The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diaries, calendars, inventories, interview transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Scope and Content Note:
The papers of painter, printmaker, and curator Jacob Kainen measure 33.3 linear feet and date from 1905 to 2009, with the bulk of the material from 1940-2001. The bulk of the collection consists of correspondence/subject files including personal correspondence to and from friends and family members and professional correspondence and records concerning Kainen's activities as an artist, curator, teacher, and art collector. The collection also contains biographical material, writings, diary and journal entries, calendars, inventories, interview and "dialog" transcripts, printed material, photographs, works of art by other artists, and nine scrapbooks.
Biographical materials include items concerning Kainen's career as a curator and artist, in addition to a useful bibliography, detailed biographical outline, and a copy of an FBI report compiled on him. Also included are five videocassette recordings of Kainen.
Alphabetical correspondence/subject files comprise the bulk of the collection and include both Jacob's and Ruth's correspondence with family, friends, colleagues, artists, art critics, curators, museums, arts organizations, galleries, and many others. There is a significant amount of correspondence with David Acton, the Addison Gallery of Art and Jock Reynolds, William Agee, Australian National Gallery, Baltimore Museum of Art, Avis Berman, the British Museum, Brooklyn Museum, Elizabeth Broun and the Smithsonian American Art Museum, Bryce Butler, Pheobe Cole, the Corcoran Gallery and School of Art, Richard Field, Ruth Fine, Fort Wayne Museum of Art, Newton Frohlich, Gordon Gilkey and the Pacific Northwest College of Art, Arshile Gorky, Piri Halesz, Carol Harrison, Donald Holden, Wilhelmina Holladay, John Baptist Jackson, Jim Jordon, Lou Kantor, Harry Lunn Jr., Middendorf Gallery, National Gallery of Art, Peter Morse, Gerald Nordland, Francis O'Connor, Jerome Pollack, Richard Powell, Ann Purcell, Harry Rand, Martin Ries, Joseph Solman, Leo Steinberg, Prentiss Taylor, Victorino Tejera, Valerie Thornton, Joanne Weber, and numerous family members.
Writings are by and about Jacob Kainen. Kainen's writings include articles, lectures, exhibition catalog essays, notes, travel notebooks, short stories, poems, and written statements about his artistic motivations and justifications. There are writings about Kainen by Avis Berman, Ruth Cole Kainen, and others. The bulk of the numerous diary entries are from Ruth Cole Kainen's diaries, many of which concern Jacob and their family. There are also annotated and revised diary entries. There is one folder of diary entries and one folder of journal entries by Jacob Kainen and two dismantled journal-like notebooks. The papers include daily calendars and travel itineraries from 1972 through 2001.
The papers include transcripts of formal interviews and informal conversations with Jacob Kainen. Transcripts are of informal dinner, telephone, and general conversations between friends, colleagues, artists, and Ruth Cole Kainen. Included are conversations with Avis Berman, Walter Hopps, Harry Rand, Joshua Taylor, and several others. Many of these transcripts were also annnotated by Jacob and Ruth Kainen. Also found are numerous transcripts of more formal interviews with Kainen by art historians, art critics, and students.
There are inventories, appraisals, and lists of sold and not sold paintings, as well as color photographs of some of Kainen's works of art. Also found are inventories of the Kainens' art collection. Printed materials include Kainen's exhibition catalogs and announcements, clippings of articles by and about Jacob Kainen, and an exhibition guestbook.
Photographs are of Kainen with his family and friends, at exhibition openings, and working in his studios. Works of art by others includes handmade greeting cards, limited edition prints, and portfolios given to Jacob Kainen. Nine scrapbooks containing news clippings and exhibition publications document the entirety of Kainen's career as an artist.
The Jacob Kainen papers are arranged into 11 series.
Series 1: Biographical Material, 1938-2001 (Boxes 1, 32; 0.8 linear feet)
Series 2: Correspondence/Subject Files, 1936-2003 (Boxes 1-12, 32-33; 11.8 linear feet)
Series 3: Writings, circa 1920s-2002 (Boxes 12-13, 33; 1.6 linear feet)
Series 4: Diaries, circa 1952-2002 (Boxes 13-18, 33-38; 10.0 linear feet)
Series 5: Calendars, 1953-2008 (Boxes 18-20, 38; 1.7 linear feet)
Series 6: Transcripts, circa 1975-1994 (Boxes 20-21, 38; 1.4 linear feet)
Series 7: Inventories, 1927-2001 (Boxes 21-22; 1.0 linear feet)
Series 8: Printed Material, 1938-2003 (Box 22, 38, OV 31; 0.6 linear feet)
Series 9: Photographs, 1905-2000 (Boxes 22-25, 38, OV 31; 3.3 linear feet)
Series 10: Works of Art by Others, 1942-2000 (Boxes 25-26, OV 31; 1.2 linear foot)
Series 11: Scrapbooks, 1936-1998 (Boxes 27-30, 38; 1.3 linear feet)
Jacob Kainen (1909-2001) was a painter, printmaker, and curator who worked primarily in Washington, D.C.
Born on December 7, 1909 in Waterbury, Connecticut, Jacob Kainen moved with his family to New York City in 1918. Kainen studied at the Pratt Institute in Brooklyn from 1927 until 1930, and at the Art Student's League. In the early 1930s, Kainen became involved in social causes and formed close friendships with the early abstractionists, including John Graham, Arshile Gorky, and Stuart Davis. He joined the Artists' Union and a contributor to its journal, Art Front, along with Stuart Davis and Harold Rosenberg. Jacob's participation in the Artists' Union was later investigated by the FBI.
From 1935 until 1942, Kainen worked for the Graphic Arts Division of the Works Progress Administration in New York City and began exhibiting with the New York School. It was during this period that he married Bertha Friedman. Jacob and Bertha had two sons together, Dan and Paul, and divorced in 1968.
In 1942, Kainen made a life-changing decision to leave New York City and move to Washington, D.C. to accept what he thought would be a temporary position as a scientific aide in the Division of Graphic Arts at the Smithsonian Institution. Kainen quickly became Assistant Curator and Curator in 1946. He served as Curator for twenty years, completely reshaping the department and building the graphic arts collection. His print exhibitions brought the work of S.W. Hayter, Josef Albers, Adja Yunkers, Louis Lozowick, Karl Schrag, José Guerrero, Louis Schanker, Werner Drewes, and Boris Margo to Washington audiences - graphic work that might not have been shown that early in the area.
1947 marked the opening of the Washington Workshop Center for the Arts, where Kainen served as a teacher and guide to several important artists, helping to make the workshop a magnet for new talent and instrumental in furthering the careers of several artists. Although Kainen taught Gene Davis and Alma Thomas and introduced Morris Louis to Leon Berkowitz, he never considered himself a member of the "Washington Color School."
In 1949, the Corcoran Gallery of Art held a retrospective of Kainen's prints and three years later Kenneth Noland organized Kainen's first painting retrospective at Catholic University. Kainen's paintings from the 1940s illustrated a shift away from social realism toward abstract expressionism. In 1956, Jacob Kainen received a grant from the American Philosophical society to conduct research in Europe for his monograph on the English woodcut artist, John Baptist Jackson. He traveled to Europe again in 1962 to study paintings and prints from the Mannerist Period.
From 1966 until 1970, Kainen worked as the Curator of prints and drawings at the National Collection of Fine Arts (now the Smithsonian American Art Museum). He married Ruth Cole in February of 1969. Kainen retired from the Smithsonian a year later to devote himself full-time to his art, but continued to serve as a special consultant to the Smithsonian American Art Museum for nineteen years. In 1971 and 1972, Kainen taught painting and the history of printmaking at the University of Maryland. A retrospective of Kainen's paintings was held in 1993 at the National Museum of American Art (SAAM).
Throughout his artistic career, Kainen experimented with different mediums and explored different styles, yet he identified himself as a painter. Jacob Kainen participated in at least twenty-five one man shows and several group exhibitions. His works are in collections across the United States and abroad, including the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the British Museum. He worked in his studio up until the time of his death on March 19, 2001 at his home in Chevy Chase, Maryland.
Found among the holdings of the Archives of American Art is an oral history interview of Jacob Kainen conducted by Avis Berman in 1982 for the Archives' "Mark Rothko and His Times" oral history project. Also found are microfilm copies of Bertha Kainen's correspondence with Avis Berman regarding Berman's essay about Jacob Kainen.
The Archives of American Art also holds microfilm of material lent for microfilming (reels 565, 2147-2149, and 2200) including correspondence, writings by Kainen, and papers relating to the Smithsonian Institution Loyalty Board's investigation of Jacob Kainen from 1942-1954. Most, but not all, of the loaned materials were included in later gifts. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Jacob and Ruth Kainen first lent the Archives of American Art material for microfilming from 1973-1981, the bulk of which was included in the later gifts. Papers were then donated in multiple accretions between 1981-2007 by Jacob and Ruth Kainen, and in 2009 from the estate of Ruth Kainen via executor Teresa Covacevich Grana. Also in 2003, eight photographs of Jacob and Ruth Kainen were transferred from the National Portrait Gallery to the Archives of American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
60.54 Cubic feet (consisting of 131 boxes, 13 folders, 17 oversize folders, 20 map case folders, 2 flat boxes (1 full, 1 partial), plus digital images of some collection material.)
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Railroads forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
Railroad materials comprise the largest subject category in the Warshaw Collection. These materials document a major industry and important transportation system that was instrumental in the western expansion of the United States. Railroads opened the way for the development of many other industries including mining, farming and manufacturing. The earliest materials document railroad lines operating on the east coast of the United States in the 1830s. The United States did not have the technical and manufacturing capabilities of some of the European nations. Cheaper land for railroad right of way and a government policy that guaranteed loans and provided grants to railroad companies based on the amount of track laid, however, encouraged rapid growth. Railroad companies in turn would sell land to settlers. Materials in this collection include the advertisements created to lure settlers west by promising this cheap and abundant land.
The railroads were instrumental in transporting goods from the farm belt to the east coast and to Europe thus making the country a major trading post. Railroads also expedited the movement of troops during the Civil War which was the first war to employ the rails. Later in the century the growth of the far west is facilitated by passenger trains linking east and west. As the rail network became more efficient and capable of transporting raw materials, the United States became a world leader in coal and pig iron production. Evidence of the transporting of goods is found among these materials.
The affluence of the late nineteenth century is reflected in the amount of materials in the collection that promoted luxury travel by rail. The rise of great railroad fortunes such as those of Vanderbilt, Harriman and Gould soon followed industry growth, as did scandal and corruption which in turn was followed by government regulation in the form of the Interstate Commerce Act and railroad legislation during Theodore Roosevelt's administration.
The twentieth century witnessed great efficiencies in locomotive car and track design and large increases in freight ton mileage as is reflected in the materials. There was, however, failure or downsizing of many railroad lines. Total passenger mileage declined over the years due to competition from other forms of transportation, the rise of the labor movement, increasing government control, a reduction in profits and the
The material consists primarily of correspondence, reports, patent records, pass books, resort guides, timetables, maps, periodicals, articles, printed advertisements, tickets, photographs, postcards and images from railroad companies. There is also a substantial amount of material from manufacturers and dealers of railroad equipment and supplies and from railroad organizations. Reference materials including articles and periodicals are also included among the materials. The materials are divided into six series.
Railroad Companies forms the largest amount of material in this category. This series is divided into two subseries. Subseries one is American railroad companies and subseries two is foreign companies.
American Companies document transportation service throughout the United States by the railroad lines including Albany and Susquehanna Railroad Company, Northern Railroad Corporation, Concord and Claremont, Contoocook River Railroad, Illinois Central Railroad, New York Central Railroad Company, Baltimore and Ohio Railroad, Sullivan, Central Vermont, Philadelphia and Reading Rail Road Company, Providence and Worcester Railroad Company, Pennsylvania Rail Road Company, Southern Pacific, Vermont Central Railroad Corporation and Union Pacific Railroad. There is a substantial amount of material from each company. The materials are arranged in alphabetical order by the name of the company or railroad line (s).
Foreign Companies includes companies servicing countries outside of the United States. Countries include Canada, England, France, India, Ireland, Scotland, Mexico and Switzerland. The materials are arranged in alphabetical order by the name of the company or railroad line (s).
Manufacturers and Distributors of Railroad Cars, Equipment and Supplies includes scattered correspondence on letterhead stationery, printed advertisements, patents, catalogues, bills and receipts. Many of the companies produced cars for the railroad companies but also supplied equipment and parts. The materials are arranged in alphabetical order by the name of the company.
Organizations, Associations and Clubs includes material from groups that represented the interests of railroad companies, employees and tradesmen. Organizations include American Association of General Passenger and Ticket Agents, American Association of Passenger Traffic Officers, American Association for Railroad and Locomotive History, American Electric Railway Association, American Electric Railway Manufacturers Association, American Electric Railway Transportation and Traffic Association, American Iron and Steel Association, American Railway Association, American Railway Bureau, American Railway Master Mechanics Association, American Street and Interurban Railway Accountants Association, Association of American Railroads, Association of General Freight Agents of New England, Association of Railway Executives, Brotherhood of Locomotive Firemen- Brotherhood of Locomotive Engineers, Brotherhood Railroad Signalmen of America, Brotherhood of Railroad Trainmen, Convention of Railroad Commissioners, Eastern Railroad Association, International Brotherhood of Locomotive Engineers, Master Car Builders' Association, National Association of General Passenger and Ticket Agents, National Council of Traveling Salesmen's Association of America, New England Association of Railroad Superintendents, New England Association of Superintendents of Steam Railways, New England General Ticket and Passenger Agents Association, New England Railroad Club, New England Railway Car Accounting Association, New England Summer Resort Association, North-Western, Railroadmen, Railroadians of America, Railway Business Association, Railway Car Accountants' Association, Railway Clearing House Association, Railway Club of Pittsburgh, Railway Educational Association, Railway Officials of America, Railway Storekeeping Association, Railway and Supplymen's Mutual Catalog Company, South-Western Passenger Association, South-Western Railway Association, Street Railway Association, Terminal Railroad Association of Saint Louis, Train Central Corporation of America, Transcontinental Association, United American Mechanics, United States Railroad Administration, Western Association of General Passenger and Ticket Agents, Western Land Association of Minnesota, Western Railroad Association, Western Railways' Committee on Public Relations, Western States Passenger Association and the Yard Master's Mutual Benefit Association.
Images includes unidentified photographs, postcards, lithographs and sketches of locomotive cars, bridges, tunnels, accidents, collisions, depot stations, equipment, freight and shipping alternatives, Hancock Junction, horse-drawn railroads, memorials featuring trains, menus, tracks, employees working with trains, trademarks, cartoons, caricatures, illustrations from children's books, West Point and the second locomotive built in the United States. The materials that can be identified to a railroad company or line are found in series one. Most of the material are undated and is arranged in alphabetical order by subject.
General Files includes audit reports, Windsor Vermont Convention, income and expense accounts, mortgage bonds, bond offerings, export and import documents, financial records and stock lists, Florence and Keyport Company charter, Interstate Commerce Commission, legal records from states such as Connecticut, District of Columbia, Maine, Maryland, Massachusetts, New Hampshire, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, United States and Vermont patent records, Philadelphia Company balance sheets, Railroad Administration, Rand's Rating Agency, taxation documents, Thompson and Bachedler track and switch specifications, pass, time sheets, freight documents, maps, destination literature, tours, ticket sales, passenger rate sheets, checks, receipts and invoices, tickets, guides, maps, timetables, transportation of freight documents, pass books, passenger proportions, freight rates, free pass policy of numerous railroad companies, freight rates, freight transportation documents for Empire Line Great Western, Great Central, Bitner's Despatch Line, Merchant's Despatch line, National Despatch line, and various companies, time sheets, transportation of freight documents, maps and destination literature, maps and destination literature, map of Great Britain, Dinsmore, map of the United States and Canada Railways, fares and schedules, official documents, special trip offers, tariffs for passengers, freight and grain, tariffs for livestock and merchandise, passenger rate sheets, Walker's Railway tables, baggage checks, checks, receipts and invoices, ticket sales, Dover, ticket agents, tickets,
Publications includes articles, reports, clippings, histories, fiction, periodicals for the railroad trade and general periodicals. The series is divided into three subseries: Subseries 1, Articles, Reports, Clippings, Histories, and Fiction; Subseries 2, Periodicals for the Railroad Trade; Subseries 3, General Periodicals.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Railroads is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Railroads, Archives Center, National Museum of American History, Smithsonian Institution
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Scope and Contents:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.
Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.
The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.
Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
This collection is arranged as 2 series.
Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)
Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Biographical / Historical:
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.
Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.
In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.
In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.
Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.
Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.