An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
Lecture delivered to The Cooper Union for the Advancement of Science and Art; Published by D. Van Nostrand, New York, New York
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Insurance, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
The Eve Peri papers are scattered and consist of biographical material, correspondence, personal business records, printed material, artwork, and photographs.
Included are address books; a certificate; a clipping on John F. True, likely Peri's grandfather; estate records; calling cards and travel papers; copies of birth and divorce records; receipts, many from a trip to Rome in 1964; printed materials regarding Peri's art and general art; fragments of a mixed media scrapbook; and printed and original designs for clothing and embroidery.
Correspondence includes letters from friends and institutions. Signed letters are from the Cooper Union for the Advancement of Science and Art, Flair Magazine, J.M. Joubert, and John Rothchild. Other letters are illegible, unsigned or with first names only. Letters from 1964 congratulate Peri on an exhibit of her works in Rome, Italy. Also found is an unsent letter from Peri to Wanda Nordstrom. Many of the clippings include designs of women's embroidered clothing designed by Peri. Photographs are of Peri, in her studio and working on her works of art; of friends and family; homes and buildings; travel; and of works of art.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Eve Peri papers, circa 1900-1996, bulk 1939-1966. Archives of American Art, Smithsonian Institution.
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.
Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.
The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1962-1978
Series 2: Correspondence, 1945-2010, undated
Series 3: Writings, 1952-1976, undated
Series 4: Research files, 1849, 1950-1984, 2009, undated
Series 5: Printed Materials, 1931-1981, undated
Series 6: Artwork, 1949, 1952, 1983, undated
Series 7: Photographs of Artwork, circa 1950-2010
Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.
Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.
Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
An interview of Dore Ashton conducted 2010 November 21 and 2011 March 9, by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Ashton's home, in New York, New York.
Ashton talks about growing up politically active; protesting the internment of the Japanese Americans during WWII; attending The New School and then Harvard University; briefly working as a gallery receptionist; writing her first reviews for Art Digest; Howard Devree hiring her as a writer for The New York Times; travels and living in Europe; writing feature pieces about individual artists for The New York Times; writing for Cahiers d'art; her relationships Franz Kline, Willem de Kooning, Mark Rothko, Philip Guston, Robert Motherwell, Billy Kluver, Robert Rauschenberg, Octavio Paz, and others; marriage to Adja Yunkers; teaching at Cooper Union; interest in Latin American Art; flirting; being a "dedicated reader of Nietzsche"; visits to the Cedar Tavern; being a peacenik; and other topics. She recalls Jeanne Reynal, Mario Pedrosa, Alger Hiss, Peter Selz, Peter Orlovsky, David Smith, and others.
Biographical / Historical:
Dore Ashton (1928-2017) was an art historian in New York, New York. George W. Sampson (1951-) is an arts administrator in Charlottesville, Virginia.
General:
Originally recorded on 2 memory cards. Duration is 2 hr., 57 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art critics -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Elizabeth Murray Oral History of Women in the Visual Arts Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Dore Ashton, 2010 November 21 - 2011 March 9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Rudolph de Harak, 2000 April 27. Archives of American Art, Smithsonian Institution.
The papers of architect and painter Anthony Candido measure 14.00 linear feet and date from 1950-2015. Included are biographical material; correspondence with artists; teaching files from Cooper Union, School of Architecture; annotated sketchbooks and drawings; exhibition files; photographs of architecture, and paintings of Candido's wife, choreographer Nancy Meehan.
Scope and Contents:
The papers of architect and painter Anthony Candido measure 14.00 linear feet and date from 1950-2015. Included are biographical material; correspondence with artists; teaching files from Cooper Union, School of Architecture; annotated sketchbooks and drawings; exhibition files; photographs of architecture, and paintings of Candido's wife, choreographer Nancy Meehan.
This collection documents Candido's career as an educator, artist and architect through biographical material, including Candido's CV, artist bio, and a transcript from a Cooper Union faculty interview; professional and personal correspondence with friends, educators, and artists including letters from Lillian Kiesler, Christopher Wilmarth, and Sol LeWitt; journals documenting Candido's artistic process and personal life; writings including lectures, notes, poems, drafts, and a play script; exhibition files that document Candido's work shown at various museums and galleries; project files from Roosevelt field, the 1969 World Exposition, and Toronto City Square; class lists; notes; lectures; course descriptions; clippings; exhibition catalogs, posters, and announcements; Nancy Meehan Dance Company flyers, posters, and pamphlets; annotated sketchbooks; travel sketchbooks; loose sketches; drawings; paintings on paper; and photographs of Candido and Nancy Meehan, his artwork, and his studio.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Material, 1992, 2002 (0.1 linear feet, Box 1)
Series 2: Correspondence, 1957-2013 (0.4 linear feet, Box 1)
Series 3: Diaries and Journals, 1963-2014 (0.7 linear feet, Box 1-2)
Series 4: Writings, circa 1956-1997 (0.5 linear feet, Box 2, OV 24)
Series 5: Exhibition Files, 1945-2010 (0.6 linear feet, Box 2-3)
Series 6: Project Files, 1954-2015 (0.1 linear feet, Box 3)
Series 7: Teaching Files, 1959-1966 (0.1 linear feet, Box 3)
Series 8: Printed Material, 1956-2015 (0.5 linear feet, Box 3, 11, OV 25)
Series 9: Artwork, 1950-2013 (9.50 linear feet, Box 3-18, OV 26)
Series 10: Photographic Material, 1955-2007 (0.5 linear feet, Box 10)
Biographical / Historical:
Anthony Candido (1924-) is an architect, painter and educator in New York, New York.
Candido attended the Illinois Institute of Technology where he studied architecture and planning and began teaching at Cooper Union in 1959. There he introduced the Block Project to his Architectonics class, which was derived from his still life paintings of his painter's table. Candido's artwork was often shown at and The Arthur A. Houghton Jr. Gallery of The Cooper Union. His monograph, "Tony Candido: Night Drawings 1956" was published by The Cooper Union School of Architecture in 1993.
Candido's broad range of experience in painting and architecture can be seen throughout his career. From 1954-1957 Candido worked for I.M. Pei as a designer where he designed a glass umbrella for Roosevelt Field and the first published design for the GSA Buildings. In 1969 he traveled to Japan for Davis & Brody to supervise the design and construction of the U.S. Pavilion, at EXPO '70. Candido's works have been included in numerous exhibitions around the world including the Canadian Center for Architecture, Montreal, Galerie de L'Ecole des Beaux-Arts de Lorient, France, and the International Design Forum, Asahikawa, Japan. Candido has also exhibited works at various New York galleries, including the Painting Center, Betty Parsons Gallery, St. Mark's Church on the Bowery, and the Area Gallery. Projects of note included The Existence Paintings, The Seated Man, The Standing Man, and The Heads (large and small). He has also been an artist in residence with the Nancy Meehan Dance Company since 1970.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Anthony Candido conducted by Paul Cummings, October 7, 1970.
Provenance:
Donated by Anthony Candido in 2019. A portion of the sketches and sketchbooks included with the donation were loaned for microfilming in 1970-1971.
Restrictions:
The collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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:
Educators -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Sound recording: 3 sound cassettes (270 min.) : analog + printed material and drawings
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Drawings
Interviews
Sound recordings
Date:
2000 April 27
Scope and Contents:
An interview of Rudolph de Harak conducted 2000 April 27, by Susan Larsen, for Archives of American Art, in Trenton, Maine. Also received from De Harak at the time of the interview are a photocopy of an article reprinted in Design Culture that de Harak wrote for the American Institute of Graphic Arts; photocopy of an interview transcript with Gyorgy Kepes conducted by de Harak, de Harak's vitae, 2 exhibition catalogs, an article in recognition of de Harak by Daniel Forte, and a pencil drawing and a design with color chart.
De Harak discusses his childhood in California and moving to both Chicago and New York in support of his sisters' dancing careers, as well as his education and career. He attended the New York School of Industrial Arts, graduating in 1940, at the age of sixteen. After graduation he worked in an upholstery factory etching zinc plates for printed and painted silk fabric for use in draperies. At age eighteen he was drafted into the Army and served throughout WWII. After the war he returned to California, to be with his sisters and mother. Eventually he found work in a Los Angeles design studio, where he became reacquainted with Hal Tritel, whom he had known in New York. Together, they attended an inspirational lecture by Will Burtin, the art director of Fortune magazine.
In 1947, De Harak and Tritel opened their own design firm. In 1950, De Harak moved back the New York in search of more opportunities as a designer. He worked at a variety of tasks including a stint at Seventeen magazine, starting his own design firm, and teaching at Cooper Union School of Visual Arts. His clients included McGraw Hill Publishers, the Atomic Energy Commission, and the Metropolitan Museum of Art. He also worked on the World Trade Center. Through his work with the Atomic Energy Commission, De Harak became friends with Gyorgy Kepes. He also became friends with Will Burtin and Bill Golden, the designer of the "CBS eye" logo. De Harak also discusses the effect computers have had on design, the influence of Wolfgang Weingart, and his decision to focus on painting.
Biographical / Historical:
Rudolph de Harak (1924-2002) was a graphic designer and painter from Trenton, Maine.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Quotes and excerpts must be cited as follows: Oral history interview with Sidney Gordin, 1965 Sept. 2. Archives of American Art, Smithsonian Institution.
