History  Search this
Art, Nigerian--Study and teaching--History  Search this
Art, Nigerian  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1045172

The gem painting book

Publisher:
McLoughlin Bros.  Search this
Physical description:
60 unnumbered leaves color illustrations 20 cm
Type:
Juvenile literature
Juvenile works
Date:
1890
Topic:
Coloring books  Search this
Coloring for children  Search this
Watercolor painting--Study and teaching  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1006546

Witnesses for the Defense in the Scopes Trial 1925, 3 pages

Author:
Unknown  Search this
Subject:
Scopes, John Thomas  Search this
Physical description:
Number of Images: 3 Color: Color ; Size: 8.5w x 11h; Type of Image: Document; Medium: Paper
Type:
Document
Paper
Place:
United States
Tennessee
Date:
1925
20th century
Topic:
Witnesses  Search this
Evolution  Search this
Trials  Search this
Courts  Search this
Educational law and legislation  Search this
Actions and defenses  Search this
Scientists  Search this
Evolution--Study and teaching--Law and legislation  Search this
Constitutional law  Search this
Civil rights movements--History  Search this
Tennessee  Search this
Modernist-fundamentalist controversy  Search this
Theology, Doctrinal--History  Search this
Creationism  Search this
Evolution (Biology)--Religious aspects--Christianity  Search this
Education and state  Search this
Religion  Search this
Standard number:
SIA2011-1076 (page1), SIA2011-1077 (page 2), SIA2011-1078 (page 3)
Restrictions & Rights:
No restrictions
Data Source:
Smithsonian Archives - History Div
EDAN-URL:
edanmdm:siris_sic_12889
Online Media:

Scopes Trial

Subject:
Bryan, William Jennings 1860-1925  Search this
Davis, Watson  Search this
Darrow, Clarence 1857-1938  Search this
Hays, Arthur Garfield 1881-1954  Search this
Malone, Dudley Field 1882-1950  Search this
Neal, John R 1876-1959  Search this
Scopes, John Thomas  Search this
Science Service  Search this
Physical description:
Number of Images: 1; Color: Black and White; Size: 10w x 8h; Type of Image: Group, candid; Medium: Photographic print
Type:
Photographic print
Group, candid
Place:
United States
Rhea County (Tenn.)
Tennessee
Date:
July 20, 1925
20th century
Topic:
Actions and defenses  Search this
Civil rights  Search this
Civil rights movements--History  Search this
Constitutional law  Search this
Creationism  Search this
Educators  Search this
Evolution--Study and teaching--Law and legislation  Search this
Modernist-fundamentalist controversy  Search this
Religion and science  Search this
Tennessee  Search this
Standard number:
SIA2007-0123 and 2002-26202
Restrictions & Rights:
No restrictions
Data Source:
Smithsonian Archives - History Div
EDAN-URL:
edanmdm:siris_sic_11723

Exhibition Records, 1997-2007, 2012

Creator:
Smithsonian Institution Asian Pacific American Program  Search this
Physical description:
1.25 cu. ft. unprocessed holdings
Type:
Manuscripts
Brochures
Exhibition catalogs
Color photographs
Compact discs
Electronic records
Clippings
Black-and-white photographs
Date:
1997
1997-2012
1997-2007, 2012
Topic:
Asian Americans  Search this
Pacific Islanders  Search this
Museum exhibits  Search this
Museums--Educational aspects  Search this
Museums--Public relations  Search this
Civilization--History  Search this
Asian Americans--Study and teaching  Search this
Local number:
SIA RS01757
Restrictions & Rights:
Materials less than 15 years old. Restricted. Contact reference staff for details
See more items in:
Exhibition Records 1997-2007, 2012 [Smithsonian Institution Asian Pacific American Program]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_369795

John Groth papers

Creator:
Groth, John, 1908-1988  Search this
Extent:
2.4 Linear feet ((partially microfilmed on 1 reel))
15 Items (ADDITION)
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1930-1986
Scope and Contents:
Biographical material, artwork, photographs, printed material and letters.
REEL D287: Biographical information; correspondence, primarily professional; clippings; book and art reviews; legal and personal documents; exhibition catalogs; photographs of Groth and his work; 8 small sketchbooks and a portfolio of sketches covering his artistic activities during World War II; and 10 sketchbooks and a portfolio of drawings on the Korean War.
UNMICROFILMED: Groth's birth certificate; art, education and military awards, 1948-1980; a few sketches, 5 sketchbooks, 2 watercolor paintings and many ink sketches; photographs of Groth's illustration class, works of art, Korea and Vietnam; and printed material, including newspapers, clippings, magazines, book covers and catalogs, 1930-1982.
ADDITION: Fifteen pen and ink and water color sketches by John Groth, ca. 1951.
Biographical / Historical:
Art instructor, painter, book illustrator, war correspondent; New York, NY; d. 1988.
Provenance:
Material on reel D287 lent for microfilming 1966 by Groth. Unmicrofilmed materials donated 1988 by Patricia Dowling, a relative of Groth. Addition donated by Anita MacGregor, wife of Greg MacGregor who was given the sketches by Groth.
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.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
War in art  Search this
Art -- Study and teaching -- Photographs  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.grotjohn
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96d6b6c44-183e-42a5-a462-9c29e27f0bca
EDAN-URL:
ead_collection:sova-aaa-grotjohn

Carl Holty papers

Creator:
Holty, Carl, 1900-1973  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Byrne, Charles B.  Search this
Hiler, Hilaire, 1898-1966  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Photograph albums
Date:
circa 1860s-1972
bulk 1940-1967
Summary:
The Carl Holty papers are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and contain correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.
Scope and Content Note:
The papers of Carl Holty are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and consist of correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.

Correspondence with Romare Bearden, Charles Byrne and Hilaire Hiler concerns art, exhibitions and reviews, education, and news of mutual friends. Holty's writings include articles, autobiographical writings, unpublished manuscripts of a monograph, Art In America, and an untitled novel. Also found among his writings is a journal which contains his reminiscences of artist friends and acquaintances, and reflections on art, art history, and his life, personal plans and aspirations.

Printed material consists mainly of clippings about or mentioning Holty, and reviews and publicity relating to The Painter's Mind, a book Holty wrote with Romare Bearden. Miscellaneous records consist of a transcript of an interview with Carl Holty and an identification card issued to his father.

Photographs are of artwork, people and places. Also included are 6 photograph albums of Holty's artwork, and a small number of negatives. The people pictured are mainly Holty, friends and family. There is also a group photograph that includes Joan Miró.
Arrangement note:
The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1940-1972 (Box 1; 5 folders)

Series 2: Writings, 1944-1967 (Box 1; 0.6 linear ft.)

Series 3: Printed Material, 1931-1972 (Box 1; 5 folders)

Series 4: Miscellaneous Records, 1900, 1966 (Box 1; 2 folders)

Series 5: Photographs, circa 1860s-1972 (Boxes 1-3; 0.9 linear ft.)
Biographical/Historical note:
Carl Holty was born in 1900 to American parents in Freiburg, Germany, where his father was studying medicine. Carl was still an infant when the family returned to Milwaukee, Wisconsin, where they lived with his grandparents in a traditional German neighborhood. It was Carl's grandfather who first introduced him to art through visits to a small local commercial gallery.

After showing an interest in being an artist at around age 12, Holty began taking lessons with a local painter. As a teenager he began drawing cartoons and soon set his sights on becoming a poster artist. With that in mind, Holty enrolled at the Art Institute of Chicago in 1919. He soon headed to New York and took courses at the Parsons School of Design and then at the National Academy of Design. In 1923 he returned to Milwaukee and opened a portrait painting studio.

Holty married in 1925 and took his bride to Europe, remaining abroad for the next decade. He entered Hans Hofmann's school in Munich in 1926, and exposure to Hofmann's ideas about color, space, and form greatly influenced and transformed his work. In 1927, the Holtys relocated to Switzerland in search of treatment for Mrs. Holty's tuberculosis. Holty and Hofmann remained in touch, and while in Switzerland, Holty increasingly incorporated Hofmann's teachings into his paintings as they grew more abstract in style.

After his wife's death in 1930, Holty moved to Paris for five years where he participated in several exhibitions and his work was well-received. Robert Delaunay invited him to join Abstration-Création, and the group published some of Holty's work in its magazine.

Upon returning to the United States in 1935, Holty settled in New York City where he eventually remarried and had a daughter. He renewed friendships with Hans Hofmann, Vaclav Vytlacil, and Stuart Davis, whom he had known in Paris. A figure in vanguard art circles, Holty was involved in meetings that resulted in the formation of the American Abstract Artists, and in 1938 he served as the group's chairman.

Holty taught drawing and paining at Brooklyn College from 1950 until his retirement in 1970, when he was designated Professor Emeritus. His years at Brooklyn College were punctuated by brief stints as a visiting instructor at the Art Students League, Washington University (St. Louis), and University of Louisville; he served as artist-in-residence at the universities of Georgia, Florida, California (Berkeley), and Wisconsin, and the Corcoran School of Art.

He exhibited widely at major museums throughout the United States including: the San Francisco Art Museum, Seattle Art Museum, Whitney Museum of American Art, Carnegie Institute, Metropolitan Museum of Art, Museum of Modern Art, and the Solomon R. Guggenheim Museum. Holty's work was shown at major New York galleries such as J. B. Neumann, Samuel Kootz Gallery, and Graham Gallery, and is in the permanent collections of many museums including: Addison Gallery of American Art, Brooklyn Museum, Butler Institute of Art, Carnegie Institute, Smithsonian American Art Museum, and the Solomon R. Guggenheim Museum.

Carl Holty died March 22, 1973 in New York City, after a short illness.
Related Archival Materials note:
Six interviews with Carl Holty (in addition to the one described in this finding aid) are available at the Archives of American Art. Three are oral histories conducted by the Archives of American Art, 1964-1968. The others are parts of interview collections accessioned by the Archives: Interviews relating to American Abstract Artists (Ruth Bowman), Anne Bowen Parsons collection of Interviews on Art, and Collette Roberts Interviews with Artists.

In addition, substantial correspondence with Carl Holty is included among the Hilaire Hiler papers and Romare Bearden papers owned by the Archives of American Art.
Separated Materials note:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N68-93 and N68-105), much of which was subsequently donated. Loaned material that was not later donated includes Holty's letters to his wife, Elizabeth, and daughter, Antonia, letters to Zoe Dusanne, letters from Ulfert Wilkie and Erwin Breithaupt, a small amount of general correspondence, and a typescript copy of Holty's journal. This material remains with the lender and is not described in the collection container inventory.
Provenance:
The Carl Holty papers were donated in increments between 1972 and 2006. The bulk of the papers were originally loaned in 1968, and later donated by Holty in 1972. Charles Byrne, a friend of Holty, donated a small amount of correspondence, printed material, and photographs in 1976-1977; family photographs were given by Holty's biographer, Virginia Liles, in 2006.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Photograph albums
Citation:
Carl Holty papers, circa 1860s-1972 (bulk 1940-1967). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.holtcarl
See more items in:
Carl Holty papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c54088fa-0235-4a48-95dd-63496b5b713a
EDAN-URL:
ead_collection:sova-aaa-holtcarl
Online Media:

Josef Albers papers

Creator:
Albers, Josef  Search this
Names:
Baltimore Museum of Art  Search this
Maryland Institute, College of Art  Search this
Albers, Anni  Search this
Arp, Jean, 1887-1966  Search this
Leake, Eugene, 1911-  Search this
Tyler, Kenneth E.  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Transcripts
Poems
Interviews
Date:
1929-1970
Summary:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.
Scope and Contents:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.

Biographical material consists of a curriculum vitae, bibliographic lists, a transcript of a "Yale Reports" radio interview in which Albers discusses art as a port of general education, and a photocopy of a letter from Eugene W. Leake of the Maryland Institute discussing a work by Albers in the Baltimore Museum.

Writings and Lectures are primarily photocopies of poems and typescripts by Albers concerning his theories on art, as well as an sound tape reel recording of Albers delivering a lecture at Yale University. There are also photocopied typescripts about Albers written by others including a typescript "Josef Albers" by Hans Jean Arp.

Printed material primarily consists of clippings and exhibition announcements and catalogs, some of which are annotated by Albers. There are also two exhibition catalogs for Anni Albers, press releases, a copy of poetry publication Origin 8, 2 books by Albers, Embossed Linear Compositions and Josef Albers: Poems and Drawings, the book American Abstract Artists, 1936-1966, and miscellaneous brochures.

Photographs consist of two copies of the same image of Josef Albers pin registering one of his prints with Tamarind artisan Ken Tyler.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Biographical Material, 1957-1970 (3 folders; Box 1)

Series 2: Writings and Lecture, 1936-1967 (5 folders; Box 1)

Series 3: Printed Material, 1929-1969 (1.3 linear feet; Boxes 1-3)

Series 4: Photographs, circa 1968 (1 folder; Box 2)
Biographical / Historical:
Josef Albers (1888-1976) of Dessau, Germany, Black Mountain, North Carolina, and New Haven, Connecticut, was a painter, printmaker, and art teacher advocating a disciplined approach to composition, form, and color.

Josef Albers was born on March 19, 1888 in Bottrop, Westphalia, Germany, the only child of Lorenz Albers, a housepainter, and Magdelena (Schumacher) Albers. He attended the Präparanden-Schule in Langenhorst from 1902 to 1905 and then the teachers college in Büren, graduating in 1908. He became an instructor in several Westphalian primary schools.

Albers studied at the Royal Art School in Berlin, the Arts and Crafts School (Folkwang School) in Essen, and at the Art Academy in Munich under Franz Stuck before enrolling at the Bauhaus in Weimar in 1920. In 1923, he became an instructor and in 1925, when the school was transplanted to Dessau, he became a Bauhausmeister, teaching his fundamental design course. He remained in that position in Dessau and Berlin until 1933, when under pressure from National Socialism, the school was shut down. In that year, Albers emigrated to the United States, becoming a professor of painting at Black Mountain College in North Carolina.

In 1949, Albers moved to Yale University where he taught in the Department of Design and served as Chairman of the Art Department. Following his retirement in 1960, Albers continued to live in New Haven with his wife, textile artist Anni Albers.

Albers served as a guest teacher in Ulm, Germany, and in many colleges and art schools in the United States, Mexico, and South America. He was also an author of poems and books concerning art theory.

Josef Albers died on March 25, 1976 in New Haven, Connecticut.
Related Materials:
Also found in the Archives is an oral history interview with Albers conducted by Sevim Fesci in 1968, and a collection of letters from Albers to J. B. Naumann that was loaned to the Archives by the Brooklyn Museum for microfilming and is available on microfilm reel 911.
Provenance:
The Josef Albers papers were donated by the artist in 1969 and 1970. A small collection of additional Albers papers and an audio recording of a lecture with an unknown provenance were integrated.
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  Search this
Painters  Search this
Topic:
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Printmakers  Search this
Genre/Form:
Photographs
Sound recordings
Transcripts
Poems
Interviews
Citation:
Josef Albers papers, 1929-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.albejose
See more items in:
Josef Albers papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ab065186-b199-4ce3-8502-db4febf6c189
EDAN-URL:
ead_collection:sova-aaa-albejose
Online Media:

Billy Al Bengston papers

Creator:
Bengston, Billy Al  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
James Corcoran Gallery  Search this
John Berggruen Gallery (San Francisco, Calif.)  Search this
Martha Jackson Gallery  Search this
Alexander, Peter, 1939-  Search this
Altoon, John, 1925-  Search this
Andre, Carl, 1935-  Search this
Chamberlain, John, 1927-2011  Search this
Diebenkorn, Richard, 1922-1993  Search this
Flavin, Dan, 1933-  Search this
Goode, Joe, 1937-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Motherwell, Robert  Search this
Plagens, Peter  Search this
Ruscha, Edward  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Date:
circa 1940s-1989
bulk 1960-1988
Summary:
The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Scope and Content Note:
The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.
Arrangement:
The collection is arranged into 10 series:

Missing Title

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 12; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 12-13; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)
Biographical Note:
Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.
Related Material:
Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.
Provenance:
The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Topic:
Works of art  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Genre/Form:
Interviews
Photographs
Citation:
Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bengbill
See more items in:
Billy Al Bengston papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9100ab903-2685-4182-8e65-3886c54e0d7f
EDAN-URL:
ead_collection:sova-aaa-bengbill

Bolton Coit Brown papers

Creator:
Brown, Bolton, 1864-1936  Search this
Names:
Coit, Martha Day, 1840-1920  Search this
Elliott, Ellen Coit  Search this
Lankes, Julius J., 1884-1960  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Illustrated letters
Date:
1882-1987
bulk 1882-1936
Summary:
The papers of lithographer, educator, and author Bolton Coit Brown measure 1.7 linear feet and date from 1882 to 1987 with the bulk of the material dating from 1882 to 1936. Found within the papers are biographical material; extensive personal correspondence with family members and friends; writings, including drafts of Art of Art Study and Lithography Since Whistler; and printed material.
Scope and Contents:
The papers of lithographer, educator, and author Bolton Coit Brown measure 1.7 linear feet and date from 1882 to 1987 with the bulk of the material dating from 1882 to 1936. Found within the papers are biographical material; extensive personal correspondence with family members and friends; writings, including drafts of Art of Art Study and Lithography Since Whistler; and printed material.

Biographical information consists of a curriculum vitae, job application, list of artworks, and a photograph of Bolton Coit Brown.

Correspondence is primarily with Brown's immediate and extended family and with friends. The series includes extensive correspondence to his mother, Martha C. Brown, his sister, Ellen Coit Elliott, and letter drafts to his wife Lucy Fletcher Brown. Letters to Brown's family dating from 1887 to 1888 document his travels to Europe as an art student and include pen and ink and color washes of historical sites, art deco details, and illustrative scenes.

Writings include essays on lithography and the artist J.J. Lankes; typescripts of Art of Art Study and Lithography Since Whistler; and miscellaneous notes and writings on lithography. There is also a copy of a short play by Brown titled Spoiled Meat.

Printed material includes articles by and on Bolton Coit Brown, clippings, exhibition catalogs, and periodicals.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Biographical materials, circa 1914-1936 (4 folders; Box 1)

Series 2: Correspondence, circa 1882-1949 (0.9 linear feet; Box 1, 3)

Series 3: Writings, circa 1914-1933 (0.4 linear feet; Box 1-2)

Series 4: Printed Material, 1882-1987 (0.3 linear feet; Box 2)
Biographical / Historical:
Lithographer, educator, and author Bolton Coit Brown (1864-1936) lived and worked in Woodstock and New York City, New York, and Stanford, California. He is known for his extensive writings on lithography technique, and for his interest in tonalism effects in painting and printmaking.

Brown was born in Dresden, New York to Edmund Woodward Brown, a minster of the Presbyterian church, and his wife Martha Coit Brown. His early aptitude in art was supported by his family and he received a Bachelor's and Master's degree in painting from Syracuse University. Upon graduation, Brown taught art at Cornell University, became principal of the Toronto Government Art School, and was invited to head the newly formed art department at Stanford University from 1891 to 1902. During his tenure at Stanford, his proximity to the Sierra Nevada ranges inspired him to climb the mountains and he published several articles, line drawings, and maps that document his explorations in the Sierra Club Bulletin.

In 1901, Ralph Radcliffe Whitehead, an aristocrat and progressive idealist, approached Brown with the idea of developing an arts and crafts colony based on the utopian ideals of John Ruskin. Brown agreed to the project and worked with Whitehead and Hervey White to establish Byrdcliffe Colony near the village of Woodstock, New York. After a break from Whitehead over management of the Colony, Brown focused his energies on landscape paintings and worked out of studios located in Woodstock and New York City.

Many of his paintings experimented with tonalism, and interest in this style led him to the explore the gradational effects and mechanics of lithography. In 1915, he traveled to England and spent a year studying with the lithographer F. Ernest Jackson. When he returned home, he continued to document his experiments and technical findings in detailed journals. Many of these discoveries were published in several books and essays on the topic, including Lithography Since Whistler. He printed over 400 of his own lithographs and printed the artworks of George Bellows, John Sloan, and Rockwell Kent, among others. Brown died in Woodstock , New York in 1936.
Related Materials:
The Archives borrowed Bolton Coit Brown papers held by Bryn Mawr College Library, Special Collections in 1990 and microfilmed them on reels 3654-3655 as part of the Archives' Philadelphia Arts Documentation Project.
Provenance:
The Bolton Coit Brown papers were donated in 1987 and 1991 by Brown's granddaughter, Marian Sweeney. Brown's great granddaughter, Barbara Bandy, donated additional materials in 1989.
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.
Topic:
Art -- Study and teaching  Search this
Lithographers -- New York (State)  Search this
Authors -- New York (State) -- New York  Search this
Lithography  Search this
Genre/Form:
Sketches
Photographs
Illustrated letters
Citation:
Bolton Coit Brown papers, 1882-1987, bulk 1882-1936. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browbolt
See more items in:
Bolton Coit Brown papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e2dbbcc0-19c1-445c-8d98-6fb71d551220
EDAN-URL:
ead_collection:sova-aaa-browbolt

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