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Karl E. Fortess taped interviews with artists, circa 1963-1985

Creator:
Fortess, Karl E. (Karl Eugene), 1907-1993  Search this
Subject:
Penney, James  Search this
Kahn, Wolf  Search this
Sample, Paul Starrett  Search this
Greene, Balcomb  Search this
Avery, Sally Michel  Search this
Thon, William  Search this
Pattison, Abbott Lawrence  Search this
Lockspeiser, Mary  Search this
Held, Al  Search this
Melcarth, Edward  Search this
D'Arcangelo, Allan  Search this
Hudson, Gary Van Voorhees  Search this
Alexander, F. O. (Franklin Osborne)  Search this
Dickinson, Edwin Walter  Search this
Klitgaard, Georgina  Search this
Kupferman, Lawrence Edward  Search this
Motherwell, Robert Burns  Search this
Knaths, Karl  Search this
Palmer, William C. (William Charles)  Search this
Weinberg, Elbert  Search this
Ferber, Herbert  Search this
Prohaska, Ray  Search this
Mandel, Howard  Search this
Adler, Samuel  Search this
Groth, John  Search this
Candell, Victor  Search this
Gross, Chaim  Search this
Leslie, Alfred  Search this
Simon, Sidney  Search this
Callahan, Kenneth L.  Search this
Reich, Murray  Search this
Greenwood, Marion  Search this
Zerbe, Karl  Search this
Baber, Alice  Search this
Schreiber, Georges  Search this
Pittman, Hobson Lafayette  Search this
Brooks, James  Search this
Siporin, Mitchell  Search this
Ossorio, Alfonso A.  Search this
Marantz, Irving  Search this
Moy, Seong  Search this
Boghosian, Varujan  Search this
Kingman, Dong  Search this
Alcalay, Albert  Search this
Burlin, Paul  Search this
Nakian, Reuben  Search this
Berger, Jason  Search this
Dehner, Dorothy  Search this
Blanch, Arnold  Search this
Engle, Harry  Search this
Rickey, George  Search this
Kallem, Henry  Search this
Sternberg, Harry  Search this
Levi, Julian E. (Julian Edwin)  Search this
Opper, John  Search this
Schwartz, Henry  Search this
De Diego, Julio  Search this
Angeloch, Robert  Search this
Baumbach, Harold  Search this
Manso, Leo  Search this
Orsini, Robert  Search this
Bell, Leland  Search this
Vytlacil, Vaclav  Search this
Laning, Edward  Search this
Jenkins, Paul  Search this
Passlof, Pat (Patricia)  Search this
Wilson, John Woodrow  Search this
Benton, Thomas Hart  Search this
Mazur, Michael  Search this
De Kooning, Elaine  Search this
Jules, Mervin  Search this
Mattson, Henry E (Henry Elis)  Search this
Frankenthaler, Helen  Search this
Martin, Fletcher  Search this
Parker, Raymond  Search this
Blume, Peter  Search this
Magafan, Ethel  Search this
Picken, George  Search this
Marcus, Marcia  Search this
De Creeft, José  Search this
Murch, Walter Tandy  Search this
Neel, Alice  Search this
Hoener, Arthur  Search this
Gibran, Kahlil  Search this
Solman, Joseph  Search this
Soyer, Isaac  Search this
Yarde, Richard  Search this
Rivers, Larry  Search this
Koch, John  Search this
Kaz, Nathaniel  Search this
Grippe, Peter J.  Search this
Winters, Denny Sonke  Search this
Armitage, Kenneth  Search this
Hartigan, Grace  Search this
Eichenberg, Fritz  Search this
Guston, Philip  Search this
Neustadt, Barbara  Search this
Lee, Doris  Search this
Florsheim, Richard A.  Search this
Lipton, Seymour  Search this
Blackburn, Robert Hamilton  Search this
Demetropoulos, Charles  Search this
King, William Dickey  Search this
Romano, Umberto Roberto  Search this
Floch, Joseph  Search this
Harmon, Lily  Search this
Schrag, Karl  Search this
Pachner, William  Search this
Pollet, Joseph C.  Search this
Laderman, Gabriel  Search this
Marsicano, Nicholas  Search this
Sander, Ludwig  Search this
Lechay, James  Search this
Soyer, Raphael  Search this
Pike, John  Search this
Hirsch, Joseph  Search this
Pineda, Marianna  Search this
Katz, Alex  Search this
Breinin, Raymond  Search this
Morgan, Maud Cabot  Search this
Cherry, Herman  Search this
Gonzalez, Xavier  Search this
Dodd, Lamar  Search this
Weeks, James  Search this
Ernst, Jimmy  Search this
Levine, Jack  Search this
Citron, Minna Wright  Search this
Glaser, Milton  Search this
Gottlieb, Adolph  Search this
Lassaw, Ibram  Search this
Cusumano, Stefano  Search this
Watkins, Franklin Chenault  Search this
Dehn, Adolf Arthur  Search this
Fine, Perle  Search this
Laufman, Sidney  Search this
Swan, Barbara  Search this
Chavez, Edward Arcenio  Search this
Stoltenberg, Donald  Search this
Tovish, Harold  Search this
Haeberlin, Carolyn  Search this
Vehara, Carole  Search this
Heliker, John Edward  Search this
Sterne, Hedda  Search this
Summers, Carol  Search this
Kroll, Leon  Search this
Poons, Larry  Search this
Taylor, John  Search this
Crampton, Rollin McNeil  Search this
Morris, Kyle Randolph  Search this
Scarlett, Rolph  Search this
Dobkin, Alexander  Search this
Rosati, James  Search this
Cote, Alan A.  Search this
Baskin, Leonard  Search this
Hurwitz, Sidney  Search this
Nivola, Costantino  Search this
Busa, Peter  Search this
Metcalf, Conger A.  Search this
Preusser, Robert O. (Robert Ormerod)  Search this
Maril, Herman  Search this
Brook, Alexander  Search this
Hopper, Jo N. (Josephine Nivison),  Search this
Toney, Anthony  Search this
Vickrey, Robert  Search this
Muench, John  Search this
Lasker, Joe  Search this
Kaplan, Joseph  Search this
Solomon, Hyde  Search this
Russo, Alexander  Search this
Crawford, Ralston  Search this
Hale, Robert Beverly  Search this
Matsubara, Naoko  Search this
Abeles, Sigmund  Search this
Moffett, Ross E.  Search this
Loew, Michael  Search this
Moss, Ben Frank  Search this
Philipp, Robert  Search this
Townley, Hugh  Search this
Rose, Herman  Search this
Aach, Herbert  Search this
Merkin, Richard  Search this
Frasconi, Antonio  Search this
Lee-Smith, Hughie  Search this
Milton, Peter Winslow  Search this
Bearden, Romare  Search this
Bourgeois, Louise  Search this
Ponce de Leon, Michael  Search this
Pickens, Alton  Search this
Barnet, Will  Search this
Kienbusch, William Austin  Search this
Cox, Jan  Search this
Petrov, Dimitre  Search this
Lawrence, Jacob  Search this
Kay, Reed  Search this
Bromberg, Manuel  Search this
Dodd, Betty  Search this
Woodruff, Hale Aspacio  Search this
Bishop, Isabel  Search this
Christ-Janer, Albert  Search this
Pearlstein, Philip  Search this
Mason, Emily  Search this
Hillsmith, Fannie  Search this
Leiber, Gerson August  Search this
Lewis, Norman  Search this
Polonsky, Arthur  Search this
Golub, Leon  Search this
Bohlen, Nina  Search this
Finkelstein, Louis  Search this
Brandt, Warren  Search this
Peterdi, Gabor  Search this
Birmelin, Robert  Search this
Small, Hannah  Search this
Bolotowsky, Ilya  Search this
Solomon, Syd  Search this
Schwartz, Manfred  Search this
Castellón, Federico  Search this
Plate, Walter  Search this
Soyer, Moses  Search this
Schmidt, Katherine  Search this
Kallem, Herbert  Search this
Blanch, Lucile Lundquist  Search this
Tam, Reuben  Search this
Neuman, Robert S. (Robert Sterling)  Search this
Ruellan, Andrée  Search this
Gwathmey, Robert  Search this
Morris, George L. K. (George Lovett Kingsland)  Search this
White, Charles  Search this
Chaet, Bernard  Search this
Sokole, Miron  Search this
Eshoo, Robert  Search this
Stone, Sylvia  Search this
Refregier, Anton  Search this
Browning, Colleen  Search this
Wilson, Reginald  Search this
Biddle, George  Search this
Kepes, Gyorgy  Search this
Vicente, Esteban  Search this
Chasteen, Ancil  Search this
Margo, Boris  Search this
Freilicher, Jane  Search this
Moller, Hans  Search this
Steffen, Bernard J.  Search this
Gikow, Ruth Levine  Search this
Sievan, Maurice  Search this
Katzman, Herbert  Search this
Resnick, Milton  Search this
Reisman, Philip  Search this
Botkin, Henry  Search this
Wilson, Sol  Search this
Stamos, Theodoros  Search this
Prestopino, Gregorio  Search this
D'Arista, Robert  Search this
Alston, Charles Henry  Search this
Georges, Paul  Search this
Edwards, Ethel  Search this
Graziani, Sante  Search this
Hovannes, John  Search this
Redein, Alex  Search this
Lucioni, Luigi  Search this
Cox, Gardner  Search this
Isenburger, Eric  Search this
Sanders, Joop A.  Search this
Salemme, Lucy  Search this
Andrews, Benny  Search this
Stasik, Andrew  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)13399
(DSI-AAA_SIRISBib)216518
AAA_collcode_fortkarl
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216518

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
de Hauke, César  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Haardt, Georges  Search this
La Fresnaye, Roger de  Search this
Seligman, Germain  Search this
Arenberg  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
Art  Search this
World War, 1939-1945  Search this
Art, European  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art galleries, Commercial  Search this
Art, Renaissance  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Online Media:

Hugo Gellert papers

Creator:
Gellert, Hugo, 1892-1985  Search this
Names:
American Artists' Congress  Search this
Art of Today Gallery (New York, N.Y.)  Search this
Artist's Committee of Action (New York, N.Y.)  Search this
Artists Coordination Committee (New York, N.Y.)  Search this
Artists Council  Search this
Artists for Victory, Inc.  Search this
Committee to Defend V.J. Jerome  Search this
Hungarian Word, Inc.  Search this
National Society of Mural Painters (New York, N.Y.)  Search this
Derkovits, Gyula, 1894-1934  Search this
Evergood, Philip, 1901-1973  Search this
Fast, Howard, 1914-  Search this
Fiene, Ernest, 1894-  Search this
Gellert, Ernest  Search this
Gellert, Lawrence, 1898-1979  Search this
Gottlieb, Harry, 1895-  Search this
Gropper, William, 1897-1977  Search this
Kent, Rockwell, 1882-1971  Search this
Lie, Jonas, 1880-1940  Search this
Refregier, Anton, 1905-  Search this
Reisman, Philip, 1904-  Search this
Sequenzia, Sofia  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Date:
1916-1986
Summary:
The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical political left through an interview, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, extensive printed materials (many of them illustrated by Gellert), photographs, and artwork.
Scope and Content Note:
The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical left through an oral interview conducted by Sofia Sequenzia, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, clippings, exhibition catalogs, various printed materials illustrated by Gellert, pamphlets, periodicals, mass mailings, photographs, and artwork.

Biographical Material includes an audio interview with Gellert; official documents related to memberships, property, and legal matters; financial documents that include bills, receipts, and contracts related to professional activities; papers of Gellert's brothers, Lawrence and Ernest; and artifacts. Correspondence is with other artists, writers, publishers, activists, friends, and family, including Ernest Fiene, Rockwell Kent, Harry Gottlieb, William Gropper, Philip Evergood, Howard Fast, and Jonas Lie. Writings include essays, book projects, notes, and notebooks written by Gellert; and stories and articles by other authors, including typescripts of early twentieth-century Hungarian short stories collected by Gellert.

Organizational Records are related to political and art organizations in which Gellert was an active organizer, officer, and in some cases, a founder. Because of his central role in many of these organizations, records often contain unique documentation of their activities. Records are found for the American Artists Congress, the Art of Today Gallery, the Artists Committee of Action, the Artists Coordination Committee, the Artists Council, Artists for Victory, Inc., the Committee to Defend V.J. Jerome, Hungarian Word, Inc., the National Society of Mural Painters, and other organizations.

Printed materials include a variety of political publications and periodicals with illustrations by Gellert, including New Masses, Art Front, Magyar Szo, and American Dialog; clippings related to his career, exhibition catalogs, political pamphlets, Hungarian literature, and mass mailings received from political organizations. Photographs contain a few personal photographs but are mostly news and publicity photographs, many of which depict prominent Communists and other newsmakers. Artwork includes sketches, drawings, designs, prints, and production elements for Gellert's artwork, as well as prints and drawings by Philip Reisman, Gyula Derkovits, and Anton Refregier.
Arrangement:
The collection is arranged into 7 series:

Series 1: Biographical Material, 1917-1982 (Box 1 and OV 9; 0.5 linear feet)

Series 2: Correspondence, circa 1920-1986 (Boxes 1-2, 8; 0.8 linear feet)

Series 3: Writings, circa 1916-1970 (Boxes 2 and 8; 0.7 linear feet)

Series 4: Organizational Records, circa 1920-1977 (Boxes 3, 8, and OV 9; 1 linear foot)

Series 5: Printed Materials, circa 1920-1986 (Boxes 4-6, 8, and OV 9; 3 linear feet)

Series 6: Photographs, circa 1920-1959 (Boxes 6-7; 0.5 linear feet)

Series 7: Artwork, 1927-1981 (Box 7, OV 10; 0.4 linear feet)
Biographical Note:
Graphic artist, muralist, and activist Hugo Gellert was born Hugo Grünbaum in Budapest, Hungary in 1892, the oldest of six children. His family immigrated to New York City in 1906, eventually changing their family name to Gellert.

Gellert attended art school at Cooper Union and the National Academy of Design. As a student, he designed posters for movies and theater, and also worked for Tiffany Studios. A number of student art prizes with cash awards enabled him to travel to Europe in the summer of 1914, where he witnessed the outbreak of World War I, an experience which helped shape his political beliefs. Aesthetically, he was also influenced by a folk revival among Hungarian artists at the time of his trip, and was more impressed, he later said, with the street advertising in Paris than he was with the cubism he saw in the Louvre.

Returning to the United States, Gellert became involved in the Hungarian-American workers' movement, and contributed drawings to its newspaper, Elöre (Forward). He remained involved in Hungarian-American art and activism throughout his life, including membership in the anti-fascist group, the Anti-Horthy League. When members of the fascist Horthy government unveiled a statue of a Hungarian hero in New York in 1928, Gellert hired a pilot and dropped leaflets on the group, a stunt for which he was arrested. In the 1950s, Gellert served as director of Hungarian Word, Inc., a Hungarian-language publisher in New York.

Gellert's political commitment and art remained deeply intertwined throughout his life, as he continually sought to integrate his commitment to Communism, his hatred of fascism, and his dedication to civil liberties. Throughout the 1910s and 1920s, he contributed artwork to several magazines of the radical left, including Masses and its successors Liberator and New Masses, both of which featured Gellert's artwork on their inaugural issue. Through Masses, he came to know other radicals such as Mike Gold, John Reed, Louise Bryant, Max Eastman, Floyd Dell, Anton Refregier, William Gropper, Harry Gottlieb, Bob Minor, and Art Young, and with them he followed the events of the Bolshevik revolution in Russia with sympathy and growing political fervor.

His brother, Ernest Gellert, also a socialist and activist, was drafted into the military but refused to serve. He died of a gunshot wound under suspicious circumstances while imprisoned at Fort Hancock, New Jersey, as a conscientious objector. Traumatized by this event, Gellert fled to Mexico to avoid conscription. In 1920 to 1922, he taught art at the Stelton School in New Jersey, a radical, utopian community school. He participated in the cultural scene of Greenwich Village, working on set designs, publications, and graphic art for political productions. He founded the first John Reed Club in 1929 with a group of Communist artists and writers including Anton Refregier, Louis Lozowick, and William Gropper. Initially, the group held classes and exhibitions, and provided services for strikes and other working-class activism. Later, John Reed Clubs formed around the country and became a formal arm of the United States Communist Party (CPUSA).

In the late 1920s, Gellert became a member of the National Society of Mural Painters (which, partly due to Gellert's activism in the group, became the Mural Artists' Guild local 829 of the United Scenic Artists Union of the AFL-CIO in 1937. Other members included Rockwell Kent, Anton Refregier, Arshile Gorky, and Marion Greenwood). In 1928, he created a mural for the Worker's Cafeteria in Union Square, NY. Later murals include the Center Theater in Rockefeller Center, the National Maritime Union Headquarters, the Hotel and Restaurant Workers' Union Building, NYC, the interior of the Communications Building at the 1939 World's Fair, and the Seward Park Housing Project in 1961.

In 1932, Gellert was invited to participate in a mural exhibition at the Museum of Modern Art, and submitted a political mural about the robber barons of contemporary American politics and industry called Us Fellas Gotta Stick Together - Al Capone. The museum attempted to censor the mural, along with the murals of William Gropper and Ben Shahn. Other artists threatened to boycott the exhibition over the censorship and were successful in restoring them to the show.

The cooperation of artists in this controversy foreshadowed a larger protest in 1934, organized by Gellert, Saul Belman, Stuart Davis, and Zoltan Hecht, when Diego Rivera's pro-labor mural was destroyed at Rockefeller Center. After the incident, the group formed the Artists' Committee of Action and continued to fight censorship and advocate for artists' interests and welfare. They also co-published the magazine Art Front with the Artists' Union, a labor organization. Gellert served for a time as editor of Art Front, and chairman of the Artists' Committee of Action.

Gellert was active in producing both art and strategic policy for the cultural arm of the CPUSA, and he worked to mobilize the non-communist left, often referred to as the Popular Front. In 1933 he illustrated Karl Marx's Capital in Lithographs, and in 1935, he wrote a Marxist, illustrated satire called Comrade Gulliver, An Illustrated Account of Travel into that Strange Country the United States of America. Other published graphic works include Aesop Said So (1936) and a portfolio of silkscreen prints entitled Century of the Common Man (1943).

Other artist groups he helped to found and/or run include the American Artist's Congress, a Communist organization founded with Max Weber, Margaret Bourke-White, Stuart Davis, Yasuo Kuniyoshi, Harry Sternberg, and others, which held symposia and exhibitions between 1936 and 1942; the Artists' Coordination Committee, an umbrella group of national organizations which sought protections for federally-employed and unionized artists; Artists for Victory, Inc., which formed in 1942 to mobilize artists in support of the war effort; and the Artists' Council, formed after the war to advocate for artists' welfare and employment.

Gellert maintained his loyalty to the Communist party throughout the post-war period despite growing disillusionment in the Popular Front over the actions of Josef Stalin, and despite the intense anti-communist crusades in the late 1940s and 1950s. He was investigated by the House of Un-American Activities Committee (HUAC) and was nearly deported. He spent a number of years during this period in his wife's native Australia. Returning to the United States in the early 1950s, he threw his efforts into the defense of others who faced prison, deportation, and the blacklist following the HUAC hearings. He established The Committee to Defend V.J. Jerome in 1951 when Jerome, the cultural commissioner of CPUSA, was convicted under the Smith Act. The writer Dorothy Parker was the group's treasurer.

In 1954, Gellert established the Art of Today Gallery in New York City with Rockwell Kent and Charles White to provide an exhibition venue for blacklisted artists. Exhibitions included Maurice Becker, Henry Glintenkamp, Harry Gottlieb, Kay Harris, and Rockwell Kent. Gellert served as the gallery's secretary until it closed in 1957.

In the 1960s until his death in 1985, Gellert continued his activism through involvement in grassroots political organizations. Unlike many of his radical contemporaries, Gellert lived to see the revival of some of the ideas of the progressive era of the thirties in the countercultural years of the late 1960s and early 1970s. There were retrospectives of his work in Moscow in 1967 and in his native Budapest in 1968, and he appeared in Warren Beatty's film Reds in 1981.

Sources used for this essay include James Wechsler's 2003 dissertation "The Art and Activism of Hugo Gellert: Embracing the Spectre of Communism," his essay "From World War I to the Popular Front: The Art and Activism of Hugo Gellert," ( Journal of Decorative and Propaganda Arts number 24, Spring 2002), and Jeff Kisseloff's biographical essay for the 1986 Hugo Gellert exhibition at the Mary Ryan Gallery.
Related Material:
Among the holdings of the Archives of American Art are an oral history with Hugo Gellert from 1984, a recording of a lecture Gellert gave at the Whitney Museum of American Art in 1985, and additional records of Artists for Victory, Inc., 1942-1946.

The Tamiment Library and Robert F. Wagner Labor Archives at New York University holds additional papers of Hugo Gellert.
Provenance:
A portion of the papers were donated in 1970 by Hugo Gellert. Additional papers were donated by Gellert and his wife, Livia Cinquegrana, in 1983 and 1986.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Hugo Gellert 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:
Artists' writings  Search this
Politics in art  Search this
Works of art  Search this
Muralists -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Graphic artists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gellhugo
See more items in:
Hugo Gellert papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gellhugo
Online Media:

Erik Hans Krause papers, 1936-1975

Creator:
Krause, Erik Hans, 1899-1990  Search this
Subject:
United States.Federal Works Agency  Search this
Federal Art Project (Rochester, N.Y.)  Search this
Topic:
Federal aid to the arts  Search this
Record number:
(DSI-AAA_CollID)9165
(DSI-AAA_SIRISBib)211360
AAA_collcode_krauerik
Theme:
Government Sponsorship of the Arts
New Deal
Architecture & Design
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211360

Ad Reinhardt papers

Creator:
Reinhardt, Ad, 1913-1967  Search this
Names:
Brooklyn College -- Faculty  Search this
United States. Works Progress Administration  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1927-1968
Summary:
The papers of Ad Reinhardt measure 3.8 linear feet and date from circa 1927 to 1968. The collection documents Reinhardt's career as an abstract painter, cartoonist, and writer through biographical material, correspondence, writings, printed material, scrapbooks, and artwork.
Scope and Content Note:
The papers of Ad Reinhardt measure 3.8 linear feet and date from 1927 to 1968. The collection documents Reinhardt's career as an abstract painter, cartoonist, and writer through biographical material, correspondence, writings, printed material, scrapbooks, and artwork.

Biographical material includes personal and professional records, such as passports and membership cards as well as an artist's chronology, and material documenting Reinhardt's time at Brooklyn College and his work for the WPA. Correspondence is of a general nature, including letters from art galleries, museums, and art dealers about exhibitions and artwork, colleges and universities concerning lectures and workshops, and letters from friends, art critics, and fellow artists, including Lucy Lippard, Abe Ajay, and George Rickey. Also found are letters from magazines and various art and social organizations. Writings and notes include calendars, and a small amount of notes and draft writings by Reinhardt. Printed material comprises the largest series in the collection and contains exhibition materials, including invitations and catalogs, and a large number of magazine and news clippings, primarily about Reinhardt's career and modern art, but also covering other topics of interest to him, such as Asian art. Also found in this series are clippings of his published cartoons and artwork. Scrapbooks contain additional printed material documenting his high school and college days, as well as his career. as an artist. Also found within the papers is a small amount of artwork by Reinhardt, primarily small sketches.
Arrangement:
The collection is arranged into 6 series.

Series 1: Biographical Material, circa 1928-1967 (Box 1; 0.3 linear feet)

Series 2: Correspondence, circa 1930-1967 (Boxes 1-2; 1.1 linear feet)

Series 3: Writings and Notes, circa 1953-1966 (Box 2; 7 folders)

Series 4: Printed Material, circa 1927-1968 (Boxes 2-4; 1.7 linear feet)

Series 5: Scrapbooks, circa 1928-1959 (Boxes 4-5; 0.5 linear feet)

Series 6: Artwork, circa 1946, 1950, 1961 (Box 4; 4 folders)
Biographical Note:
Ad Reinhardt was born Adolph Dietrich Friedrich Reinhardt in 1913 in Buffalo, New York. Shortly after he was born, his family moved to Queens, New York. As a child he copied "funnies" and made collages from newspapers and won many school and community prizes for his artwork. In the fall of 1931 he entered Columbia University and studied art history under Meyer Schapiro, who encouraged him to get involved in radical campus politics. Reinhardt became the editor and cover designer of Jester, a campus magazine. After graduating in 1935, he trained as a painter at the National Academy of Design under Karl Anderson, and at the American Artists School under Francis Criss and Carl Holty, until 1937. At this time he joined American Abstract Artists and became affiliated with American artistic-political groups and other artist organizations. From 1936 to 1941 he worked for the Works Progress Administration (WPA) Federal Art Project, Easel Division, while simultaneously developing his mature style of linear, abstract painting.

When his work for the Federal Art Project ended, Reinhardt worked as a commercial and freelance writer and graphic artist for pamphlets and magazines. Most notably, he was a reporter and cartoonist for the newspaper PM from 1942 to 1947. After serving in the Navy from 1946 to 1947, he took a position as an art history professor at Brooklyn College where he taught for twenty years. During his career as a professor he was also a visiting lecturer at several universities, including Yale University from 1952 to 1953, and the California School of Fine Arts in 1950. Reinhardt had a keen interest in Asiatic art and would often lecture and write on this subject. In the late 1950s and early 1960s he traveled to Japan, India, Persia, Egypt, Turkey, Syria, and Jordan.

Reinhardt began exhibiting his paintings early in his career. In 1946 he joined the Betty Parsons Gallery, which also represented many other prominent Abstract Expressionists, including Mark Rothko, Barnet Newman, and Jackson Pollock. Reinhardt rejected the emotionalism found in Abstract Expressionism and sought to produce geometric, minimalist paintings. In developing his own aesthetic theory, he wrote extensively for art periodicals such as Art News and Art International. His artwork culminated in the 1960s with his series of black paintings, which drew much attention from the art community and the public. A major retrospective of his work was held at the Jewish Museum in New York, NY, in 1960. Reinhardt continued to write and work on his series of black paintings until his death in 1967.
Related Material:
Related collections found in the Archives includes Ad Reinhardt postcards (to Katherine Scrivener), Ad Reinhardt letters and artwork (loaned material, available on microfilm only), Abe Ajay correspondence with Ad Reinhardt, Marjorie Grimm printed material and letters received from Ad Reinhardt, one photograph of Ad Reinhardt and Colette Roberts by William R. Simmons, and a 1955 painting by Ad Reinhardt.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N69-99 - N69-103) including additional notes, writings, correspondence, photographs of artwork, and travel logs. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Rita Reinhardt, Ad Reinhardt's widow, donated papers and lent material for micorfilming in 1969.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Ad Reinhardt 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:
Works of art  Search this
Art, Modern  Search this
Cartoonists -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Citation:
Ad Reinhardt papers, 1927-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.reinad
See more items in:
Ad Reinhardt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-reinad
Online Media:

Louis Lozowick papers

Creator:
Lozowick, Louis, 1892-1973  Search this
Names:
American Artists' Congress  Search this
John Reed Club  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Writings
Sketches
Date:
1898-1974
Summary:
The Louis Lozowick Papers measure 5.9 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.
Scope and Content Note:
The Louis Lozowick Papers measure 5.9 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.

Correspondence with colleagues, commercial clients, organizations, museums and galleries, family and friends, concerns business and personal affairs. A small number of letters are in Russian, Yiddish, German, and French. Writings include manuscripts, drafts, and notes for articles, books, reviews, and talks on art related subjects and other topics. Among Lozowick's notes are seven notebooks relating to published and unpublished writings.

Business records consist of an extensive alphabetical file recording sales and consignments, loans for exhibitions, and other financial transactions, accompanied by related printed material. Originally housed in loose leaf notebooks, these files are arranged by name of gallery, museum, organization, or event. In addition, there are a small number of loose receipts.

Lozowick retained printed matter, unpublished notes and writings, and miscellaneous items relating to organizations and groups of interest to him. The American Artists' Congress and the John Reed Club files are of particular interest; because he served as an officer in these organizations, his papers include copies of minutes, reports, and official correspondence.

Printed material includes exhibition catalogs, invitations and announcements. Material by Lozowick consists of articles, reviews, illustrations and reproductions. In addition, there are articles and miscellaneous items about Lozowick including announcements of his lectures, a course syllabus, and brochure about a tour of the U.S.S.R. led by him. Miscellaneous printed material includes research materials collected by Lozowick for his writing; illustrations of artists at work, in their studios, galleries, etc., and a 1922 broadside in French and Russian announcing a lecture.

Photographs include images of Lozowick and his family. Of particular interest is a photograph of Lozowick at a 1934 demonstration sponsored by the John Reed Club and Artists' Union. Photographs of works of art include works by Lozowick, as well as by American, European, and Russian artists; many of these, including lantern slides, may have been used to illustrate his lectures and writings. Among the miscellaneous subjects are Lozowick's studio, the Soviet Pavilion at the 1939 World's Fair, and an unidentified Soviet exhibition installation.

Also included are small number of biographical documents and sketches in pen and ink.
Arrangement:
The collection is arranged into 8 series. Glass plate negatives and lantern slides are housed separately and closed to researchers.

Series 1: Biographical Information, 1923-1973 (Box 1; 10 folders; Reel 5893)

Series 2: Correspondence, 1916-1974 (Boxes 1-2; 1.25 linear ft.; Reels 5893-5895)

Series 3: Writings and Notes, 1917-circa 1970 (Boxes 2-3; 1.5 linear ft.; Reels 5895-5897)

Series 4: Business Records, 1929-1973 (Box 3; 0.25 linear ft.; Reel 5897-5898)

Series 5: Organizations, 1930-1972 (Box 4; 0.4 linear ft.; Reel 5898)

Series 6: Printed Material, 1920-1974 (Boxes 4-5 and OV 7; 1.25 linear ft.; Reels 5898-5899)

Series 7: Sketches, n.d. (Box 5; 1 folder; Reel 5899)

Series 8: Photographs, 1898-1973 (Boxes 5-6, 8; 1.05 linear ft.; Reel 5899)
Biographical Note:
Louis Lozowick (1892-1973) is known for his lithographs of New York City, many in the Precisionist mode. As a very young boy in the Ukraine, Lozowick showed an aptitude for drawing. At age eleven, with an older brother, he moved from his rural hometown to Kiev, where he received training at the Kiev Art Institute. In 1906, Lozowick came to the United States, joining a brother in New Jersey. While in high school, and for several years afterwards, Lozowick studied at the National Academy of Design under Leon Kroll, George Willloughby Maynard, Ivan Olinsky, and Douglas Volk. He graduated from Ohio State University in 1918 with a degree in art.

After a year's stint in the medical corps of the U.S. Army, Lozowick headed to Paris in the fall of 1920, where he studied French at the Sorbonne. By early 1922, he had settled in Berlin and was enrolled at the Friedrick Wilhelms Universität. During this time, Lozowick began painting seriously, made his first lithographs, and established friendships with many Russian artists in Germany, including El Lissitsky; he also made a trip to Moscow, where he met a number of leading Russian artists. While living in Berlin, Lozowick had his first solo show at K. E. Twardy Book Shop in 1922, and a second at the Gallerie Alfred Heller in the following year.

Lozowick worked mainly as a graphic artist and supplemented his income with commercial work. In addition, he taught art history and lithography classes, lectured, and wrote about art. During the Depression he worked with the Public Works of Art Project, New York City, for a brief time in 1934. Between 1935 and 1940, he was employed by the Graphic Arts Division of the Works Progress Administration.

Lozowick taught art history at the Educational Alliance Art School, New York City, for a semester prior to going to Europe, and for extended periods afterwards. He was a lithography instructor at the John Reed Club School of Art and the American Artists School, and over the years taught a number of private pupils. In 1924, Lozowick delivered lectures on modern Russian art for the Société Anonyme, and lectured regularly on a variety of art topics to a many other groups. Eventually he was represented by a speakers' bureau that arranged several lecture tours.

Russian art, art and artists in the Soviet Union, and Jewish art were among the topics that particularly interested Lozowick. He wrote extensively on these subjects and others, publishing many articles and reviews. While living in Berlin, he wrote for Broom and contributed translations to that periodical. Two major manuscripts, a book about William Gropper and a memoir titled Survivor From a Dead Age, appeared posthumously. In addition, he was a founder of the New Masses, a contributing editor, and eventually its art editor.

One of the organizers of the John Reed Club in 1929 and a charter member, Lozowick became its Executive Secretary in 1931 and remained active throughout the club's five-year existence. In 1935, Lozowick participated in organizing the first American Artists' Congress, became the group's Executive Secretary, and for several years was an extremely active member of the New York chapter.

Throughout his long career, Louis Lozowick exhibited widely in local and national exhibitions. He won a number of awards and was invited to spend several summers in residence at the Yaddo artists' colony.
Provenance:
Gift of Louis and Adele Lozowick, 1966-1980. Various portions were microfilmed on reels D254-D254A, and 1333-1337. In 2004, all portions of the gift were merged, reprocessed, and remicrofilmed.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment. Glass plate negatives and lantern slides are housed separately.
Rights:
The Louis Lozowick 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:
Lithographers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Writings
Sketches
Citation:
Louis Lozowick Papers, 1898-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lozoloui
See more items in:
Louis Lozowick papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lozoloui
Online Media:

Anne Ryan papers

Creator:
Ryan, Anne, 1889-1954  Search this
Names:
McFadden, Elizabeth  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Diaries
Photographs
Drawings
Date:
circa 1905-1970
Summary:
The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.
Scope and Contents:
The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.

Biographical material includes a mixture of legal and financial records as well as other personal documents. There are account books, art inventories, biographical statements, estate papers, exhibition lists, price lists, loan and consignments records, bills and receipts, banking and tax records, assorted travel documents, and other miscellaneous items.

Correspondence is with editors, museums, galleries, family and friends. Many of the letters have typed transcriptions that go along with the original handwritten correspondence. There is also correspondence with Anne Ryan's daughter, Elizabeth McFadden.

There are six diaries, journals, and travel diaries. The diaries and journals describe progress on artwork and writing, as well as daily appointments and activities.

Writings consists of notes, notebooks, poetry and manuscripts. The bulk of the series consists of handwritten and typescript drafts of books, short stories and essays. There are a few items written by others.

Printed material includes exhibition announcements, catalogs, clippings and magazines. Most of the periodicals include essays and stories written by Ryan. There are some printed materials such as postcards, travel brochures and clippings from Ryan's time in Spain.

Two family albums and photographs depict Anne Ryan, family, friends, colleagues, artwork, exhibition installations and houses.

Also found are materials Ann Ryan used to make artwork, such as engraved metal plates for prints, engraved woodcuts for woodblock prints, and handmade stencils. Some drawings are also included.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, circa 1920-circa 1970 (Box 1; 0.2 linear feet)

Series 2: Correspondence, circa 1922-1968 (Box 1; 0.6 linear feet)

Series 3: Diaries and Journals, 1924-1942 (Boxes 1-2; 0.3 linear feet)

Series 4: Writings, circa 1923-circa 1954 (Boxes 2-3; 1.4 linear feet)

Series 5: Printed Material, 1925-1970 (Boxes 3-4; 0.6 linear feet)

Series 6: Photographic Material, circa 1905-circa 1954 (Boxes 4-5; 0.4 linear feet)

Series 7: Artwork, circa 1930-circa 1954 (Box 5; 0.3 linear feet)
Biographical / Historical:
Anne Ryan (1889-1954) was a painter, printmaker, collagist, graphic artist and author who primarily worked in New York City, but also in New Jersey and Spain.

Anne Ryan was born in Hoboken, New Jersey in 1889. She attended St. Elizabeth's Academy and College. She married lawyer William J. McFadden and had three children – William, Elizabeth and Thomas. They lived in Newark, New Jersey and divorced in 1923. Ryan often went to Greenwich Village in New York City and was something of a fixture in the arts and literary community. In 1925 she published a book of poetry, Lost Hills, and her novel Raquel was also published around this time.

Around 1931, Ryan moved to Spain and lived there for roughly four years, mostly in Mallorca and Ibiza, though she traveled to Paris as well. She then returned to New York City and moved into 124 West Fourth Street, which was occupied by many artists and writers. She opened a restaurant called The Hearthstone in the building's basement.

Ryan began painting around 1938. Artist Hans Hofmann lived nearby and visited her studio to provide encouragement, telling her to pursue her own course artistically and not to seek formal instruction. Ryan's first exhibition was in 1941. During this time she joined the printmaking studio Atelier 17 run by British artist William Stanley Hayter who had fled from Paris, France due to World War II. Thanks to the studio, Ryan befriended many European expatriate artists and started making woodblock prints and engravings.

In 1948, Ryan saw an exhibition of collages by Kurt Schwitters that inspired her to begin creating collages herself. During her late career, she made hundreds of collages and had multiple exhibitions at Betty Parsons Gallery in New York City. Ryan was also a prolific writer and many of her short stories and travel essays were published in magazines and periodicals. She died in 1954 in Morristown, New Jersey.
Provenance:
The Anne Ryan papers were donated to the Archives of American Art in 1971 by Elizabeth McFadden, Anne Ryan's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Authors -- New York (State) -- New York  Search this
Authors -- Spain  Search this
Collagists -- New York (State) -- New York  Search this
Collagists -- Spain  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Spain  Search this
Printmakers -- New York (State) -- New York  Search this
Printmakers -- Spain  Search this
Women artists -- New York (State) -- New York  Search this
Women artists -- Spain  Search this
Genre/Form:
Travel diaries
Diaries
Photographs
Drawings
Citation:
Anne Ryan papers, circa 1905-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ryananne
See more items in:
Anne Ryan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ryananne

Chaim and Dorothy Koppelman papers

Creator:
Koppelman, Chaim, 1920-2009  Search this
Names:
American Federation of Arts  Search this
Associated American Artists  Search this
Audubon Artists (New York, N.Y.)  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat, 1920-1964  Search this
Kandinsky, Wassily, 1866-1944  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy, 1923-1997  Search this
Ozenfant, Amédée, 1886-1966  Search this
Picasso, Pablo, 1881-1973  Search this
Pond, Clayton, 1941-  Search this
Rebay, Hilla, 1890-1967  Search this
Siegel, Eli, 1902-  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Date:
circa 1930s-2006
bulk 1942-2005
Summary:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.

Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.

Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.

Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.

Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.

Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman. Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:

Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)

Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)

Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)

Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)

Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)

Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)

Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)

Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)

Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)

Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)

Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.

Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.

After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.

Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."

Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award. In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.

In December 2009, Koppelman died at age 89 in New York City.

Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.

Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.

Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."

She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.

Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Chaim and Dorothy Koppelman 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:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koppchai
See more items in:
Chaim and Dorothy Koppelman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-koppchai

Audubon Artists records

Creator:
Audubon Artists (New York, N.Y.)  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Benton, Thomas Hart, 1889-1975  Search this
Blume, Peter, 1906-1992  Search this
Davis, Stuart, 1892-1964  Search this
Disney, Walt, 1901-1966  Search this
Domareki, Joseph  Search this
Engel, Michael M., 1896-1969  Search this
Facci, Domenico, 1916-1994  Search this
Feininger, Lyonel, 1871-1956  Search this
Freeman, Mark, 1908-  Search this
Gary, Jan  Search this
Hoffman, Malvina, 1887-1966  Search this
Lee-Smith, Hughie  Search this
McKay, Renee  Search this
Meyerowitz, William, 1887-1981  Search this
Poor, Henry Varnum, 1887-1970  Search this
Wengenroth, Stow, 1906-  Search this
Whitaker, Frederic  Search this
Young, Stark, 1881-1963  Search this
Extent:
6.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1944-2001
Summary:
The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
Scope and Contents:
The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.

Administration and correspondence files document all aspects of the organization's activities and include founding documents; records of individual officers including presidents Domenico Facci, Joseph Domareki, Mark Freeman, Hughie Lee-Smith, Renee McKay and Frederic Whitaker, and historians Michael Engel and Jan Gary; correspondence with members and prospective members including artists such as John Taylor Arms, Thomas Hart Benton, Peter Blume, Stuart Davis, Walt Disney, Lyonel Feininger, Malvina Hoffman, William Meyerowitz, Henry Varnum Poor, Stow Wengenroth, and Stark Young; agenda, meeting minutes and reports to the Executive Board; and the correspondence and related records of various committees.

Exhibition files document a variety of activities related to exhibition planning, and include correspondence, entry forms, information on juries and awards, and lists of selected artwork and award winners.

Financial records include scattered treasurer correspondence and notes, records of bills paid, and some reports, investment and tax records from the 1960s-1990s.

Printed material includes an early brochure issued in 1944, and a brochure on the organization's history by Jan Gary, as well as annual exhibition catalogs and/or prospectuses from 1944 to 2000.

Photographic material consists of copy prints and negatives of photographic material used in the annual exhibition catalogs, including photos of artwork, juries and scattered exhibition installations.
Arrangement:
Before processing, much of the collection was unsorted, and there was little indication of original record keeping practices for a large portion of the material. Some of the earlier material from the 1940s had been sorted by name or activity and where possible this arrangement has been maintained. Researcherss should be aware, however, that similar types of material such as correspondence, financial, and administrative records, can be found in various places throughout the collection, particularly throughout Series 1. The collection is arranged as 5 series.

Series 1: Administration and Correspondence Files, 1944-2000 (2.43 linear feet; Boxes 1-3, OV 8)

Series 2: Exhibition Files, 1944-1999 (0.67 linear feet; Box 3)

Series 3: Financial Records, 1962-1999 (0.5 linear feet; Box 4)

Series 4: Printed Material, 1944-2001 (1.7 linear feet; Boxes 4-6)

Series 5: Photographic Material, circa 1969-1999 (0.9 linear feet; Boxes 6-8)
Biographical / Historical:
Audubon Artists, a national exhibiting society of painters, sculptors, and graphic artists, was founded in New York, New York, in 1940. The organization took its name from the homestead of John James Audubon where it met in December, 1941, to discuss a less regional name than the one it had initially adopted: Professional Arts Group of Washington Heights. The group's association with Audubon, however, begins and ends with the name.

Audubon Artists held its first exhibition at 8th Street Gallery in Apri-May, 1942, with an exhibiting group of 22 members. In 1943 the group was able to attract a wider pool of recognized professional artists, and by 1944 the membership had increased to 60 and the organization issued its first annual exhibition catalog with the newly adopted eagle and palette emblem.

A reorganization meeting took place on March 27, 1944, to address the growing responsibilities for the annual exhibition. President Frederic Whitaker subsequently oversaw the creation of the original consitution, the credo and the 1946 incorporation of the organization, and led a membership campaign designed to attract nationally renowned artists of various aesthetic persuasions and gain the organization more prestige.

Since then, Audubon Artists has continued to hold an annual exhibition in a variety of locations throughout New York City, including the National Academy of Design, National Arts Club, and the Salmagundi Club. The latter has been the exhibition's preferred home since 1997, and with circa 350 members Audubon Artists remains a thriving organization dedicated to "artistic progress" today.
Provenance:
The records were donated by Audubon Artists in 1978 (via Mark Freeman, president) and 2001 (via David Pena, president).
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Audubon Artists records 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:
Art -- Societies, etc. -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Audubon Artists records, 1944-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.auduarti
See more items in:
Audubon Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-auduarti

Boris Lovet-Lorski journals

Creator:
Lovet-Lorski, Boris, 1894-1973  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Date:
1945-1966
Summary:
The journals of New York City sculptor and graphic artist, Boris Lovet-Lorski, measure 0.4 feet and a date from 1945-1966. The volumes consist of ten appointment diaries, which document aspects of Lovet-Lorski's daily life, such as medical appointments, dates with friends and other typical activities. The journals do not cover the entire period of 1945-1966 but are a random selection of annual volumes from this period.
Scope and Contents:
The journals of New York City sculptor and graphic artist Boris Lovet-Lorski, measure 0.4 feet and a date from 1945-1966. The volumes consist of ten appointment diaries, which document aspects of Lovet-Lorski's daily life, such as medical appointments, dates with friends and other typical activities. The journals do not cover the entire period of 1945-1966 but are a random selection of annual volumes from this period.
Arrangement:
The collection is arranged in 1 Series:

Series 1: Journals, 1945-1966 (Box 1; 0.4 linear feet)
Biographical / Historical:
Boris Lovet-Lorski (1894-1973) was a sculptor and grapic artist. Born in Lithuania, he studied at the Imperial Academy of Arts in St. Petersburg, Russia, where he worked briefly as an architect. In 1920 he emigrated to the United States, living not only in New York, but also in Boston, Milwaukee, Paris, France, and Beverly Hills, California. Lovet-Lorski became a US citizen in 1925. As an artist, Lovet-Lorski focused on the female nude often in a French Art Deco style. He is known for sculpting with broad and diverse materials including various types of stone and metals, slate, onyx, wood, plaster, jade and lava.
Provenance:
The papers were donated to the Archives of American Art in 2009 by Juan Rodriguez, dealer and friend.
Restrictions:
Use of original materials requires an appointment.
Rights:
The Boris Lovet-Lorski journals 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:
Lithographers -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Citation:
Boris Lovet-Lorski journals, 1945-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lovebori
See more items in:
Boris Lovet-Lorski journals
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lovebori

Eugene Berman papers

Creator:
Berman, Eugene, 1899-1972  Search this
Names:
Berman, Leonid, 1896-1976  Search this
Lynes, Russell, 1910-1991  Search this
Ray, Man, 1890-1976  Search this
Photographer:
Galdi, Vincenzo  Search this
Gloeden, Wilhelm von, Baron, 1856-1931  Search this
Extent:
6.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Notes
Place:
Italy -- Description and travel, Photographs
Mexico -- Description and travel, Photographs
Date:
1926-1975
Summary:
The papers of painter and theatrical set designer Eugene Berman date from 1926-1975 and measure 6.7 linear feet. Found within the papers are scattered letters, primarily postcards, from various colleagues including Juliet and Man Ray and Berman's brother Leonid. There are also notes, scattered artwork, printed material, and extensive photographs, many of Mexico.
Scope and Content Note:
The papers of painter and theatrical set designer Eugene Berman date from 1926-1975 and measure 6.7 linear feet. Found within the papers are scattered letters, primarily postcards, from various colleagues including Juliet and Man Ray and Berman's brother Leonid. There are also notes, scattered artwork, printed material, and extensive photographs, many of Mexico.

Notes include a booklet of photocopies of notes in Italian conerning miscellaneous art work, including prices. There are also scattered notes in French concerning miscellaneous topics.

Art work consists of miscellaneous sketches, primarily on the reverse sides of postcards, depicting human figures and architectural details, sometimes annotated in Russian and Italian.

Printed material includes clippings concerning Eugene and Leonid Berman's art work, exhibition announcements and catalogs, reproductions of art work by Berman, picture postcards, a ballet program, and a guide book for Grado, Italy.

Photographs comprise the largest series in this collection. Photographs of Eugene Berman include two by Russell Lynes. Photographs are also of Berman's wife, Ona Munson, unidentified colleagues, exhibition installations, art work executed by Berman between 1937 and 1948, and miscellaneous photographs of Italy including images by Vincenzo Galdi and Wilhelm von Gloeden. There are ten portfolios of photographs of Mexico, primarily taken by Berman, but Portfolios 1, 6, 9, and 10 include images photographed by Hugo Brehme. There are also commercially produced photographs of various scenes and art work primarily in Italy and Mexico, publicity photographs of ballet and opera performers, and two stereographs of novelty subjects.
Arrangement:
The collection is arranged as 5 series:

Series 1: Letters, 1926-1970 (Box 1, 8; 12 folders)

Series 2: Notes, 1944 (Box 1; 2 folders)

Series 3: Art Work, 1947 (Box 1; 2 folders)

Series 4: Printed Material, 1941-1975 (Box 1, 8; 1.5 linear feet)

Series 5: Photographs, 1933-1956 (Box, 2-9; 4.9 linear feet)
Biographical Note:
Eugene Berman (1899-1972) worked in New York City, Los Angeles, California, and Rome, Italy as a Neo-Romantic painter and designer of theatrical sets and costumes for opera and ballet productions.

Eugene Berman was born on November 4, 1899 in St. Petersburg, Russia, the son of Lydia and Gustav Berman, who died when Eugene was seven years old. His stepfather was a wealthy banker who paid for his education in Germany, Switzerland, and France. In 1918, the family fled to Paris to escape the Bolshevik Revolution.

While in Paris, Berman studied at the Academie Ranson from 1920 to 1922, under Pierre Bonnard, Edouard Vuillard, and Félix Valloton. With his brother Leonid, Berman joined a group of painters who became known as Neo-Romantics whose paintings were of melancholy dreamlike scenes with mournful figures, defying the prevalent abstract movements in art. By the late 1920s, Berman was beginning to successfully sell his paintings and after meeting American gallery owner Julian Levy, he was offered an exhibition in New York. Berman continued to exhibit at the Julian Levy Gallery from 1929 to 1947.

In 1935, Eugene and Leonid Berman became war refugees and came to New York City. Eugene Berman designed covers for fashionable publications and by 1937, he was painting murals in private residences and designing sets and costumes for opera and ballet performances including those at the Metropolitan Opera.

Berman moved to California in 1938, settling in Los Angeles, and continued to paint murals and design for the theater. He became an American citizen in 1944. Between 1947 and 1949, he received Guggenheim Fellowships to obtain background images from the Southwest United States and Mexico for use in his art work. Berman married actress Ona Munson in 1949.

Two years after his wife's suicide in 1955, Berman moved to Rome, Italy where he continued to paint and design sets for the theater.

Eugene Berman died on December 14, 1972 in Rome, Italy.
Provenance:
The Eugene Berman papers were donated by the artist's sister-in-law, Sylvia Marlowe Berman, in 1978.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Eugene Berman 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:
Painters -- Italy -- Rome  Search this
Painters -- California -- Los Angeles  Search this
Painters -- New York (State) -- New York  Search this
Set Designers  Search this
Graphic artists  Search this
Genre/Form:
Sketches
Postcards
Notes
Citation:
Eugene Berman papers, 1926-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermeuge
See more items in:
Eugene Berman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bermeuge

James Brooks and Charlotte Park papers

Creator:
Brooks, James, 1906-1992  Search this
Names:
Kootz Gallery (N.Y.)  Search this
New York University -- Students  Search this
Southern Methodist University -- Students  Search this
United States. Army  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Gottlieb, Adolph, 1903-1974  Search this
Guston, Philip, 1913-1980  Search this
King, William, 1925-2015  Search this
Park, Charlotte  Search this
Extent:
20.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sound recordings
Transcripts
Interviews
Drawings
Photographs
Diaries
Date:
1909-2010
bulk 1930-2010
Summary:
The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.
Scope and Contents:
The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Biographical materials include biographical notes and documents such as copies of birth and death certificates, curricula vitae, family history. Educational records are from Southern Methodist University and documentation of flight training courses at New York University. Brooks' military service in World War II is well documented by United States Army records with related correspondence. Also found is extensive documentation of his death and funeral.

Professional and personal correspondence is addressed to Brooks, the couple, and to Charlotte Park during the later years of Brooks' life when she managed his affairs. A significant amount of correspondence is categorized as art, autograph requests, personal, and teaching; also include is general correspondence that overlaps all categories. Art correspondence with museums, galleries, collectors, artists, and friends concerns exhibitions, Brooks' work, and invitations to exhibit, speak, or serve as a juror. Of note is the correspondence with Samuel M. Kootz Gallery. The personal correspondence is mainly social, and teaching correspondence consists largely of requests that he teach in summer programs, serve as a visiting artist/critic.

Six interviews with James Brooks are in the form of published and unpublished transcripts; a seventh is a sound recording with no known transcript. Charlotte Park participates in one interview.

Writings by Brooks are statements about his work and a tribute to Ilya Bolotowsky. Among the writings by others about Brooks are a catalog essay, academic papers, and lecture; also found are a few short pieces on miscellaneous topics. Three diaries include brief entries regarding his work, exhibitions, and activities.

Subject files maintained by Brooks concerning organizations, exhibitions, mural projects, a commission and teaching document his professional activities, relationships and interests. Personal business records concern appraisals, conservation, gifts, insurance, loans, sales, shipping, and storage of artwork. Gallery records include agreements, consignments, lists, and receipts. Also, there are accounts for lettering work and personal income tax returns.

Printed material is mostly exhibition announcements, invitations, catalogs, and checklists, as well as articles and reviews. The majority are about/mention Brooks or include reproductions of his work; some concern artist friends, former students, and others.

Artwork by Brooks consists of pencil and ink drawings, two sketchbooks, and "telephone doodles." Other artists include Adolph Gottlieb (ink drawing of sculpture), Philip Guston (three pencil drawings of Brooks), and William King (two silhouettes of Brooks).

Photographic materials (photographs, digital prints, negatives, slides, and color transparencies) provide extensive documentation of Brooks' artwork and, to a lesser extent, exhibitions.There are pictures of Brooks as a very young boy, though the most views of him date from the 1930s through 1980s, and with friends. Places include Brooks' homes and studios in Montauk, New York and the Springs, East Hampton, New York; travel to Maine, Oregon and California. Views of the Middle East from World War II show Brooks with colleagues, local people engaged in daily activities, and scenery. Also of note are a copy print of "The Irascibles" by Nina Leen, and attendees at the dedication of Flight dining in view of Brook's LaGuardia Ariport mural.

Charlotte Park papers document the professional career and personal life of the Abstract Expressionist painter, art teacher, and wife of James Brooks through correspondence, personal business records, exhibition records, printed material, and photographs. In addition, this series documents artwork in the estate of James Brooks and posthumous exhibitions. Twelve years younger than her husband, Park began handling business matters for him as he aged and developed Alzheimer's disease. She also served as his executor. In the 1990s, a curator assumed management of the artwork and loans for exhibitions. After the James Brooks and Charlotte Park Brooks Foundation was established in 2000, its director handled most business activities. Some copies of Foundation minutes and correspondence are found among Park's papers.
Arrangement:
The collection is arranged in 11 series:

Series 1: Biographical Materials, 1924-1995 (Box 1, OV 19; 0.6 linear feet)

Series 2: Correspondence, 1928-1995 (Boxes 1-3; 1.7 linear feet)

Series 3: Interviews, 1965-1990 (Box 3; 0.2 linear feet)

Series 4: Writings, 1952-1999 (Box 3; 0.4 linear feet)

Series 5: Diaries, 1975-1984 (Box 3; 0.1 linear feet)

Series 6: Subject Files, 1926-2001 (Boxes 3-5, OV 20; 2.0 linear feet)

Series 7: Personal Business Records, 1932-1992 (Boxes 5-6; 1.0 linear feet)

Series 8: Printed Material, 1928-1992 (Boxes 6-11, OV 21-OV 22; 4.8 linear feet)

Series 9: Artwork, 1930s-1992 (Box 11; 0.2 linear feet)

Series 10: Photographic Materials, 1909-2000s (Boxes 11-15; 4.1 linear feet)

Series 11: Charlotte Park papers, 1930s-2010 (Boxes 15-18, OV 23; 3.6 linear feet)

Series 12: Unprocessed Additition, circa 1930-2010 (Boxes 25-26; 1.4 linear feet)
Biographical / Historical:
James Brooks (1906-1992) and Charlotte Park (1919-2010) were Abstract Expressionist painters in East Hampton, N.Y. A native of St. Louis, Missouri, Brooks spent his childhood in Colorado, Oklahoma, Illinois, and Texas. He begn drawing as a young boy, finding inspiration in magazine illustrations and comic strips. Before moving to New York City in 1926, he studied at Southern Methodist University (1923-1924) and at the Dallas Art Institute.

In New York, Brooks studied illustration at the Grand Central Art School. After exposure to museums led him to differentiate between illustration and fine art, Brooks enrolled at Art Students League. During this period he supported himself by doing lettering for magazine advertisements. From 1936-1942 he participated in the WPA Federal Art Project, executing murals at Woodside Library, Queens, New York (destroyed); the Post Office, Little Falls, New Jersey; and his famous Flight at LaGuardia Airport's Marine Air Terminal (painted over in the 1950s and restored in 1980).

During World War II Brooks served in the United States Army as an art correspondent in Cairo. When at the Office of Special Services, Washington, DC, he met Charlotte Park who worked there as a graphic artist and later became his wife. The couple moved to New York City in 1945 and married in 1947. Brooks resumed friendships with artists he knew from the WPA including Philip Guston, Bradley Walker Tomlin, and Jackson Pollock. Brooks and Park were especially close with Pollock and Lee Krasner; after they moved to Long Island, Brooks and Park, soon followed, first to Montauk and later to the Springs, East Hampton, New York.

By the late 1940s, Brooks had turned away from figural painting in the social realist style and moved toward abstraction. In the early 1950s, he was experimenting with enamel, gouache, and diluted oil paints, staining various grounds in ways that produced interesting shapes, adding spontaneous splashes of color over which he painted more deliberately. In the 1960s he switched to acrylics, leading to wider use of color and broader strokes.

Peridot Gallery presented Brooks' first solo exhibition in 1949. He helped organize and participated in the famous Ninth Street Show of 1951, earning critical acclaim. This assured him a place in two of the Museum of Modern Art's most important exhibitions of the period, Twelve Americans (1956) and New American Painting (1958). He showed at the Stable Gallery, Kootz Gallery, Martha Jackson Gallery and others. During his lifetime Brooks enjoyed five traveling retrospective exhibitions.

Prizes and awards included Carnegie Institute's Pittsburgh International Exhibition 5th prize for painting (1952), The Art Institue of Chicago's 62nd American Exhibition Logan Medal and Prize for Painting (1957) and 64th American Exhibition Harris Prize (1961), The National Arts Club Medal (1985), and a citation of appreciation for Flight from The North Beach Club Marine Air Terminal, LaGuardia Airport (1986).

Brooks taught for nearly three decades: drawing at Columbia University (1947-1948) and lettering at Pratt Institute (1948-1955); was a visiting critic, Yale University (1955-1960), University of Pennsylvania (1971-1972), and Cooper Union (1975); and served on the Queens College faculty (1966-1969). In addition, he was an artist-in-residence at The American Academy in Rome (1963), the recipient of a Guggenheim Fellowship (1969), and a National Endowment for the Humanities Grant (1973).

Brooks developed Alzheimer's disease around 1985 and died in East Hampton, New York in 1992.

Charlotte Park graduated from the Yale School of Fine Art (1939) and during World War II, when working in Washington, D.C., she met James Brooks. They moved to New York City in 1945, where she studied with Australian artist Wallace Harrison. Park taught children's art classes at several private schools in the early 1950s and at the Museum of Modern Art, 1955-1967.

Park's approach to Abstract Expressionism featured curved or linear shapes with vibrant colors and dynamic brushstrokes. Tanager Gallery presented her first solo show in 1957 and her work was included in numerous group exhibitions from the 1950s through 2000s, mainly in New York City and Long Island. After Park's second solo exhibition, held in 1973 at Elaine Benson Gallery, Bridgehampton, New York, interest in her work revived; other one-person shows followed at Guild Hall (1979), Ingber Gallery (1980), and paired with James Brooks at Louise Himelfarb Gallery. The National Institute of Arts and Letters honored Park with its Art Award in 1974. Her work is in the permanent collections of the Parrish Art Museum, Guild Hall Museum, Telfair Museum of Art, and in many private collections.

Charlotte Park died in 2010.
Related Materials:
Also among the Archives of American Art's holdings are letters from James Brooks and Sean Scully, 1980-1989 addressed to Theodora ["Teddy"] S. Greenbaum, and an oral history interview with James Brooks conducted by Dorothy Seckler, 1965 June 10 and June 12.
Separated Materials:
Correspondence, interview transcripts, photographs, and printed material were loaned by James Brooks for microfilming in 1969 (reel N69-132). With the exception of an address book, a scrapbook, and a few photographs, Brooks donated almost all of the loan in 1979.
Provenance:
The majority of the collection was donated in 2013 by the James Brooks and Charlotte Brooks Foundation and an additional 1.4 linear feet donated 2017 by the Foundation. In 1979 James Brooks donated most of the material lent for microfilming in 1969.
Restrictions:
ACCESS RESTRICTED: Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access requires written permission from The James Brooks and Charlotte Park Brooks Foundation. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The James Brook and Charlotte Park 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:
World War, 1939-1945  Search this
Painters -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Genre/Form:
Sketchbooks
Sound recordings
Transcripts
Interviews
Drawings
Photographs
Diaries
Citation:
James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.broojame
See more items in:
James Brooks and Charlotte Park papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-broojame

Victoria Hutson Huntley papers

Creator:
Huntley, Victoria Hutson, 1900-1971  Search this
Names:
Old Bergen Art Guild  Search this
Philadelphia Museum of Art  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Photographs
Designs
Date:
1929-1999
Summary:
The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from 1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle the professional activities and personal life of the lithographer and muralist.
Scope and Content Note:
The papers of Victoria Hutson Huntley measure 1.3 linear feet and date from1929-1999. Biographical material, correspondence, writings, artwork, printed material and photographs chronicle professional activities and personal life of the lithographer, painter, and muralist.

Biographical materials highlight Huntley's achievements. Her professional correspondence illustrates an active career; correspondents include Old Bergen Art Guild and Philadelphia Museum of Art.

Autobiographical notes convey her passion for art, feelings about her health, and the hindrances faced by female artists. Her other writings include "An Artist's Experience in the Everglades" and "On Making a Lithograph," articles that reflect her personality, ideas, rationale and procedures for executing her work.

Artwork consists of a mural design and 10 sketchbooks that also include notes. Printed material includes newspaper clippings and pamphlets that provide insight into the art world of the 1930s and 1940s as it chronicles Huntley's art endeavors and exhibitions. Books are Le Colophon Book Collector's Quarterly containing a reproduction of work by Huntley, and Victoria Hutson Huntley, an article she made into a volume as a gift for her mother.

The majority of the photographs are of Huntley's artwork. They show her growth as an artist and the influences of the places she lived. Also found are some family photographs.
Arrangement:
The collection is arranged as 6 series:

Series 1: Biographical Material, 1946-circa 1968 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1954-1997 (Box 1; 0.1 linear feet)

Series 3: Writings, 1946-1999 (Box 1; 0.2 linear feet)

Series 4: Artwork, 1939-1952 (Box 1-2; 0.2 linear feet)

Series 5: Printed Materials, 1929-1999 (Box 1; 0.50 linear feet)

Series 6: Photographs, 1929-circa 1970's, undated (Box 1; 0.20 linear feet)
Biographical Note:
Victoria Hutson Huntley (1900-1971) was a painter, printmaker, muralist, and educator who worked in New York City, Florida, and New Jersey.

Beginning in 1919, Victoria Ebbels studied at the Art Students League with John Sloan, George Bridgman, Max Weber, Kenneth Hayes Miller, George Luks, and William C. Palmer. After her father's death, circa 1920, she briefly attended teacher's college and moved to Denton, Texas.

At the time of her first solo exhibition at Weyhe Gallery, New York City, in 1930, she was encouraged by Mr. Weyhe and his gallery director, Carl Zigrosser, to explore lithography. Hutson followed their suggestion. George Miller was her lithography instructor from 1930-1948. For the first five years, she devoted herself to lithography exclusively; during the first year, the Boston Museum of Fine Arts, Metropolitan Museum of Art, Art Institute of Chicago, Houston Museum of Fine Arts, and Newark Public Library purchased prints. After developing chronic health problems and undergoing surgery in 1954, the physical demands of lithography greatly limited her ability to work, and when she did, assistance was required.

Huntley considered herself to be a modern artist but felt it was going nowhere. Around 1935, she explored Cubism and other modern movements. After experimenting with other techniques she adopted the Mixed Technique, using egg emulsion underpainting with resin-oil overpainting. Subjects included lyrical landscapes of the Florida Everglades, industrial themes, people, flora, and fauna. She also painted murals commissioned by the U.S. Treasury Department Section of Fine Arts for post offices in Greenwich, Connecticut, and Springfield, New York.

From 1921-1930 she was an Associate Professor of Art at the College of Industrial Arts, which later became the State College for Women. Huntley taught painting and drawing at Birch-Wathen School in New York City. In Connecticut she was resident artist at Redding Ridge School, 1939-1942 and at Pomfret School for Boys, 1942-1946. She served on the faculty of Rollins College, Winter Park, Florida, from 1946-1953. Although Huntley stopped teaching when health problems curtailed her activities and they had to move to a cooler climate, she continued to paint and, when able, produced prints.

Victoria Hutson Huntley exhibited widely. She had solo exhibitions in New York City, Philadelphia, San Francisco, and Washington, D.C., and participated in group shows throughout the United States, and in Algeria, England, France, Italy, Scotland, South America, and Sweden.

When Kopper's Coke won The Philadelphia Print Club's Mary Collins prize for Lithography in 1932, the donor found it difficult to accept that a woman would find a factory suitable subject matter, and made it clear she had no part in selecting the winner. (When Huntley's industrial scenes were exhibited in London, it was assumed the artist was a man and she received checks written to Victor Huntley.) Huntley also won awards from the Library of Congress (1945), Association of American Artists (1946), and Society of American Graphic Artists (1950 and 1951). In 1947, the National Academy of Arts and Letters funded an Everglades expedition. The following year, a Guggenheim fellowship enabled her to create 25 lithographs in Florida.

The work of Victoria Hutson Huntley is represented in the permanent collections of many institutions, including: Metropolitan Museum of Art; Boston Museum of Fine Arts; Art Institute of Chicago; IBM Corporation; University of Florida; Art Students League Memorial Collection; Bureau of Education, Italy; Collection of the Government of Italy; and University of Glasgow, Scotland.

She married William K. Hutson in 1925 and they had one daughter. The marriage ended in divorce in 1933 and Ralph Huntley, a scientist and mathematician, became her second husband. By the following year, she was using the name Victoria Hutson Huntley professionally. His academic career took them to Connecticut, New York City, back to Connecticut, Florida, Illinois, and New Jersey. After her husband retired, the Huntleys remained in Chatham, New Jersey, where she had two studios, one for painting and another for lithographic work.

Victoria Hutson Huntley died in 1971.
Provenance:
The Victoria Hutson Huntley papers were donated by Derek Cocovinis of DDC Fine Arts, which purchased the artist's estate.
Restrictions:
Use of original material requires an appointment.
Rights:
The Victoria Hutson Huntley 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:
Women printmakers  Search this
Women artists  Search this
Printing -- Technique  Search this
Muralists -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Photographs
Designs
Citation:
The Victoria Hutson Huntley papers, 1929-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.huntvict
See more items in:
Victoria Hutson Huntley papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-huntvict
Online Media:

Rimer Cardillo printed materials

Creator:
Cardillo, Rimer  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1989-2012
Summary:
The printed materials of artist Rimer Cardillo measure 0.4 linear feet and date from 1985 to 2012. The collection is comprised of clippings including reviews of the exhibition Revelaciones / Revelations: Hispanic Art of Evanescence, exhibition announcements and catalogs, and newsletters relating to Cardillo's career as a printmaker and graphic artist.
Scope and Contents:
The printed materials of artist Rimer Cardillo measure 0.4 linear feet and date from 1985 to 2012. The collection is comprised of clippings including reviews of the exhibition Revelaciones / Revelations: Hispanic Art of Evanescence, exhibition announcements and catalogs, and newsletters relating to Cardillo's career as a printmaker and graphic artist.
Arrangement:
The collection is arranged as one series.

Series 1: Rimer Cardillo Printed Materials, 1985-2012 (Box 1; 0.4 linear feet)
Biographical / Historical:
Rimer Cardillo (1944-) is a printmaker and graphic artist in Wallkill, N.Y.

Cardillo was born in Montevideo, Uruguay. He attended the National Institute of Fine Arts in Montevideo graduating in 1968. He continued his art studies in Germany at the Weissenssee School of Art and Architecture and the Leipzig School of Graphic Arts. In 1979, Cardillo immigrated to the United States. He became a professor of printmaking at the State University of New York, New Paltz.

Cardillo has won a Guggenheim Fellowship and Figari Award among others. He has exhibited his work throughout the United States, South America, and Europe. His work can also be found in the collections of the Art Institute of Chicago, Bibliothèque Nationale de France, Instituto Nacional de Bellas Artes y Literatura of Mexico, Museum of Modern Art, Art Museum of the Americas, and in various private collections.
Provenance:
The collection was donated by Rimer Cardillo in 2015.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Graphic artists -- New York (State) -- New York  Search this
Hispanic American art  Search this
Hispanic American artists--New York (State)--New York  Search this
Printmakers -- New York (State) -- New York  Search this
Citation:
Rimer Cardillo printed materials, 1985-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cardrime
See more items in:
Rimer Cardillo printed materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cardrime

New York State Liquor Authority

Graphic artist:
Weber, Martin J.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 20.5 cm x 28.4 cm; 8 1/16 in x 11 3/16 in
Object Name:
proof, photographic
Object Type:
Photomechanical Lithographic Processes
Place made:
United States: New York, New York City
Date made:
1940s-1970s
Subject:
Technology  Search this
Drinking  Search this
ID Number:
2011.0071.131
See more items in:
Work and Industry: Graphic Arts
Communications
Art
Advertising
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ad-66a7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1411360

New York State Liquor Authority certificate design

Graphic artist:
Weber, Martin J.  Search this
Physical Description:
film (overall material)
Measurements:
overall: 23.6 cm x 30.4 cm; 9 9/32 in x 11 31/32 in
Object Name:
film, photographic
Object Type:
Photomechanical Lithographic Processes
Place made:
United States: New York
Date made:
1950s-1970s
Subject:
Technology  Search this
Drinking  Search this
ID Number:
2011.0071.051
See more items in:
Work and Industry: Graphic Arts
Communications
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-94df-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1412245

Yasuo Kuniyoshi papers

Creator:
Kuniyoshi, Yasuo, 1889-1953  Search this
Extent:
11.8 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Date:
1906-2013
Summary:
The papers of artist Yasuo Kuniyoshi measure 11.8 linear feet and date from 1906-2013. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings by Kuniyoshi and others; subject files primarily on his participation in various organizations and business dealings with American and Japanese galleries, museums, and dealers; exhibition catalogs and other printed material; photographs of Kuniyoshi and others; and artwork; exhibition and artwork records; and four scrapbooks. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.
Scope and Content Note:
The papers of artist Yasuo Kuniyoshi measure 11.8 linear feet and date from 1906-2013. The collection documents his career as a painter, graphic artist, and photographer, as well as his involvement in political, social, and art organizations, especially during World War II. Included are biographical material; correspondence; writings by Kuniyoshi and others; subject files primarily on his participation in various organizations and business dealings with American and Japanese galleries, museums, and dealers; exhibition catalogs and other printed material; photographs of Kuniyoshi and others; and artwork; exhibition and artwork records; and four scrapbooks. The collection also contains materials on Kuniyoshi's career and artwork obtained after his death by his widow Sara Mazo Kuniyoshi.
Arrangement:
This collection is arranged as 10 series. Additions to the collection received in 2014 were integrated in the finding aid according to appropriate series, but not physically integrated. Thus, box numbers may be out of order.

Series 1: Biographical Material, 1906-1990s (Boxes 1, 5; 0.2 linear feet)

Series 2: Correspondence, 1931-2004 (Boxes 1, 5-6; 1.2 linear feet)

Series 3: Writings, 1939-2000 (Boxes 1, 6; 0.4 linear feet)

Series 4: Subject Files, circa 1920s-2009 (Boxes 1-2, 6-8; 2.9 linear feet)

Series 5: Printed Material, 1921-2013 (Boxes 2-3, 8, 16; 1.5 linear feet)

Series 6: Photographs, circa 1920s-2001 (Boxes 3, 9, 15; 0.8 linear feet)

Series 7: Artwork, 1927-circa 1940s (Boxes 3, 9, OV 4; 0.2 linear feet)

Series 8: Exhibition Files, 1953-2004 (Boxes 9-10; 0.6 linear feet)

Series 9: Artwork Records, circa 1920s-2004 (Boxes 10-13, 16, 18; 3.3 linear feet)

Series 10: Scrapbooks, 1919-1978 (Boxes 13-14, 17; 0.6 linear feet)
Biographical Note:
Yasuo Kuniyoshi (1889-1953) was a Japanese-American painter, printmaker and photographer in New York, N.Y.

Kuniyoshi was born in Okayama, Japan. In 1906 he came to the United States and a year later began studying at the Los Angeles School of Art and Design. In 1910 he moved to New York and took courses at the National Academy of Design, the Independent School of Art, and the Art Students League, where he studied with Kenneth Hayes Miller. He was married to fellow artist Katherine Schmidt from 1919 to 1932. After traveling throughout Europe, they moved to the Woodstock, New York, in 1927 and took part in the Woodstock Art Colony. Kuniyoshi studied and later taught at the Art Students League summer school there. By 1930 he had established himself as an internationally known painter and graphic artist. In New York City he taught at the Art Students League, the New School for Social Research, and served as the first president of the Artists Equity Association from 1947 to 1950. Kuniyoshi was active in social organizations, especially Japanese American organizations, such as the Japanese American Committee for Democracy, and took an active role in the war effort during World War II. Yasuo Kuniyoshi died in 1953 and was survived by his second wife Sara Mazo Kuniyoshi who preserved the legacy of his work.
Related Materials:
Also found at the Archives of American Art are the Yasuo Kuniyoshi photographs of artwork, a 1948 letter from Kuniyoshi to E. P. Richardson, and checklists of Yasuo Kuniyoshi prints.
Provenance:
The collection was donated in installments, from 1969 to 1995, by Sara Mazo Kuniyoshi, Yasuo Kuniyoshi's widow. Additional papers were donated in 2014 by Stephen Diamond, Sara Mazo Kuniyoshi's nephew.
Restrictions:
A portion of the collection has been digitized. Use of material not digitized requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Yasuo Kuniyoshi's 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:
Art, Modern -- 20th century  Search this
Asian American artists  Search this
Political clubs  Search this
World War, 1939-1945 -- Japanese Americans  Search this
Photographers -- New York (State) -- New York  Search this
Japanese American art  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Yasuo Kuniyoshi papers, 1906-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuniyasu
See more items in:
Yasuo Kuniyoshi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuniyasu
Online Media:

The Feltron annual report

Title:
Feltron biennial report
Annual report of Feltron
Author:
Felton, Nicholas 1977-  Search this
Subject:
Felton, Nicholas 1977- Homes and haunts  Search this
Physical description:
volumes : illustrations, graphs, maps ; 21-26 cm
Type:
Biography
Statistics
Periodicals
Pictorial works
Artists' books
Place:
New York (State)
New York
New York (N.Y.)
Brooklyn (New York, N.Y.)
Date:
2005
2014
21st century
Topic:
Graphic artists  Search this
Human behavior  Search this
Graphic design (Typography)  Search this
Social life and customs  Search this
Call number:
N6537.F385 A2
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1084721

A catalog of New York State visual artists selected for the Creative Artists Public Service Program

Title:
C.A.P.S. ..., graphic artists, painters, photographers, sculptors
Photographers, sculptors, painters, printmakers 1972/73-1973/74
Painters, sculptors, photographers, graphic artists 1974/75-1975/76
CAPS ..., graphic artists, painters, photographers, sculptors 1976/77-
Visual art 1975/76-1976/77
Author:
Creative Artists Public Service Program  Search this
Gallery Association of New York State  Search this
Physical description:
v. : ill. ; 20-23 cm
Type:
Catalogs
Periodicals
Place:
New York (State)
Date:
1973
20th century
Topic:
Art, American  Search this
Artists--Biography  Search this
Call number:
N6530.N7 C91
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_114121

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