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Artist:

Joseph Cornell, American, b. Nyack, New York, 1903–1972  Search this

Medium:

Photomechanical reproductions, stamps, ink, and paper mounted on fiberboard

Dimensions:

12 x 9 in. (30.5 x 22.9 cm)

Type:

Collage

Date:

(1966)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number:

86.932

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Surrealism (American)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py25556e0a2-ebaf-4c25-a8aa-24389a4c48e1

EDAN-URL:

edanmdm:hmsg_86.932

Collection Creator:

Porter, Fairfield  Search this

Container:

Box 1, Folder 28

Type:

Archival materials

Date:

1966

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.

Collection 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.

Collection Citation:

Fairfield Porter papers, 1888-2001 (bulk 1924-1975). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Fairfield Porter papers

Fairfield Porter papers / Series 2: Correspondence / Incoming Letters to Anne and Fairfield Porter from:

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw922d388bc-c960-4f49-9909-229996c29468

EDAN-URL:

ead_component:sova-aaa-portfair-ref49

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:

The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:

Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:

The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:

The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:

Collagists -- New York (State) -- New York  Search this

Topic:

Art, Modern -- 20th century -- United States  Search this

Assemblage (Art)  Search this

Assemblage artists -- New York (State) -- New York  Search this

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

Filmmakers -- New York (State) -- New York  Search this

Genre/Form:

Photographs -- 1900-1950 -- Photoprints -- Silver gelatin

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Collection Artist:

Cornell, Joseph  Search this

Container:

Box OBJ

Type:

Archival materials

Date:

undated

Scope and Contents:

Note on verso by Joseph Cornell: "Patty Duke."

Collection Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Collection Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Collection Citation:

Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

See more items in:

Joseph Cornell Study Center Collection

Joseph Cornell Study Center Collection / Series 10: Photographic Material / 10.3: Collected Photographs and Source Images

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih79e8a3817-b33a-4c06-9b5f-d48707af5ec3

EDAN-URL:

ead_component:sova-saam-jcsc-1-ref4295

Interviewee:

Waldman, Diane  Search this

Interviewer:

Richards, Judith Olch  Search this

Names:

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Guggenheim International Exhibition  Search this

Solomon R. Guggenheim Museum  Search this

Cornell, Joseph  Search this

De Kooning, Willem, 1904-1997  Search this

Ernst, Max, 1891-1976  Search this

Fry, Edward F.  Search this

Hess, Thomas B.  Search this

Kelly, Ellsworth, 1923-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Messer, Thomas M.  Search this

Wright, Frank Lloyd, 1867-1959  Search this

Extent:

106 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2010 June 8-9

Scope and Contents:

An interview of Diane Waldman conducted 2010 June 8-9, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Waldman's home, in New York, N.Y.

Waldman speaks of her background; education and early career; her curatorial work at the Solomon R. Guggenheim Museum; relationships with artists; her exhibitions of works by Joseph Cornell, Willem de Kooning, Ellsworth Kelly, Roy Lichtenstein, Max Ernst, and others; her travels to India; her life after resigning from the Guggenheim Museum; Frank Lloyd Wright's building; the Guggenheim International; the museum profession dominated by men; writing detective stories; and other topics. She recalls Ed Fry, Thomas Hess, Thomas Kress, Thomas Messer, and others.

Biographical / Historical:

Diane Waldman (1936- ) is an independent art history scholar in New York, N.Y. Judith Olch Richards (1947- ) is a former director of iCI in New York, N.Y.

General:

Originally recorded on 4 memory cards. Duration is 5 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 historians -- New York (State) -- New York -- Interviews  Search this

Topic:

Authors -- New York (State) -- New York -- Interviews  Search this

Curators -- New York (State) -- New York -- Interviews  Search this

Art -- History -- Study and teaching  Search this

Women art historians  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.waldma10

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96aeb78f4-637e-40a2-bb38-726bc8f2e747

EDAN-URL:

ead_collection:sova-aaa-waldma10

Collection Creator:

Grinstein, Stanley, 1927-2014  Search this

Grinstein, Elyse, 1929-2016  Search this

Container:

Oversize 3, Folder 5

Type:

Archival materials

Date:

1967

Collection Restrictions:

This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.

Collection 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.

Sponsor:

Funding for the processing of this collection was provided by The Walton Family Foundation.

See more items in:

Stanley and Elyse Grinstein papers

Stanley and Elyse Grinstein papers / Series 4: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97dfce528-deb2-4150-a341-0986c7afeb7a

EDAN-URL:

ead_component:sova-aaa-grinstan-ref30

Collection Creator:

Grinstein, Stanley, 1927-2014  Search this

Grinstein, Elyse, 1929-2016  Search this

Container:

Box 1, Folder 16

Type:

Archival materials

Date:

1966-1972

Collection Restrictions:

This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.

Collection 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.

Sponsor:

Funding for the processing of this collection was provided by The Walton Family Foundation.

See more items in:

Stanley and Elyse Grinstein papers

Stanley and Elyse Grinstein papers / Series 2: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2eb1e26-3a94-4297-b1d0-aa5d942e276f

EDAN-URL:

ead_component:sova-aaa-grinstan-ref62

Collection Creator:

Stable Gallery  Search this

Container:

Box 1, Folder 28

Type:

Archival materials

Date:

1954-1968

Collection 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.

Collection 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.

Collection Citation:

Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Lichtenstein Foundation.

See more items in:

Stable Gallery records

Stable Gallery records / Series 2: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9469f375b-3d7d-429f-8312-2d69d561306d

EDAN-URL:

ead_component:sova-aaa-stabgall-ref29

Creator:

Sznycer, Katherine Segava  Search this

Subject:

Cornell, Joseph  Search this

Citation:

Katherine Segava Sznycer papers, 1949-1976. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5685

(DSI-AAA_SIRISBib)208520

AAA_collcode_sznykath

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208520

Creator:

Cornell, Joseph, 1903-1972  Search this

Subject:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Type:

Photographs

Citation:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Topic:

Celebrities  Search this

Assemblage (Art)  Search this

Found objects (Art)  Search this

Art, Modern -- 20th century -- United States  Search this

Assemblage artists -- New York (State) -- New York  Search this

Works of art  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5790

(DSI-AAA_SIRISBib)208629

AAA_collcode_cornjose

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208629

Creator:

Ashton, Dore, 1928-2017  Search this

Subject:

Adley, James  Search this

Adams, Pat  Search this

Albers, Josef  Search this

Albee, Edward  Search this

Hiss, Alger  Search this

Howes, Barbara  Search this

Guston, Philip  Search this

Hellman, Lillian  Search this

Lindner, Richard  Search this

Malamud, Bernard  Search this

Kaprow, Allan  Search this

Licht, Fred  Search this

Moy, Seong  Search this

Mumford, Lewis  Search this

Miró, Joan  Search this

Motherwell, Robert  Search this

Tobey, Mark  Search this

Tworkov, Jack  Search this

Vasilikos, Vasilēs  Search this

Yunkers, Adja  Search this

Reuterswärd, Carl Fredrik  Search this

Sterne, Hedda  Search this

Tinguely, Jean  Search this

Borges, Jacopo Luis  Search this

Congdon, Dennis  Search this

Herbert, George  Search this

Oldenburg, Claes  Search this

Giacometti, Alberto  Search this

Guidieri, Remo  Search this

Diebenkorn, Richard  Search this

Driskell, David C.  Search this

Berthot, Jake  Search this

Cornell, Joseph  Search this

Arnheim, Rudolf  Search this

Avedon, Richard  Search this

Cooper Union for the Advancement of Science and Art  Search this

New School for Social Research (New York, N.Y.)  Search this

Yale University  Search this

Type:

Diaries

Photographs

Sketchbooks

Transcripts

Citation:

Dore Ashton papers, circa 1928-2014. Archives of American Art, Smithsonian Institution.

Topic:

Women art critics  Search this

Women art historians  Search this

Women authors  Search this

Women educators  Search this

Art criticism  Search this

Art, Modern  Search this

Art -- Study and teaching  Search this

Artists -- United States  Search this

Theme:

Women  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)5858

(DSI-AAA_SIRISBib)208698

AAA_collcode_ashtdore

Theme:

Women

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208698

Creator:

Bultman, Fritz, 1919-1985  Search this

Subject:

Kees, Weldon  Search this

Krasner, Lee  Search this

Hofmann, Maria  Search this

Windham, Donald  Search this

Tworkov, Jack  Search this

Vevers, Tony  Search this

Simon, Sidney  Search this

Hofmann, Hans  Search this

Drexler, Sherman  Search this

Graham, John  Search this

Cicero, Carmen  Search this

Cornell, Joseph  Search this

Boghosian, Varujan  Search this

Bultman, Jeanne  Search this

Motherwell, Robert  Search this

Manso, Leo  Search this

Newman, Annette  Search this

Ponsold, Renate  Search this

Ossorio, Alfonso  Search this

Rothschild, Judith  Search this

Reynal, Jeanne  Search this

Smith, Tony  Search this

Fromboluti, Sideo  Search this

Sills, Thomas  Search this

Speyer, Nora  Search this

Newman, Barnett  Search this

Type:

Photographs

Interviews

Paintings

Drawings

Sketches

Sketchbooks

Diaries

Citation:

Fritz Bultman papers, 1928-2010. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

New York school of art  Search this

Abstract expressionism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6839

(DSI-AAA_SIRISBib)208966

AAA_collcode_bultfrit

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208966

Creator:

Allen Memorial Art Museum  Search this

Subject:

Cornell, Joseph  Search this

Diebenkorn, Richard  Search this

Morris, Robert  Search this

Oldenburg, Claes  Search this

Olney, Charles F. (Charles Fayette)  Search this

Ward, Clarence  Search this

Wiley, William T.  Search this

Citation:

Allen Memorial Art Museum records, 1916-1967. Archives of American Art, Smithsonian Institution.

Topic:

Art patronage  Search this

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6949

(DSI-AAA_SIRISBib)209078

AAA_collcode_allememo

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209078

Creator:

Delarue, Allison  Search this

Cornell, Joseph, 1903-1972  Search this

Citation:

Allison Delarue letters from Joseph Cornell, 1965. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7483

(DSI-AAA_SIRISBib)209641

AAA_collcode_delaalli

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209641

Creator:

Eva Lee Gallery  Search this

Subject:

Hartley, Marsden  Search this

Simpson, Merton D. (Merton Daniel)  Search this

Loewe, Frederick  Search this

Neumann, J. B. (Jsrael Ber)  Search this

Ritchie, Andrew Carnduff  Search this

Valentin, Curt  Search this

Mommer, Paul  Search this

Feininger, Lyonel  Search this

Lipchitz, Jacques  Search this

Shahn, Ben  Search this

Odets, Clifford  Search this

Weber, Max  Search this

Vasarely, Victor  Search this

Indiana, Robert  Search this

Christo  Search this

Hopkins, John  Search this

Lee, Eva  Search this

Magritte, René  Search this

Lieberman, Harry  Search this

Corinth, Lovis  Search this

Cornell, Joseph  Search this

Dalí, Salvador  Search this

Nesbitt, Lowell  Search this

Grosz, George  Search this

Albers, Josef  Search this

Benn, Ben  Search this

Benton, Thomas Hart  Search this

Marin, John  Search this

Calder, Alexander  Search this

New Art Circle (New York, N.Y.)  Search this

Korvettes  Search this

Type:

Watercolor drawings

Photographs

Citation:

Eva Lee Gallery records, 1921-1973. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)8866

(DSI-AAA_SIRISBib)211051

AAA_collcode_evalee

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211051

Creator:

Rose Fried Gallery (New York, N.Y.)  Search this

Subject:

Kandinsky, Wassily  Search this

Mondrian, Piet  Search this

Macdonald-Wright, Stanton  Search this

Xceron, Jean  Search this

Fried, Rose  Search this

Baertling, Olle  Search this

Hendler, Raymond  Search this

Torres-García, Joaquín  Search this

Cunningham, Ben  Search this

Richter, Hans  Search this

Delaunay, Sonia  Search this

Cornell, Joseph  Search this

Morgan, Russell  Search this

Ferren, John  Search this

Picabia, Francis  Search this

Etrog, Sorel  Search this

Pinacotheca Gallery (New York, N.Y.)  Search this

Type:

Photographs

Sound recordings

Interviews

Citation:

Rose Fried Gallery Records, 1936-1972, bulk 1945-1970. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Hispanic American artists  Search this

Art, Abstract  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)5539

(DSI-AAA_SIRISBib)211103

AAA_collcode_rosefrig

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211103

Creator:

Copley, William Nelson, 1919-1996  Search this

Subject:

Cornell, Joseph  Search this

Duchamp, Marcel  Search this

Ernst, Max  Search this

Magritte, René  Search this

Matta  Search this

Ray, Man  Search this

Tanguy, Yves  Search this

Copley Galleries (Beverly Hills, Calif.)  Search this

Citation:

William Nelson Copley papers, 1948-1967. Archives of American Art, Smithsonian Institution.

Topic:

Surrealism  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9393

(DSI-AAA_SIRISBib)211590

AAA_collcode_coplwill

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211590

Creator:

Woodward, Robert Strong, 1885-1957  Search this

Subject:

Woodward, Robert Strong  Search this

Cornell, Joseph  Search this

Type:

Sketchbooks

Citation:

Robert Strong Woodward letters and papers, 1890-1985. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9535

(DSI-AAA_SIRISBib)211734

AAA_collcode_woodrobe

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211734

Creator:

Schwartz, Muriel Streeter, 1913-1995  Search this

Subject:

Cornell, Joseph  Search this

Citation:

Muriel Streeter Schwartz letters from Joseph Cornell, 1957-1963. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9649

(DSI-AAA_SIRISBib)211857

AAA_collcode_cornjose3

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211857

Creator:

Kuh, Katharine, 1904-1994  Search this

Subject:

Johns, Jasper  Search this

Guggenheim, Peggy  Search this

Feitelson, Lorser  Search this

Falkenstein, Claire  Search this

Davis, Stuart  Search this

Elizabeth, Queen of Great Britain, II  Search this

Motherwell, Robert  Search this

Moholy-Nagy, László  Search this

Millier, Arthur  Search this

Mies van der Rohe, Ludwig  Search this

O'Higgins, Pablo  Search this

Nutting, Myron Chester  Search this

Nutting, Muriel Leone Tyler  Search this

Mérida, Carlos  Search this

Perkins, Frances  Search this

Ozbekhan, Hasan  Search this

Orozco, José Clemente  Search this

Calder, Alexander  Search this

Arensberg, Louise S. (Louise Stevenson)  Search this

Rich, Daniel Catton  Search this

Ray, Man  Search this

Biddle, George  Search this

Pollack, Peter  Search this

Seligmann, Kurt  Search this

Shackelford, Shelby  Search this

Sandberg, Carl  Search this

Putnam, Wallace  Search this

Sterne, Hedda  Search this

Shahn, Ben  Search this

Spaeth, Otto  Search this

Tobey, Mark  Search this

Winston, Harry Lewis  Search this

Barnet, Will  Search this

Still, Clyfford  Search this

Tanning, Dorothea  Search this

Woolf, Olga  Search this

Young, Victor  Search this

Goto, Joseph  Search this

Golub, Leon  Search this

Graves, Robert  Search this

Grabe, Klaus  Search this

Giacometti, Alberto  Search this

Friendly, Fred W.  Search this

Hirshhorn, Joseph  Search this

Hayter, Stanley William  Search this

Hélion, Jean  Search this

Hofmann, Hans  Search this

Barr, Alfred H., Jr.  Search this

Hare, Denise Browne  Search this

Hare, David  Search this

Kandinsky, Wassily  Search this

Kepes, Gyorgy  Search this

Kepes, Juliet  Search this

Inverarity, Robert Bruce  Search this

Johnson, Philip  Search this

Johnson, Ray  Search this

Le Corbusier  Search this

Lundeberg, Helen  Search this

Lye, Len  Search this

Léger, Fernand  Search this

Klee, Paul  Search this

Kline, Franz  Search this

Stevenson, Adlai E. (Adlai Ewing)  Search this

Knox, Seymour H.  Search this

Archipenko, Alexander  Search this

Albright, Ivan  Search this

Albers, Josef  Search this

Adams, Ansel  Search this

Guston, Philip  Search this

Arp, Jean  Search this

Arensberg, Walter  Search this

Cornell, Joseph  Search this

Picasso, Pablo  Search this

Cox, Richard  Search this

Rothko, Mark  Search this

Chavez Morado, José  Search this

Chermayeff, Serge  Search this

Campoli, Cosmo  Search this

Chagall, Marc  Search this

Breuer, Marcel  Search this

Ernst, Jimmy  Search this

Dubuffet, Jean  Search this

Duchamp, Marcel  Search this

De Kooning, Willem  Search this

Dickinson, Edwin Walter  Search this

Day, Worden  Search this

Katharine Kuh Gallery (Chicago, Ill.)  Search this

Art Institute of Chicago  Search this

Albright-Knox Art Gallery  Search this

Biennale di Venezia  Search this

Type:

Illustrated letters

Resumes

Travel diaries

Minutes

Calendars

Visitors' books

Photographs

Paintings

Awards

Drawings

Sound recordings

Collages

Scrapbooks

Lithographs

Prints

Wills

Watercolors

Poetry

Lecture notes

Lectures

Sales records

Citation:

Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.

Topic:

Art, Abstract -- United States  Search this

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Women art dealers  Search this

Women art historians  Search this

Women museum curators  Search this

Women authors  Search this

Women art critics  Search this

Theme:

Women  Search this

Art Gallery Records  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)9951

(DSI-AAA_SIRISBib)212503

AAA_collcode_kuhkath

Theme:

Women

Art Gallery Records

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212503