Interview of Lee Krasner conducted in 1972, by Doloris Holmes, for the Archives of American Art "Art World in Turmoil" oral history project.
This interview was conducted with the intention of documenting the Protest Art movement of the 1970's. In this interview, Krasner speaks of her dismay with the lack of recognition that many professional female artists receive; her resistence to joining the Club and the Irascible Eighteen; her experiences with getting exposure as a female artist; her relationship and respect for John Graham; the interest of Betty Parsons in Krasner's work; the mixed compliments received from Hofmann; her relationship with Newman; Her objection to de Kooning's "Woman" series; the Freudian aspect of Abstract Expressionism; the authoritarian/autocratic image of Rothko and Newman; the sexually biased role of the female within the Jewish Faith; the impossibility of separating content and aesthetic value; her female influence upon Pollock; her role in exposing Pollock to Matisse; her ability to network for Pollock (Herbert and Mercedes Matter, Sandy Calder, James Johnson, Sweeney, Hofmann); her ambiguity as to whether she has had the tradition female artist experience due to her association with Pollock.
Biographical / Historical:
Lee Krasner (1908-1984) was a painter in Easthampton, New York and married to Jackson Pollock.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Patrons must use transcript.
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- East Hampton Search this
7.1 Linear feet ((partially microfilmed on 7 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1909-1980
Scope and Contents:
Biographical material, correspondence, writings, project files, works of art, photographs, and printed material documenting Goodelman's work as a sculptor, his participation in the Jewish community, and his interest in socialism.
Personal and professional correspondence is with artists, art associations, museums, galleries and relief organizations, documenting Goodelman's education in Rome, New York and at L'Ecole des Beaux-Arts, Paris; his teaching career in New York, particularly with the Jefferson School of Social Sciences; and his participation in art, political and Jewish organizations, such as American Artists' Congress and the Union of American Hebrew Congregations.
Writings by Goodelman, undated and 1934, include notes, notebooks, and typescripts. There is also a typescript of Elizabeth McCausland's speech "Art and the Atom," 1947. Project files contain information regarding Goodelman's sculpting of memorial gravestones, Passover art, and the Week of Jewish Culture. Works of art by Goodelman, ca. 1920-1930's, include illustrations for the children's journals "Young Israel," "Kinder Journal" and Joseph Gaer's books "the Burning Bush" and "the Unconquered," sketches, portraiture, and figure drawings.
Photographs are of Goodelman, working and teaching sculpture; his childhood in Russia; his family, friends, and students; memorial gravestones, and works of art.
Printed material includes exhibition anouncements and catalogs, entry cards, invitations, clippings, political and art organizations information, adult and art education flyers, clippings and a photocopy of Goodelman's privately microfilmed scrapbook containing letters and printed material.
Also included are files on Goodelman's wife, Sarah, on Jewish children's schools, 1949-1950.
UNMICROFILMED: Two scrapbooks compiled by Sarah Goodelman, containing newspaper clippings, exhibition catalogs and photographs regarding the career of Aaron Goodelman, as well as business cards, addresses, scattered receipts, negatives, and miscellany.
Biographical / Historical:
Sculptor, illustrator, lecturer, teacher; New York, N.Y. Another apparent name spelling is Aharon Gudlman.
Provenance:
Donated 1977 by Goodelman, and in 1984 by his heir, Connie Weinstock and microfilmed in 1994 with funds provided by the Philip Birnbaum Foundation. Additional scrapbooks were donated in 2008 by Weinstock and do not appear on microfilm.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Illustrators -- New York (State) -- New York Search this
The papers of New York painter, writer, and educator Elias Newman measure 1.1 linear feet and date from 1922 to 1981. Newman's participation in exhibitions and various art related organizations, notably Artists Equity Association, is documented through biographical material, correspondence, notes, writings, organizational records, printed material, and photographs.
Scope and Content Note:
The papers of New York painter, writer, and educator Elias Newman measure 1.1 linear feet and date from 1922 to 1981. Newman's participation in exhibitions and various art related organizations, notably Artists Equity Association, is documented through biographical material, correspondence, notes, writings, organizational records, printed material, and photographs.
Arrangement:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Material, 1935-1975 (Box 1; 1 folder)
Series 2: Correspondence, 1927-1980 (Box 1; 8 folders)
Series 3: Writings, circa 1939-1976 (Box 1; 4 folders)
Series 4: Artists Equity Association Records, circa 1950-1979 (Box 1; 0.3 linear feet)
Series 5: Printed Material, 1922-1981 (Box 1, OV 2; 0.4 linear feet)
Series 6: Photographs, 1923-1975 (Box 1; 9 folders)
Biographical Note:
Elias Newman (1903-1999) was a painter, writer, lecturer, and teacher in New York, N.Y. Born in Stashow, Poland in 1903, Newman arrived in the United States in 1913, and became a naturalized citizen in 1928. He studied at the National Academy of Design from 1919-1920, and at the Educational Alliance Art School from 1920-1925. He also studied at the Academie Chaumiere in Paris. After 1925, Newman participated in many exhibitions, acted as art director of the Palestine Pavilion at the New York World's Fair in 1939, organized the Palestine Artists and Sculptors Association, and was director of the National Society of Painters in Casein in 1963 and 1967-1971. From 1970-1975, Newman served as president of the Artists Equity Association, the organization which played the most significant role in his career.
Provenance:
The collection was donated in 1977 and 1981 by Elias Newman.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Primarily exhibition catalogs and announcements, and newspaper and magazine clippings documenting Margoulies' participation in various exhibitions in the New York City area, New Jersey and elsewhere. Also included are ca. 20 letters to Margoulies, 1946, 1953-1967, 1973-1984, mostly regarding exhibitions; 6 photographs of Margoulis as a juror of the Republic Art Guilds exhibition, and one portrait of her; and biographical material.
Biographical / Historical:
Sculptor; New York, N.Y.
Provenance:
Donated 1990 by Berta Margoulies.
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.
Biographical material, letters, financial material, an interview transcript, notes, writings, a scrapbook, printed material, photographs, and an audio tape document Gikow's career as a painter of social commentary.
REEL D230: Exhibition catalogs, 1948-1965; a scrapbook containing a biographical account and clippings, 1937-1965; an undated photograph of Gikow; and 164 photographs of works of art.
REELS 4874-4875: Biographical accounts, 1959-1971; 7 passports, 1947-1972; letters, 1949-1981, from Gikow to critics and galleries, and from colleagues including Karl Fortess and Lee Nordness, and one letter each from Werner Drewes, Jo Hopper, and Raphael Soyer; a file concerning the Kent State Memorial Exhibition, 1971; receipts, 1951-1978; price lists, 1967-1980; a 3 p. interview transcript; an engagement calendar, 1971; miscellaneous notes and writings by Gikow and others; printed material, including clippings, 1947-1979; exhibition announcements and catalogs, 1940-1982; a book, History of the Jews in America, 1957, by Deborah Pessin, illustrated by Gikow; a book, Gikow, 1970, by Matthew Josephson, with reproductions of art works used in the book; and brochures; photographs of Gikow, her husband Jack Levine, her studio, artists, including Chaim Gross, Jacob Lawrence, and Raphael Soyer, and works of art; and an untranscribed reel-to-reel tape of an interview of Gikow conducted by Karl Fortess.
UNFILMED: Correspondence; photographs of Gikow and of her art work, including one of her demonstrating mural painting at the 1939 World's Fair; reproductions of her book and magazine illustrations; and a yearbook, 1933, from the Women's Art School at The Cooper-Union, where Gikow studied with John Steuart Curry. Also found are writings by Gikow including reminiscences about her life as an artist and as an artist's wife; address books; and exhibition announcements and catalogs.
Biographical / Historical:
Painter, mural painter, illustrator, serigrapher. Died 1982. Gikow was born in the Russian Ukraine, emigrating to New York City with her parents in 1920. She studied under John Steuart Curry at the Cooper Union Art School from 1932-1935. She also studied with Louis Ross, Louis Schanker and Raphael Soyer. After working as an assistant mural painter on the Federal Art Project, Gikow was awarded a commission to paint a mural for the Bronx Hospital. Her book illustrations include Crime and Punishment, and History of the Jews in America. Gikow was married to painter Jack Levine.
Provenance:
Material on D230 was lent by Gikow, 1965. Gikow and her husband Jack Levine donated the remainder in 1978 and 1983, which was microfilmed in 1994 with grants from the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation. After microfilming, an addition to the collection was donated by Levine in May 1999. Papers of Jack Levine donated at the same time have been cataloged separately.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Serigraphers -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
The papers of artist Judith Weinshall Liberman measure 8.6 linear feet and date from circa 1940-2003. The papers consist of biographical material regarding Liberman's family and art history; images, ephemera, and correspondence related to Liberman's artwork, exhibitions, and creative process, especially related to her Holocaust Wall Hangings series; sound and video recordings of interviews, lectures, pannel discussions, and show openings; papers related to her career as a writer; and some papers related to her academic career.
Scope and Contents:
The papers of artist Judith Weinshall Liberman measure 8.6 linear feet and date from circa 1940-2003. The papers consist of biographical material regarding Liberman's family and art history; images, ephemera, and correspondence related to Liberman's artwork, exhibitions, and creative process, especially related to her Holocaust Wall Hangings series; sound and video recordings of interviews, lectures, panel discussions, and show openings; papers related to her career as a writer; and some papers related to her academic career.
The bulk of the collection was in labeled binders upon donation; the contents of these binders were kept intact. The binders were created by Judith Liberman circa 2003, and each consists of introductions to the material as well as a rough table of contents. The binders cover a variety of topics including biographical and geneological histories; records of Liberman's donated material; papers related to Liberman's major series of works and exhibitions; and photographs and slides of Liberman's work. This collection also includes videocassette and audiocassette tapes containing lectures, interviews, pannel discusions, and show openings.
In addition to Liberman's career as an artist, material related to Liberman's education as a lawyer as well as her life-long interest in writing fiction and non-fiction is found in this collection. Academic papers consist of ephemera, transcripts, correspondence, and resumes; and material related to Liberman's writing includes drafts, published copies, interviews, and reviews. Most notable are a published copy of her children's book The Bird's Last Song, with related interviews, and an edited manuscript of Miriam's Diary.
Arrangement:
This collection is arranged as 5 series.
Series 1: Biographical Material, circa 1940-2003 (1.1 linear feet; Boxes 1-2, 9-10)
Series 2: Writings, circa 1947-2003 (14 folders; Box 2)
Series 3: Art Projects, 1987-2003 (4.5 linear feet; Boxes 2-6, 9)
Series 4: Printed Material, circa 1972-2003 (8 folders; Boxes 7, 9)
Series 5: Photographs, circa 1960-2003 (1.0 linear foot; Boxes 7-8)
Biographical / Historical:
Judith Weinshall Liberman (1929- ) is a painter, ceramicist, and illustrator in Boston, Massachusetts.
Born in Haifa, Israel (then Palenstine), Judith Weinshall Liberman came to the United States after completing high school in Haifa. She earned four American degrees, including a J.D. degree from the University Chicago Law School and an LL.M. from the University of Michigan Law School. After settling in the Boston area in 1956, she studied art at the Art Institute of Boston, School of the Museum of Fine Arts, DeCordova Museum School, and the Massachusetts College of Art. She also received an M.F.A. degree in Art Education from Boston University School for the Arts.
Liberman explored a variety of materials and techniques throughout her career including oil and acrylic paint, block printing, transfer printing, sewing, embroidery, and ceramics. Her major series of work, Holocaust Wall Hangings, Holocaust Paintings, and Self Portraits of Holocaust Artist--received critical acclaim as she exhibited her work in solo and group exhibitions in the United States and Israel. She eventually donated a majority of her artwork to private, public, and religious institutions.
Provenance:
This collection was donated by Judith Weinshall Liberman in 2003.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Judith Weinshall Liberman papers, circa 1940-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Letters; photographs of Geber in her studio; photographs and slides of Geber's sculpture; three illustrated travel diaries, 1969, and 1974-1975; lecture notes; biographical data; price lists; a proposal for a documentary about Geber and Lucille Spiro-Smith, "Two Women: Profiles in Vision," by Myra Alperson and Cathy Hall Rikhye; thirteen sketches and three monotypes; clippings, exhibition announcements and other printed material.
Biographical / Historical:
Sculptor, instructor; New York, N.Y. Born 1910. Died 1990.
Provenance:
Donated 1981 by Hana Geber.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.
Scope and Content Note:
The papers of painter, printmaker, and sculptor Peter Krasnow (1886-1979) and his wife, writer Rose Krasnow (1885-1984), measures 6.9 linear feet and date from 1914 to 1984. Papers include biographical materials, a sound recording, correspondence, essays, poetry, short stories, notes, transcripts of lectures and radio talks, five diaries of Peter Krasnow, personal business records, exhibition catalogs and announcements, clippings, magazines, five sketchbooks, sketches and drawings in multiple media, prints, and photographs.
Biographical materials include documentation of Rose Krasnow's service as a member of the Army Air Forces Ground Observer Corps, programs and other materials from various memorial services, a sound recording with commentary on a Peter Krasnow exhibition, and documentation of a project to publish Rose Krasnow's poetry.
Correspondence consists of Peter and Rose Krasnow's personal and professional correspondence as well as a small amount of third party correspondence. Personal correspondence with friends and family involves health, work, daily events, and other life updates. Professional correspondence with art dealers, curators, gallery and museum directors, collectors, and colleges and universities concerns exhibitions, sales, loans, and donations of artwork. Primary correspondents include Leslie Burton and Harriet Blades, Dan Budnik, Grace Clements, Conrad Crocker, Dudley Howe, Lilly Weil Jaffe, Grace L. McCann Morley, Dale and Elaine Owen, Aimée Brown Price, Ernest and Ina Raboff, Irving Stone, and Edward Weston. There are also numerous scattered letters from artists, writers, curators, critics, museums, arts associations, and Jewish organizations.
Writings and notes are by Peter Krasnow, Rose Krasnow, and others. Writings by Peter Krasnow include a draft autobiography, essays, lectures on wood sculpture, typescripts, notes, and writings on art. Writings by Rose Krasnow include essays, plays, poetry, and short stories. Writings by others consist of essays, lectures, notes, plays, poetry, short stories, and typescripts. Other writers include Grace Clements, Fidel Danieli, Robert DeLuce, Alfred S. Drake, and Philip Noer. There are also five handwritten personal diaries by Peter Krasnow.
Personal business records include Rose Krasnow's bank book from 1980, Peter Krasnow's naturalization certificate and passport, an inventory of paintings on index cards, tax applications for the Peter Krasnow Arts Foundation, materials relating to Peter Krasnow's estate and the purchase of his artwork, and various receipts.
Printed materials include exhibition catalogs and announcements, clippings, bound books, magazines and journals, a Chicago Society of Artists block print calendar, and two printed posters from Peter Krasnow's exhibit at the Galerie Pierre in 1934.
Artwork is mostly by Peter Krasnow, and includes five sketchbooks, sketches and drawings, watercolors, preliminary studies in oil, and prints.
Photographs include personal photographs, photographs of major sculpture projects in progress, and artwork. Personal photographs are of Peter and Rose, family members, and friends, as well as a few scattered images of landscapes and architecture, possibly travel photographs. There are also photographs of Edward and Flora Weston. There are three photograph albums, one contains images of Krasnow's relief sculptures for the Sinai Temple's Kohn Chapel. Two photograph albums were compliled by Susan Ehrlich for Peter and Rose Krasnow. Also found are photographs of works of art. Some of the photographs in the papers were taken by Dan Budnik.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, circa 1942-1983 (Boxes 1, 6; 7 folders)
Series 2: Correspondence, circa 1930-1984 (Box 1; 0.4 linear feet)
Series 3: Writings and Notes, circa 1916-1980 (Boxes 1-2; 1.3 linear feet)
Series 4: Diaries, circa 1955-1968 (Box 2-3; 5 folders)
Series 5: Personal Business Records, circa 1914-1982 (Box 3; 0.4 linear feet)
Series 6: Printed Materials, circa 1922-1981 (Boxes 3-4 and OV 9; 1.1 linear feet)
Series 7: Artwork, circa 1918-1980 (Boxes 4-6 and OV 7-8, 10; 1.5 linear feet)
Series 8: Sketchbooks, circa 1918-1973 (Box 5; 5 folders)
Series 9: Photographs, circa 1914-1981 (Boxes 5-6; 0.6 linear feet)
Biographical Note:
Peter Krasnow (1886-1979) was a painter, sculptor, and printmaker who lived and worked primarily in Southern California. His wife, Rose Krasnow (1885-1984), was a prolific writer of poems, short stories, and plays.
Peter Krasnow was born on August 20, 1886 in the Ukraine, Russia to Jewish parents. His father's work as an interior designer inspired Krasnow's interest in art.
In 1907, Krasnow emigrated to the United States, first living in Boston. He moved to Chicago in 1908 to attend the Art Institute of Chicago, where he met his future wife, Rose Bloom. To support himself during his studies, Krasnow worked as a security officer and performed other manual jobs. He graduated from the Art Institute of Chicago in 1916 and married Rose that same year.
The Krasnows moved to New York in 1919. In New York, Krasnow experienced some artistic success, participating in group and solo exhibitions at the Whitney Studio Club. During this time period, Krasnow often painted city scenes using a dark color palette.
In 1922, the Krasnows moved to Los Angeles, California. Krasnow built a studio near Glendale in 1923, on land purchased from photographer and friend Edward Weston. The studio also served as the Krasnows' main residence for the rest of their lives. In 1923 in Los Angeles, Krasnow exhibited with the Group of Independent Artists, which included Stanton Macdonald-Wright, Boris Deutsch, Nick Brigante, Ben Berlin, and other noteworthy artists. During his first years in California, Krasnow mostly created watercolor paintings, including a series of landscapes, using a lighter color palette than his earlier works. In the 1920s, Krasnow also accepted commissions for carved wood reliefs at the Temple Emmanu-El in San Francisco and the Sinai Temple in Los Angeles.
Krasnow received a grant in 1931, and he and Rose temporarily relocated to the Dordogne region of France, where they lived until 1934. During this time, Krasnow painted a series of watercolors and paintings of the French landscape. Before returning to the United States, Krasnow exhibited these landscapes at the Galerie Pierre.
After returning to California, Krasnow began creating carved wood sculptures, which he named 'demountables,' often using wood from trees on his property. Krasnow created these sculptures to celebrate the organic shapes inherent in wood.
In 1934, Krasnow returned to painting, this time creating bright, colorful, geometric designs which often incorporated symbolism from his Jewish heritage. Krasnow focused on these paintings through the remaining years of his life. In 1977, Krasnow received a fellowship from the National Endowment for the Arts.
Peter Krasnow died on October 30, 1979 in Los Angeles. Rose Krasnow died five years later, in 1984.
Provenance:
The Peter and Rose Krasnow papers were donated in several increments between 1976 and 1998 by Peter Krasnow, the Estate of Peter Krasnow, and the Peter and Rose Krasnow Foundation.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of artist and art educator Mel Alexenberg measure 1.8 linear feet and date from circa 1950-1980. Included are correspondence, project files, sketches, notes, printed material and slides of works of art.
Biographical / Historical:
Mel Alexenberg (1937- ) is an artist and art educator in New York, New York and Ra'anana, Israel.
Provenance:
Donated 2018 by Mel Alexenberg.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Arnason, H. H., "Jacques Lipchitz - The Maquettes" (1963)
Cocteau, Jean, Untitled
Cohen, Ruth, "Jacques Lipchitz Exhibition"
Ingersoll, R. Sturgis, Foreword to Fine Arts Associates catalog
Meeropol, Robert, Untitled Student Paper
Rewald, John, Untitled
Shenker, Israel, "Jacques Lipchitz"
Sweeney, James Johnson, "Jacques Lipchitz"
Sweeney, James Johnson, Address at Dedication Ceremony of -- Joie de Vivre -- , Albert Einstein College of Medicine
Tucker, Jean S., Student Paper, "An approach to -- Mother and Child -- , 1949, by Jacques Lipchitz"
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.
Personal data; scrapbooks; photographs; correspondence; exhibition catalogs; writings; and printed materials.
REEL D283: Biographical material; exhibition catalogs; writings by Friedman; photographs; and three scrapbooks.
UNMICROFILMED: Biographical data; routine business correspondence; notes and writings; price lists; three scrapbooks; personal photographs and photographs of works of art; reproductions; catalogs; and printed material.
REEL 75: Exhibition catalogs; photographs; and one reproduction of his work.
Biographical / Historical:
Painter; New York, N.Y. Born in Budapest.
Provenance:
Material on reel D283 lent for microfilming, 1966; portions subsequently donated 1976. Remainder donated 1966-1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
The scattered papers of painter and collector Betty Esman measure 0.9 linear feet and date from 1936 to 1979. Found are artworks, artist files, biographical material, correspondence, photographs of Esman and others, printed material, and a mixed media scrapbook. Of note are files on Ray Johnson which include mail art addressed to and collected by Esman.
Scope and Contents:
The scattered papers of painter and art collector Betty Esman measure 0.9 linear feet and date from 1936 to 1979. Found are artworks, artist files, biographical material, correspondence, photographs of Esman and others, printed material, and a mixed media scrapbook. Of note are files on Ray Johnson which include mail art addressed to and collected by Esman.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Betty Esman (1904-1996) was a painter, collector, and art patron in New York City, New York. Esman studied at the Syracuse University College of Fine Arts and the Art Students League. In the 1950s, Esman taught painting at Ball State College. She maintained personal and professional relationships with artists Ray Johnson, Rufino Tamayo, Jacques Lipchitz and others.
Provenance:
Betty Esman donated her papers to the Archives of American Art in several installments between 1986 to 1994.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art patrons -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Collectors -- New York (State) -- New York Search this
Biographical material, correspondence, business records, notes and writings, sketchbooks, printed material, and photographs reflect Weinberg's career as a painter and printmaker, primarily of abstract forms based on the human figure. There are also files pertaining to Weinberg's father, Arthur Henry Kimball.
REELS 837-839: Correspondence, 1927-1970, including letters from Bert Anapol, Ben-Zion, Alice Trumbull Mason, and Paul E. Pross, Jr; 4 artist's statements; a notebook listing works of art; miscellaneous notes and typescript fragments; clippings, 1948-1970; exhibition announcements and catalogs, 1948-1970; 14 sketchbooks, 1950-1961; 4 pages from a guest book, 1959, price lists, 1960-1970, consignment receipts, 1964-1969, 2 contracts for art rental services, 1954-1960, press releases, 1959-1966, and a book jacket for LOW VOICES by Paul E. Pross, illustrated by Weinberg; material relating to her father Arthur Kimball includes a biographical account, 4 photographs of Kimball, one with Weinberg, 1908-1933, 12 photographs of works of art, 4 sketchbook pages, and 4 clippings.
REELS 4864-4865: Biographical documents; a file on Arthur Kimball containing an exhibition catalog, 1932, and 11 photographs of his art work; letters received, 1927-1983, primarily relating to exhibitions and her donation of work to art institutions; notes and writings, including ideas for inventions, 1945; 14 notebooks, 1949-1974, containing notes on art history, printmaking techniques, and lists of works; 12 lists of works, some with prices, 1967-1975; a typescript for a tape on Weinberg's biblical work; and a typescript "Thoughts and Suggestions for the Art Student"; 17 sketchbooks, 1968-1981; clippings, 1921-1983; exhibition announcements and catalogs, 1948-1983; brochures and prospectuses; and photographs of Weinberg and her work, 1950-1969.
UNMICROFILMED: Handwritten list of collectors who own Weinberg's works; lists of works owned by Evanston Hospital and the University of Illinois (Chicago); correspondence with collectors.
Biographical / Historical:
Painter, printmaker; Chicago, Ill. Born in New York City, Weinberg was the daughter of Arthur Henry Kimball (originally named Kaiser), a designer, garment manufacturer, and painter. After moving to Chicago with her family in 1909, Weinberg studied printmaking with Max Kahn at the Art Institute of Chicago, with Misch Kohn at the Institute of Design at the Illinois Institute of Technology, and painting with Gerald Landt at the Summer School of Painting in Saugatuck, Michigan. Weinberg was also employed in advertising and public relations work and was a free-lance writer.
Provenance:
Donated 1971-1987 by Helen Joy Weinberg. Microfilmed 1994 with grants from the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
A catalog of works of art by American artists, organized under the auspices of ICOR (Idishe Kolonizatsie Organizatsie in Rusland). The works were donated by American artists to be placed in the State Museum of Biro-Bijan, U.S.S.R.
Biographical / Historical:
ICOR (Idishe Kolonizatsie Organizatsie in Rusland), also known as the Organization for Jewish Colonization in the Soviet Union, was an organization in North America established to support the collective settlement of Jews.
Other Title:
Biro-Bidjan, USSR [Microfilm title]
Provenance:
The relationship of the lender, Dewey Albinson, to the materials lent is uncertain.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Biographical accounts, letters, notes, writings, art work, scrapbooks, printed material, and photographs document the careers of William Meyerowitz and his wife Theresa Bernstein, both painters and printmakers.
REELS D285-D285a: Letters, 1918-1967, from patrons and colleagues, including John Taylor Arms, Edwin Blashfield, Maxim Karolik, Duncan Phillips, and John Weichsel; exhibition announcements and catalogs, 1920-1967; 35 photographs of art works; a scrapbook, 1923-1944, containing exhibition announcements and catalogs, a clipping, and a photograph of an art work; 16 drawings; 3 prints; a list of Bernstein's work; 2 poems; a 4-page typescript "Reflections on the Art Status" by Bernstein; a typescript concerning painting in America by Oscar Bluemner; miscellaneous manuscripts, undated and 1964; 2 receipts for gifts of art work, 1927 and 1957; and a copy of the by-laws of the Cape Ann Arts Council, 1955.
REEL N69-137: Three exhibition catalogs, 1969, for works of Meyerowitz and Bernstein.
REEL 4866: Biographical accounts; 2 award certificates for Bernstein; letters, 1921-1978, from patrons and colleagues, including Oliver Wendell Holmes, Homer Saint-Gaudens, and Lynd Ward; 3 lists of Bernstein's works; 7 poems; a manuscript "On Portraiture"; a typescript by Bernstein about Meyerowitz' work; 22 drawings; 1 print; a scrapbook of clippings, 1915-1918; a scrapbook, undated and 1931, containing a clipping, a photograph of an art work, and exhibition catalogs; clippings, 1929-1978; a reprint "On the Need of Art" by Meyerowitz, 1944; exhibition announcements and catalogs, 1921-1977; reproductions of art works; a card advertising a summer art course taught by Meyerowitz and Bernstein; 10 photographs of the artists, 1930-1962; and 19 photographs of art works.
Biographical / Historical:
Painters and printmakers; New York, N.Y. William Meyerowitz was born in Russia in either 1889 or 1898. Moving to New York in 1908, he studied at the National Academy of Design from 1912-1916. He married Theresa Bernstein in 1918, and travelled in Europe from 1922-1923. During his exhibition at the Corcoran in 1930, he met Oliver Wendell Holmes, who became a patron and a subject for later work. Theresa Bernstein was born in Philadelphia and studied at the Philadelphia School of Design, the Pennsylvania Academy of the Fine Arts, and continued her studies at the Art Students League in New York. She died on Feb. 13, 2002, and was generally believed to be 111, though she could have been as old as 116.
Provenance:
Donated 1966-1978 by Mr. and Mrs. William Meyerowitz. Microfilmed 1994 with funding provided by the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Etching -- New York (State) -- New York Search this
