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Peter Pollack papers

Creator:
Pollack, Peter, 1909-1978  Search this
Names:
Archives of American Art  Search this
Federal Art Project (Ill.)  Search this
South Side Community Art Center  Search this
United States. Works Progress Administration  Search this
Abrams, Harry N.  Search this
Adams, Ansel, 1902-1984  Search this
Brassaï, 1899-  Search this
Cole, Sylvan  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
De Diego, Julio, 1900-  Search this
Florsheim, Richard A., 1916-1979  Search this
Gernsheim, Helmut, 1913-  Search this
Halsman, Philippe  Search this
Harissiadis, Dimitrios  Search this
Karsh , Yousuf, 1908-2002  Search this
Mayer, Grace M.  Search this
Newhall, Beaumont, 1908-1993  Search this
Extent:
6.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1939-1979
Scope and Contents:
Correspondence; photographs; writings and lecture notes; and printed material; and a scrapbook.
Circa 300 personal letters, 1945-1970, to Pollack from painter Richard Florsheim.
Files of correspondence and clippings pertaining to Pollack's career as a curator and photography historian. Most of the files concern Pollack's book "The Picture History of Photography." Other files concern Pollack's work on publications for Harry N. Abrams, Inc., the Worcester Art Museum and the Art Institute of Chicago. Also included are writings and lecture notes; a few letters and clippings from scrapbooks; and miscellany. Correspondents include: Ansel Adams, Gyuia Halasz Brassai, Sylvan Cole, Julio De Diego, Helmut Gernsheim, Philippe Halsman, Dimitrios Harissiadis, Yousuf Karsh, Grace M. Mayer, and Beaumont Newhall.
Personal correspondence, 1954-1976, with Richard Florsheim discussing various career choices and projects, exhibition openings, Florsheim's art dealers, and book projects Florsheim was involved in; project files, 1948-1962, regarding Pollack's position as the New York City-based Public Relations Consultant for the Archives of American Art, the Cincinnati Art Museum, the Guggenheim, and other institutions. Included are letters, news releases, catalogs, announcements and some photographs and clippings of such projects as the International Biennial of Prints and the AAA European art tour trip.
Also included is a scrapbook, 1939-1943, concerning exhibitions and activities of the South Side Community Art Center, Chicago, sponsored by the Illinois Art Project of the WPA-FAP and supervised by Pollack, 1938-1942. The center's purpose was to advance African American art and artists. Included are by-laws; letters from Alain Locke, and Richmond Barthe; photographs of Pollack, Jules Carlen, Horace Pippin, Eldzier Cortor, Canada Lee, Julio de Diego, Jesus Torres, and Eleanor Roosevelt at the dedication of the center, 1941; a typescript of a lecture by Daniel Catton Rich "The Art Museum and the Community Art Center," delivered at the Museum Director's conference, Detroit Institute of Arts, May 1940, newspaper clippings, exhibition announcements and catalogs and other printed material.
Biographical / Historical:
Peter Pollack (1909-1978) was a photographer, curator, historian, and writer in New York, N.Y.
Provenance:
Material on reels 822 and 4886-4887 donated 1974-1977 by Pollack, except for the scrapbook which was donated by Jane de Hart, an art historian at the University of North Carolina at Chapel Hill, who received it from Pollack for her research on African American artists and WPA projects. Material on reels 2385-2390 was lent for microfilming in 1981 by Creilly Pollack, Pollack's widow.
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.
Occupation:
Museum curators  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Photography  Search this
African American artists  Search this
Function:
Art centers -- Illinois -- Chicago
Identifier:
AAA.pollpete
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pollpete

Robert Bruce Inverarity papers

Creator:
Inverarity, Robert Bruce, 1909-1999  Search this
Names:
Federal Art Project (Calif.)  Search this
Federal Art Project (Ill.)  Search this
Federal Art Project (Iowa)  Search this
Federal Art Project (N.Y.)  Search this
Federal Art Project (Or.)  Search this
Federal Art Project (Utah)  Search this
Federal Art Project (Wash.)  Search this
Museum of International Folk Art (N.M.)  Search this
Deutsch, Hilda, 1911-  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Graves, Morris, 1910- -- Photographs  Search this
Morris, Carl, 1911-1993  Search this
Ray, Man, 1890-1976 -- Photographs  Search this
Tobey, Mark  Search this
Extent:
13.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Place:
United States -- Economic conditions, 1918-1945 -- Washington (State)
Date:
circa 1840s-1997
Summary:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Scope and Content Note:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.
Arrangement:
The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-11, 13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)
Biographical Note:
Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.
Separated Material:
Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.
Provenance:
Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Robert Bruce Inverarity papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Puppet theater  Search this
New Deal, 1933-1939 -- Washington (State)  Search this
Works of art  Search this
Arts administrators  Search this
Federal aid to the arts -- Washington (State)  Search this
Art and state -- Washington (State)  Search this
Genre/Form:
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Citation:
Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.inverobe
See more items in:
Robert Bruce Inverarity papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-inverobe
Online Media:

Florence Arquin papers

Creator:
Arquin, Florence  Search this
Names:
Art Institute of Chicago -- Faculty  Search this
Federal Art Project (Ill.)  Search this
United States. Department of State  Search this
Kahlo, Frida  Search this
Rebay, Hilla, 1890-1967  Search this
Rivera, Diego, 1886-1957  Search this
Williams, Samuel  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Sketches
Photographs
Date:
1923-1985
Summary:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.

Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.

The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.

Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.

Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.

Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.

Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.

Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.

There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)

Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)

Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)

Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)

Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)

Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)

Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American Studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.

Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.

Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.

Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.

Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Occupation:
Educators -- Illinois -- Chicago  Search this
Painters  Search this
Topic:
Art -- Study and teaching  Search this
Art, Latin American  Search this
Art critics  Search this
Authors -- Illinois -- Chicago  Search this
Hispanic American art  Search this
Photographers  Search this
Women artists -- Illinois -- Chicago  Search this
Genre/Form:
Prints
Sketches
Photographs
Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arquflor
See more items in:
Florence Arquin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-arquflor
Online Media:

Research material on the WPA Illinois Art Project

Creator:
Mavigliano, George J., 1941-  Search this
Names:
Federal Art Project (Ill.)  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Lawson, Richard A.  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
1930-1988
Scope and Contents:
Research material collected for Mavigliano and Lawson's book, The Federal Art Project in Illinois, 1935-1943 (1990), concerning the Works Progress Administration Illinois Art Project, including correspondence, undated and 1935-1988; writings; printed material, including articles, writings, clippings, questionnaires, blueprints, undated and 1936-1986; photographs of people involved with the Project, undated; and audio tape recordings and transcriptions of interviews with M. Burrows, R. McKeague, Meltzer & A. Osver, B. Shryock, J. Walley/Haden, and N. Ziroli, undated and 1930-1982.
ADDITION: "Transcript/statements of Federal Service" (GSA form 7275) for artists and administrators on the Illinois Federal Art Projects. The forms include information about the date of employment, position, salary, and agency and location.
Provenance:
Donated by George J. Mavigliano and Richard A. Lawson in 1990, 1991 and 1992 respectively.
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.
Topic:
Federal aid to the arts  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.mavigeor
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mavigeor

Biesel family papers

Creator:
Biesel family  Search this
Names:
Artists Equity Association  Search this
Chicago No-Jury Society of Artists  Search this
Federal Art Project (Ill.)  Search this
Index of American Design  Search this
United States. Works Progress Administration  Search this
University of Chicago. Renaissance Society  Search this
Armin, Emil, 1883-  Search this
Biesel, Charles, 1865-1945  Search this
Biesel, Frances Strain, 1898-1962  Search this
Biesel, Fred, 1893-1954  Search this
Bohrod, Aaron  Search this
Foy, Frances M., 1890-1963  Search this
Richards, William Trost, 1833-1905  Search this
Extent:
3.1 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1859-1983
bulk 1915-1983
Scope and Contents:
Correspondence, essays, subject files, art work, clippings and other materials documenting the activities of a Chicago family of artists, the 57th Street Art Colony and the Chicago art world in the early twentieth century.
REELS 4207-4209: Biographical materials, including seven biographical accounts, a 1960 program and a 1961 certificate of honor for Frances Strain Biesel and four biographical accounts of Fred Biesel; correspondence, 1927-1963, primarily concerning activities of Fred and Frances; price lists for works of art; a 1955 estate list of the works of Charles Biesel; mailing lists; miscellaneous receipts, 1928-1961; a notebook, 1931-1934, containing addresses and financial notations concerning the sale of works of art.
writings, including two essays, "Is It Futuristic or Cubistic?" and "The 57th Street Colony," 2 untitled essays concerning the perception of modern art, a short story about an appointment with Charles Biesel, lecture notes by Fred Biesel, "War and Arts Exhibition" (Renaissance Society), an untitled lecture at the University of Chicago Art Gallery, "The Story of Modern Art" (Beverly Hills, 1957), lecture notes concerning printmaking, and a 1945 typescript annotated as the "Bohrod talk." Also included are
subject files, 1939-1962, containing correspondence and printed material on the Federal Art Project (Index of American Design), Renaissance Society, Artists Equity Association, Artists Union of Chicago, Hyde Park Art Center, Chicago Society of Artists, and the 1020 Club; art works, including six sketchbooks and miscellaneous drawings, 1907-1919, by the Biesels, a sketchbook, 1859-1878, by William T. Richards, 3 prints, 1928-1932, by Emil Armin, and a 1930 print by Frances Foy;
photographs, 1919-1960, of Biesel family members, friends, a costume party with John Sloan (2), art classes,1920 and 1950, at the Art Institute of Chicago and the Layton School of Milwaukee, "The Ten" opening reception at the Marshall Field Galleries, 1929 (2), Artists Equity members and activities, 1947-1948 (3), and of works of art;
and printed materials, including a scrapbook of clippings, 1915-1916, compiled by Charles Biesel, a scrapbook, 1926-1931, concerning "Ten Artists", clippings, 1897-1962, exhibition announcements and catalogs, 1921-1983, for Biesel and others, including 11 catalogs from the Chicago No-Jury Society of Artists, a 1923 souvenir program for the No-Jury Artists "Cubist Ball", and miscellany.
UNMICROFILMED: Papers, 1934-1944, relating to Fred Biesel's work for the Works Progress Administration Federal Art Project in Illinois, including correspondence with John Walley, Increase Robinson, George Thorp, Franklin D. Roosevelt and others; printed material, 1934-1941, including the newsletter "Chicago Artist," 1937, published by the Artists Union of Chicago, and several exhibition catalogs of the National Exhibition of the Index of American Design; a 25 p. typescript of a speech by Holger Cahill; a teachers handbook with silk-screen illustrations of "Let the Artist Speak"; business records including project proposals for the W.P.A.; and Biesel's letter of resignation, 1943.
Biographical / Historical:
Family of artists. Charles Biesel: marine painter, student of William Trost Richards; his son, Fred Biesel, a painter and art administrator; and Fred's wife, Frances Strain Biesel, a painter and director of the Renaissance Society at the University of Chicago for many years.
Provenance:
Microfilmed material donated 1985 by Garnett Biesel, son of Fred Biesel; he donated unmicrofilmed material in 1990, after it had been used in preparation for the book The Federal Art Project in Illinois, 1935-1943 (1990), by George Mavigliano and Richard Lawson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Marine painters -- Illinos -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Modernism (Art) -- Illinois -- Chicago  Search this
Women painters -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.biesfami
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biesfami

George Godfrey Thorp papers

Creator:
Thorp, George Godfrey, 1904-1972  Search this
Names:
Federal Art Project (Ill.)  Search this
Moholy-Nagy, László, 1895-1946  Search this
Rich, Daniel Catton, 1904-1976  Search this
Extent:
26 Items ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1941-1970
Scope and Contents:
Letters and telegrams; a list; a clipping; notes; and a sketchbook.
REEL 1309: Sketchbook presented to Thorp by his staff when he resigned as State Supervisor of the Illinois WPA Art and Craft Program in 1941. Included are sketches by about 30 persons.
REEL 3480: A carbon copy of Thorp's letter of resignation as State Supervisor of the Federal Art Project, Illinois WPA Art and Craft Program, August 1, 1941; letters and telegrams regarding his resignation received from Chicago administrators and artists, including Laszlo Moholy-Nagy and Daniel Catton Rich; "Homage a George Thorp," a list of events scheduled for the dinner in honor of Thorp's work with WPA; a clipping on Thorp, 1947; and Thorp's notes on acrylic collage.
Biographical / Historical:
Painter, teacher, administrator; Illinois.
Provenance:
Material on reel 1309 lent for microfilming; and material on reel 3480 donated 1977 by Isabel Thorp, widow of Thorp.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Arts administrators -- Illinois  Search this
Painters -- Illinois  Search this
Topic:
Art, American  Search this
Instructors  Search this
Federal aid to the arts -- United States  Search this
Identifier:
AAA.thorgeor
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thorgeor

Oral history interview with Merlin F. Pollock

Interviewee:
Pollock, Merlin F., 1905-1996  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Art Institute of Chicago  Search this
Federal Art Project (Ill.)  Search this
Extent:
5 Items (sound files, digital, wav file)
65 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1979 July 30 and 1980 July 30
Scope and Contents:
An interview with Merlin F. Pollock conducted 1979 July 30 and 1980 July 30, by Robert Brown, for the Archives of American Art. Pollock speaks of his training at the Art Institute of Chicago and the Ecole des Beaux Arts, Fontainebleau, France; his work as instructor of mural painting at the Art Institute of Chicago, 1935-1943; his paintings of Alaska commissioned by the government in 1937 and his work as supervisor of mural painting for the Illinois WPA, 1940-1943. He also discusses Chicago artists and his own murals for the government.
Biographical / Historical:
Merlin F. Pollock (1905-1996) was a painter and teacher, Chicago, Ill.
General:
Originally recorded on 3 tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 40 min.
Provenance:
These interviews are 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 others.
Topic:
Mural painting and decoration, American -- Illinois -- Chicago  Search this
Arts administrators -- Illinois -- Interviews  Search this
Muralists -- United States -- Interviews  Search this
Painters -- United States -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.polloc79
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-polloc79

Oral history interview with Burton Freund

Creator:
Freund, Burton  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Names:
Federal Art Project (Ill.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
2 Sound tape reels (Sound recordings, 3 in.)
42 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 Apr. 20
Scope and Contents:
An interview of Burton Freund conducted by Betty Hoag on 1965 Apr. 20 for the Archives of American Art.
Freund speaks of his background and education in Chicago; teaching himself sculpture; working as a puppeteer on the Federal Art Project (FAP) in Chicago; doing various other jobs for the FAP, including wood and plaster panels for schools and for the Zoo; demonstrations and union activities; the work of the Chicago FAP, and how the project functioned; the disposal of the work after the project ended; and his career during and after World War II.
Biographical / Historical:
Sculptor and wood engraver; Illinois and California. Worked for the Federal Art Project in Illinois.
General:
An unrelated interview of Anton Blazek conducted by B. Hoag is also on one tape.
An unrelated interview of Irving Block conducted by B. Hoag is also on one tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Use requires an appointment.
Topic:
Federal aid to the arts  Search this
Sculptors -- California -- Interviews  Search this
Sculptors -- Illinois -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.freund65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freund65

Edward Millman papers

Creator:
Millman, Edward, 1907-1964  Search this
Names:
Federal Art Project (Ill.)  Search this
Federal Art Project (Mo.)  Search this
Extent:
240 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1933-1951
Scope and Contents:
Correspondence; notes and lectures on art; biographical data; clippings; and photographs of his murals and other works of art. All materials relate to Millman's work for the Federal Art Project in Illinois and Missouri.
Biographical / Historical:
Mural painter; Chicago, Illinois. Painted murals for the Federal Art Project in Chicago, Illinois.
Related Materials:
Edward Millman papers also at Syracuse University.
Provenance:
Lent for microfilming 1965 by Mrs. Harry Millman, the sister-in-law of Edward Millman.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Muralists  Search this
Topic:
Federal aid to the arts -- Illinois -- Chicago  Search this
Art and state -- Illinois -- Chicago  Search this
Federal aid to public welfare -- Illinois -- Chicago  Search this
Mural painting and decoration -- 20th century -- Illinois -- Chicago  Search this
Identifier:
AAA.milledwa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-milledwa

Burton Freund papers

Creator:
Freund, Burton  Search this
Names:
Federal Art Project (Ill.)  Search this
Extent:
87 Items ((on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1937-1955
Scope and Contents:
Photographs of wood engravings and sculpture made for the Federal Art Project in Illinois; exhibition catalogs; and photographs of Freund and his work.
Biographical / Historical:
Sculptor and wood engraver; Illinois and California. Worked for the Federal Art Project in Illinois.
Provenance:
Lent for microfilming 1964 by Burton Freund.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors  Search this
Topic:
Wood-carving -- Illinois -- Chicago  Search this
Sculpture -- Illinois -- Chicago  Search this
Identifier:
AAA.freuburt
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freuburt

Peterpaul Ott papers

Creator:
Ott, Peterpaul, 1895-1992  Search this
Names:
Federal Art Project (Ill.)  Search this
Extent:
100 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1930-1965
Scope and Contents:
Photographs of Ott and his work, plus a few clippings and miscellany. Most of the material relates to the WPA-Federal Art Project in Illinois.
Biographical / Historical:
Sculptor.
Provenance:
Provenance is unknown.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Sculptors -- Illinois  Search this
Identifier:
AAA.ottpetep
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ottpetep

Merlin F. Pollock papers

Creator:
Pollock, Merlin F., 1905-1996  Search this
Names:
Federal Art Project (Ill.)  Search this
Siporin, Mitchell, 1910-1976  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Place:
United States -- Social conditions -- 1933-1945
Date:
1936-1979
Scope and Contents:
Correspondence; slides and photographs of art work; catalogs and clippings; photographs, watercolor studies, and a detailed listing of mural projects in civic buildings and schools done by Pollock and other artists, including Mitchell Siporin, for the Illinois Federal Art Project; clippings and photocopied correspondence concerning the portrait of Lt. Commander Waldron painted by Pollock; Syracuse University School of Art annual reports; lithographs; and watercolors.
Biographical / Historical:
Painter, educator; Chicago, Ill. and Syracuse, N.Y. Teaches at Syracuse University School of Art. Was a muralist as well as supervisor of the Chicago Federal Art Project.
Provenance:
Donated 1979-1983 by Merlin F. Pollock.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Educators  Search this
Painters  Search this
Topic:
New Deal, 1933-1939  Search this
Federal aid to the arts -- Illinois -- Chicago  Search this
Art and state -- Illinois -- Chicago  Search this
Mural painting and decoration -- Illinois -- Chicago  Search this
Muralists  Search this
Identifier:
AAA.pollmerl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pollmerl

Charles Schucker Papers

Creator:
Schucker, Charles, 1908-1998  Search this
Names:
Federal Art Project (Ill.)  Search this
Katonah Museum of Art  Search this
Pratt Institute  Search this
Yaddo (Artist's colony)  Search this
Louis, Morris, 1912-1962  Search this
Louzonis, Valerie Velasquez  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Drawings
Video recordings
Date:
1934-2001
Summary:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.
Scope and Contents:
The papers of New York abstract painter and educator Charles Schucker measure 1.2 linear and date from 1934 to 2001. Schucker's career as a painter is documented by biographical material, letters, writings, subject files, printed material, artwork, and photographs.

Biographical material includes a video recording of a memorial tribute. Letters mostly relate to business arrangements with galleries and institutions. Among Schucker's writings are 9 notebooks, some of which include notes from his study abroad. Writings about Schucker include an unpublished manuscript by Valerie Velasquez Louzonis in which she discusses his childhood, travels, and his start as an artist. Subject files touch upon his association with Pratt Institute, Katonah Museum of Art, Yaddo, various galleries, his work with the Chicago WPA, and his friendship with Morris Louis. Over 60 years of artistic work are documented in exhibition catalogs and announcements. Artwork and sketchbooks from the 1930s and 1940s offer a glimpse of his earlier style of drawing.
Arrangement:
The collection is arranged in 7 series:

Series 1: Biographical Materials, 1938, 1984-1999 (Box 1; 0.1 linear feet)

Series 2: Letters, 1937-2001 (Box 1; 0.1 linear feet)

Series 3: Writings, 1934-1998 (Box 1; 0.3 linear feet)

Series 4: Subject Files, circa 1940-1999 (Box 1; 0.3 linear feet)

Series 5: Printed Material, circa 1930s-1990s (Boxes 1-2; 0.3 linear feet)

Series 6: Artwork and Sketchbooks, 1930s-1940s (Box 2; 0.1 linear feet)

Series 7: Photographs, 1951-circa 1980s (Box 2; 0.1 linear feet)
Biographical / Historical:
Charles L. Schucker (1908-1998), an abstract painter known for poured oil paintings on unprimed canvases, began his career in Chicago with the WPA before moving to New York City in 1946. He was also an educator and taught at the Pratt Institute in Brooklyn, New York for nearly 30 years.
Provenance:
Lent for microfilming in 1971 by Charles Schucker and later donated with additional audio and video recordings in August 2011 by Carrie Schucker, the artist's daughter.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Charles Schucker papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Photographs
Drawings
Video recordings
Citation:
The Charles Schucker Papers, 1934-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schuchar
See more items in:
Charles Schucker Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schuchar

Mary Andersen Clark papers

Creator:
Clark, Mary Andersen, 1910-1994  Search this
Names:
Federal Art Project (Ill.)  Search this
Extent:
1 Reel (ca. 250 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
[ca.1933]-1988
Scope and Contents:
Papers chiefly relating to Clark's career during the 1930s. Biographical data, including a letter in which Clark describes her work for the Federal Art Project in Illinois; personal photographs; photographs of work, including "Peace" and "Harvest," with photographs of the dedication and rededication ceremonies of these two heroic-size sculptures; and clippings.
Biographical / Historical:
Sculptor, instructor in sculpture and ceramics at Syracuse University, N.Y. Clark worked for the WPA-FAP in Illinois in the 1930s. Two heroic-size sculptures, "Peace" and "Harvest," commissioned by the FAP are currently located at the County Courthouse Plaza, Peoria, Illinois. They have been placed on the National Register of Historic Places. Clark studied at Carnegie Tech, the Art Institute of Chicago, and the British Academy, Rome, Italy. She also took a life class with her uncle, sculptor John Storrs.
Provenance:
Lent for microfilming 1988 by Mary A. Clark.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers  Search this
Sculptors  Search this
Topic:
Women sculptors -- Illinois  Search this
Identifier:
AAA.clarmary
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-clarmary

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