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Jacques Maroger papers, 1923-1990

Creator:
Maroger, Jacques, 1884-1962  Search this
Subject:
Ladew, Harry  Search this
Anquetin, Louis  Search this
Dufy, Raoul  Search this
Fry, Roger Eliot  Search this
John, Augustus  Search this
Kelly, Gerald, Sir  Search this
Toudu, Sure  Search this
Verne, Henri  Search this
Maryland Institute, College of Art  Search this
Musée du Louvre  Search this
Evergreen House Foundation (Baltimore, Md.)  Search this
Ferargil Galleries  Search this
Galerie Louis Carré  Search this
Grand Central Art Galleries  Search this
Sagittarius Gallery (New York, N.Y.)  Search this
Six Realists Gallery (Baltimore, Md.)  Search this
Topic:
Sculptors -- United States -- Interviews  Search this
Artists' studios -- Photographs  Search this
Artists' materials  Search this
Record number:
(DSI-AAA_CollID)6352
(DSI-AAA_SIRISBib)215088
AAA_collcode_marojacq
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215088

Morris Louis and Morris Louis Estate papers

Artist:
Louis, Morris, 1912-1962  Search this
Names:
André Emmerich Gallery  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Robert Pierce/Films, Inc.  Search this
Bocour, Leonard, 1910-1993  Search this
Brenner, Marcella, 1912-2007  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Noland, Kenneth, 1924-2010  Search this
Truitt, Anne, 1921-2004  Search this
Extent:
17.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Interviews
Photographs
Date:
circa 1910s-2007
bulk 1965-2000
Summary:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Scope and Contents:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
Arrangement:
This collection is arranged as 2 series.

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Biographical / Historical:
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Related Materials:
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
Provenance:
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Morris Louis and Morris Louis Estate 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:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Painters -- United States  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Sound recordings
Interviews
Photographs
Citation:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.louimorr
See more items in:
Morris Louis and Morris Louis Estate papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-louimorr
Online Media:

Linda Bihun-Werner writings and interviews, 1992

Creator:
Bihun-Werner, Linda  Search this
Type:
Sound recordings
Interviews
Place:
Baltimore (Md.)
Topic:
Artists -- Maryland -- Baltimore -- Interviews  Search this
Art, Modern -- 20th century -- Maryland -- Baltimore  Search this
Record number:
(DSI-AAA_CollID)6496
(DSI-AAA_SIRISBib)215707
AAA_collcode_bihulind
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215707

Jacques Maroger papers

Creator:
Maroger, Jacques, 1884-1962  Search this
Names:
Evergreen House Foundation (Baltimore, Md.)  Search this
Ferargil Galleries  Search this
Galerie Louis Carré  Search this
Grand Central Art Galleries  Search this
Maryland Institute, College of Art  Search this
Musée du Louvre  Search this
Sagittarius Gallery (New York, N.Y.)  Search this
Six Realists Gallery (Baltimore, Md.)  Search this
Anquetin, Louis, 1861-1932  Search this
Dufy, Raoul, 1877-1953  Search this
Fry, Roger Eliot, 1866-1934  Search this
John, Augustus, 1878-1961  Search this
Kelly, Gerald, Sir, 1879-1972  Search this
Ladew, Harry  Search this
Toudu, Sure  Search this
Verne, Henri, b. 1880  Search this
Extent:
1 Linear foot ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1923-1990
Scope and Contents:
Biographical material; letters; business records; writings; notes and notebooks; printed material; photographs.
Included are a biographical sketch; letters, 1924-1958, from Louis Anquetin, Raoul Dufy, Roger Fry, Augustus John, Gerald Kelly, and Sure Toudu; letters from Henri Verne of the Louvre Museum regarding Maroger's appointment as technical director of conservation for the Louvre, 1930-1939; business records, 1948-1962, containing correspondence and receipts from galleries, museums, and publishers regarding Maroger's paintings and his book The Secret Formulas and Techniques of the Masters, among them Galerie Louis Carre & Co. (Paris), Grand Central Art Galleries (New York City), Studio Publications, and Thomas Y. Crowell publishers; a typescript of a speech delivered by Maroger at the "Conference de Londres"; typescript chapters from his book; writings by unidentifed authors on the preparation of heated oil for painting, 1923 and paint mediums, 1949; notes, undated and 2 notebooks, 1923-1937, containing research on paint mediums, pigments, techniques and the artists who used them; a scrapbook of clippings, 1930-1935 mainly from French newspapers regarding his research, and one, 1941-1949, from Baltimore and New York papers about his students at the Maryland Institute, College of Art and exhibitions of his paintings; loose clippings, 1950-1964; exhibition announcements and catalogs, 1947-1962, from Maroger's group and one-man shows at Ferargil Galleries, the Grand Central Art Galleries, including the Maroger Baltimore Group of Painters which showed there, Evergreen House Foundation, Sagittarius Gallery, the Six Realists Gallery, and elsewhere; miscellaneous printed material, 1948-1966; and photographs, 1962, 1990 and undated and a photo album, 1953-1971, of Maroger, his wife Olga, Evergreen House, and works of art (annotated with size and price); of Harry Ladew and a painting of Ladew by Maroger; and of painted furniture, possibly examples for Maroger's painted furniture designs of the Goblins Tapestries.
Biographical / Historical:
Painter, conservator; Paris, France, New York, N.Y., and Baltimore, Md. In the 1930s, Maroger was technical director of the laboratories of the Louvre Museum, a professor at the School of the Louvre, and President of the Association of French Restorers. He received the Legion of Honor in 1937. Maroger came to the U.S. in 1939 and taught at the Parsons School of Design and for 20 years at the Maryland Institute of Art in Baltimore. He studied the paint mediums of the masters, and outlined them in his book, The Secret Formulas and Techniques of the Masters (New York: Studio Publications, 1948).
Provenance:
Lent for microfilming 1992 by Simone LeFaivfre, sister of Maroger's widow Olga.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Conservators  Search this
Painters -- Maryland -- Baltimore  Search this
Topic:
Sculptors -- United States -- Interviews  Search this
Artists' studios -- Photographs  Search this
Artists' materials  Search this
Identifier:
AAA.marojacq
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marojacq

Maren Hassinger papers

Creator:
Hassinger, Maren  Search this
Names:
Maryland Institute, College of Art  Search this
Nengudi, Senga, 1943-  Search this
Extent:
11.3 Linear feet
4.55 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Video recordings
Diaries
Date:
1955-2018
Summary:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)
Biographical / Historical:
Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.
Provenance:
The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.
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 born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference 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.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Educators -- Maryland -- Baltimore  Search this
Performance artists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Video recordings
Diaries
Citation:
Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hassmare
See more items in:
Maren Hassinger papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hassmare

Sam Gilliam papers, 1957-1989

Creator:
Gilliam, Sam, 1933-  Search this
Subject:
Andrews, Benny  Search this
Driskell, David C.  Search this
Gilliam, Dorothy Butler  Search this
Krebs, Rockne  Search this
Mondale, Walter F.  Search this
Carl Solway Gallery  Search this
Philadelphia Museum of Art  Search this
Studio Museum in Harlem  Search this
Type:
Interviews
Photographs
Prints
Scrapbooks
Sketches
Sound recordings
Transcripts
Topic:
Art -- Study and teaching  Search this
Color-field painting -- Washington (D.C.)  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Washington Color School (Group of artists)  Search this
African American artists  Search this
Record number:
(DSI-AAA_CollID)9584
(DSI-AAA_SIRISBib)211785
AAA_collcode_gillsam
Theme:
Sketches & Sketchbooks
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211785
Online Media:

Oral history interview with Herman Maril

Interviewee:
Maril, Herman  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Cummington School of the Arts -- Faculty  Search this
King-Smith Playhouse and School of Theatre Arts (Washington, D.C.) -- Faculty  Search this
Maryland Institute, College of Art -- Students  Search this
Philadelphia Museum of Art -- Faculty  Search this
Washington Workshop Center for the Arts -- Faculty  Search this
Argento, Mino, 1927-  Search this
Cheney, Sheldon, 1886-  Search this
Cézanne, Paul, 1839-1906  Search this
De Kooning, Willem, 1904-1997  Search this
Dows, Olin, 1904-1981  Search this
Giotto, 1266?-1337  Search this
Gross, Chaim, 1904-1991  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kline, Franz, 1910-1962  Search this
Matisse, Henri, 1869-1954  Search this
O'Hara, Eliot, 1890-1969  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Extent:
39 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 September 5
Scope and Contents:
An interview of Herman Maril conducted 1965 September 5, by Dorothy Seckler, for the Archives of American Art.
Maril speaks of growing up in Baltimore, Maryland.; attending the Maryland Institute of Fine Arts; visiting museums in the Washington, D.C. area; exhibiting his paintings in Washington, D.C. galleries and New York City galleries; working for the Treasury Art Project; surviving the Great Depression; teaching at the Cummington School of Art in Cummington, Massachusetts; serving in the Army Air Corps during WWII; painting murals with the Public Buildings Administration; teaching at the King-Smith School, the Washington Workshop of the Arts, the Philadelphia Museum of Art, and the University of Maryland; living in Provincetown; painting and his influences; being interviewed for books and a short film. Maril also recalls Roger Frye, Paul Cézanne, Henry Roben, Charles Walther, Franklin Delano Roosevelt, Edward Rowan, Eleanor Roosevelt, Chaim Gross, Henri Matisse, Piero della Francesca, Mino Argento, Olin Dows, Giotto di Bondone, Georges Henri Rouault, Wassily Kandinksy, Charles Walthrop, Franz Kline, Willem de Kooning, Eliot O'Hara, Sheldon Cheney, Florence Watson, Jacques Lipchitz, Mason F. Lord, and others.
Biographical / Historical:
Herman Maril (1908-1986) was a painter and printmaker from Baltimore, Maryland.
General:
Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Depressions -- 1929  Search this
Painters -- Maryland -- Baltimore -- Interviews  Search this
Printmakers -- Maryland -- Baltimore -- Interviews  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.maril65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-maril65

Oral history interview with Betty Cooke

Interviewee:
Cooke, Betty, 1924-  Search this
Interviewer:
Yager, Jan, 1951-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Cranbrook Academy of Art -- Students  Search this
Maryland Institute, College of Art -- Faculty  Search this
Maryland Institute, College of Art -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Beene, Geoffrey  Search this
Bertoia, Harry  Search this
De Patta, Margaret, 1903-1964  Search this
Morton, Philip  Search this
Nakashima, George, 1905-1990  Search this
Steinmetz, Bill  Search this
Extent:
132 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 July 1-2
Scope and Contents:
An interview of Betty Cooke conducted 2004 July 1-2, by Jan Yager, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Baltimore, Maryland.
Cooke speaks of her family and growing up in Baltimore, Maryland; taking art classes in high school; attending the Maryland Institute, College of Art; apprenticing in a jeweler's studio; teaching design at the Maryland Institute; buying a house and setting up a studio and shop in it; showing her work in the MoMA "Good Design" Exhibition; marrying fellow artist Bill Steinmetz; working as a design consultant; designing interiors for bowling alleys and restaurants; early jewelry designs; studying one summer at Cranbrook Academy of Art; selling works in various galleries; her interest in folk art; using wood and stones in her pieces; creating a wall mural for a school; working with the Rouse Company; opening The Store Ltd. at Cross Keys and designing the modern interior; her trademark designs; making jewelry on commission; and showing her work in exhibitions. Cooke also speaks of her current studio space and routine; sketching designs; documenting her work; traveling to Mexico, China, Morocco, and London; her current involvement with the Maryland Institute, College of Art; renovating a barn for a new studio; the function and wearability of her jewelry; having a retrospective show in 1995; designing for Geoffrey Beene; her interest in painting and sculpture; defining design versus craft; the market for jewelry; how her work has changed over time; sources of inspiration; collecting objects; deciding to go into retail; choosing metals and tools; masculine and feminine jewelry; and being a female artist. Cooke also recalls Margaret De Patta, Harry Bertoia, Philip Morton, George Nakashima, and others.
Biographical / Historical:
Betty Cooke (1924- ) is a jeweler and metalsmith of Baltimore, Maryland. Jan Yager is a jeweler from Philadelphia, Pennsylvania.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 6 hr., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Decorative arts  Search this
Jewelers -- Interviews  Search this
Women artists  Search this
Function:
Artists' studios
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.cooke04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cooke04

Sam Gilliam papers

Creator:
Gilliam, Sam  Search this
Names:
Carl Solway Gallery  Search this
Philadelphia Museum of Art  Search this
Studio Museum in Harlem  Search this
Andrews, Benny, 1930-2006  Search this
Driskell, David C.  Search this
Gilliam, Dorothy Butler, 1936-  Search this
Krebs, Rockne, 1938-2011  Search this
Mondale, Walter F., 1928-  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Prints
Scrapbooks
Sketches
Sound recordings
Transcripts
Date:
1957-1989
Summary:
The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life from his time as a student through his teaching, professorial, and artistic career. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation taking place in 1960s through 1980s America, specifically in Washington D.C.
Scope and Contents:
The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation taking place in 1960s through 1980s America, specifically in Washington D.C., and showcases the planning and creation of the large scale three-dimensional paintings Gilliam is best known for as a member of the Washington Color School of painting.

Biographical material includes resumes, passports, exhibition lists, artists' statements and essays, interview transcripts and recordings. Also included are audio recordings of conversations between Sam Gilliam and artist Benny Andrews, between Gilliam and artist Rockne Krebs, as well as recordings of a 1968 interview conducted by Dorothy Gilliam.

Correspondence spans over 20 years and includes letters to and from museums and galleries such as the Philadelphia Museum of Art, the Studio Museum in Harlem, Carl Solway Gallery, collectors, artists including David Driskell, friends, family, students, and fans.

Writings include notes, statements, and essays by and about Gilliam, writings by university students of Gilliam, and writings related to Gilliam's artwork and public commissions including measurements for artworks, material research, and information regarding prints created for the private home of Walter Mondale.

Business records primarily include the daily records of activities kept by Sam and Dorothy Gilliam's secretary, Debby, from 1973 to 1978. Also present are resumes for a studio assistant for Gilliam, certificates of originality, legal documents, receipts and invoices, a record of donated paintings, financial records, ledgers, contracts, records and paperwork for the Gilliam's company Enterprise 101, and miscellany.

Printed materials include photocopies, exhibition announcements, magazines, and clippings regarding exhibitions, specific artworks, and commissions, and Gilliam and/or his then-wife, Dorothy Gilliam.

The subject file series contains letters, photographic material, business records, sketches, and printed materials concerning specific galleries, public art commissions, arts organizations, workshops, teaching positions, Gilliam's studio, art suppliers, and other topics.

A disbound scrapbook contains photographs, notes, and printed material related to Gilliam and his studio practice.

The artwork series includes sketches, personal notes, and small preparatory drawings by Gilliam.

Photographic material includes negatives, slides, and transparencies of artworks, Gilliam in his studio, and Gilliam and staff preparing museum and gallery exhibition spaces. Also included are records of student artwork, and photos and slides of artwork sent to Gilliam by students and aspiring artists.
Arrangement:
This collection is arranged as 9 series.

Series 1: Biographical Material, 1958-1988, (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1965-1989, (Boxes 1-2; 0.6 linear feet)

Series 3: Writings, 1962-1988, (Box 2; 0.4 linear feet)

Series 4: Business Records, 1957-1986, (Boxes 2-3; 1.0 linear foot)

Series 5: Printed Material, 1962-1987, (Boxes 3-4; 1.0 linear foot)

Series 6: Subject Files, 1963-1988, (Boxes 4-7; 2.2 linear feet)

Series 7: Scrapbook, 1958-1968, (Box 7; 0.2 linear feet)

Series 8: Artwork, 1970-1980, undated, (Boxes 7-9; 0.4 linear feet)

Series 9: Photographic Material, 1960-1985, (Boxes 8-9; 0.3 linear feet)
Biographical / Historical:
Sam Gilliam (1933- ) is an African-American artist based in Washington, D.C. He was born in Tupelo, Mississippi and raised in Louisville, Kentucky where he began painting as a child, eventually attending the University of Louisville where he received his B.A. in Fine Art and M.A. in Painting. He went on to teach art to high school students in the Washington D.C. public school system, and university-level students at the Corcoran School of Art, the Maryland Institute College of Art (MICA), the University of Maryland, and Carnegie Mellon University. His numerous grants and awards include the 1971 Solomon Guggenheim Memorial Foundation Fellowship and multiple Honorary Doctoral degrees.

As an artist, Gilliam is best known for his three-dimensional draped and suspended paintings, covered with large fields of poured paint, pigment, and colorful staining influenced by the movement and colors of Abstract Expressionist painters. Gilliam went on to become a part of the Washington Color School of painters, where his creation of free-form works flourished. He created many public works that incorporated new materials such as custom designed metal forms, quilted canvas, and textiles; his works often included subtle social commentaries through their titling. His suspended paintings cemented Gilliam as an innovative and influential presence in 20th century American art.
Provenance:
The Sam Gilliam papers were donated to the Archives of American Art by Sam Gilliam in 1989.
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:
Authorization to publish, quote, or reproduce must be obtained from Sam Gilliam.
Occupation:
Educators -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Topic:
Art -- Study and teaching  Search this
Color-field painting -- Washington (D.C.)  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Washington Color School (Group of artists)  Search this
African American artists  Search this
Genre/Form:
Interviews
Photographs
Prints
Scrapbooks
Sketches
Sound recordings
Transcripts
Citation:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gillsam
See more items in:
Sam Gilliam papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gillsam

Linda Bihun-Werner writings and interviews

Creator:
Bihun-Werner, Linda  Search this
Extent:
0.2 Linear feet (Total extent)
36 Pages (Typescript)
14 Items (sound cassettes : Interviews and lectures, analog.)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Baltimore (Md.)
Date:
1992
Scope and Contents:
An unpublished typescript, "The Baltimore Art Scene 1992: Visual Arts, Interviews with the Art Community"; and 14 cassettes containing 18 interviews and 3 lectures concerning the Baltimore art scene. Interviewees are: Paula Bauer, George Ciscle, Peter Bubeau, Michael Economos, John Fonda, Constantine Grimaldis, Leslie King Hammond, Craig Hankin, Connie Imboden, Gary Kachadourian, Barbara Marcus, Raoul Middleman, Robin Miller, Bonnie North, Jordan Nye, Jim Paulsen, Nancy Scheinman, Peter Walsh. Also included are taped-recorded presentations delivered by Claudia Amory (School 33 Art Center), Jim Dockery (Artshowcase Gallery), and Mark Moreland (Katzenstein Gallery) as part of a workshop, "The Baltimore Art Scene," led by Nancy Scheinman, Maryland Institute College of Art, 1992.
Provenance:
Donated 1993 by Linda Bihun-Werner. Bihun-Werner conducted the interviews and wrote the paper while a student in the MLA program at Johns Hopkins University, Baltimore, Md.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Topic:
Artists -- Maryland -- Baltimore -- Interviews  Search this
Art, Modern -- 20th century -- Maryland -- Baltimore  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bihulind
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bihulind

Modern Cycle

Artist:
Grace Hartigan, born Newark, NJ 1922-died Timonium, MD 2008  Search this
Medium:
oil on canvas
Dimensions:
78 1/2 x 108 1/2 in. (199.4 x 275.6 cm)
Type:
Painting
Date:
1967
Topic:
Abstract  Search this
Figure  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Mr. and Mrs. David K. Anderson, Martha Jackson Memorial Collection
Object number:
1980.137.33
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7f5983d28-087f-4f2a-a9b9-857581a9c30c
EDAN-URL:
edanmdm:saam_1980.137.33

Why Black Music Matters While Cities Burn

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
Blog posts
Smithsonian staff publications
Conversations and talks
Blog posts
Published Date:
Mon, 01 Jun 2020 16:30:00 GMT
Topic:
Cultural property  Search this
See more posts:
Festival Blog
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
EDAN-URL:
edanmdm:posts_3a2a7b32fdaff6e794bbda65ea493dab

The Mountain Lake Symposium and Workshop : art in locale / [edited by] Ray Kass & Howard Risatti ; commentary by Donald B. Kuspit

Title:
Art in locale
Editor:
Kass, Ray  Search this
Risatti, Howard 1943-  Search this
Writer of added commentary:
Kuspit, Donald B (Donald Burton) 1935-  Search this
Host institution:
Longwood Center for the Visual Arts  Search this
Gregg Museum of Art & Design  Search this
Pinkard Gallery  Search this
Subject:
Longwood Center for the Visual Arts  Search this
Physical description:
348 pages, 1 unnumbered page : illustrations (chiefly color), portraits, photographs ; 24 x 31 cm
Type:
Exhibitions
Exhibition catalogs
Essays
Illustrated works
Place:
Virginia
Mountain Lake
Date:
2018
21st century
20th century
Topic:
Arts--Congresses  Search this
Avant-garde (Aesthetics)  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1101546

Correspondence

Collection Creator:
Soyer, Raphael, 1899-1987  Search this
Extent:
(Box 1-2; 1.0 linear foot)
Type:
Archival materials
Date:
1940-1988
Scope and Contents note:
Raphael Soyer's correspondence spans over forty years, with the bulk of it dating between 1960 and his death in 1987. Letters are arranged chronologically and the majority are incoming to Soyer, but there are also scattered drafts of outgoing letters. Soyer was friends with many artists and cultural figures, and his personal correspondence includes letters to and from artists such as Lambro Ahlas, Benny Andrews, Rudolf Baranik, Leonard Baskin, George Biddle, Peter Blume, Aaron Bohrod, John Bratby, Alex Brook, David Burliuk, Marc Chagall, Peter De Francia, Otto Dix, Guy Du Bois, Philip Evergood, Josef Herman, Joseph Hirsch, Edward Hopper, Jacob Kainen, R. B. Kitaj, Leon Kroll, Joe Lasker, Jack Levine, Jacques Lipchitz, Henry Varnum Poor, Fairfield Porter, Max Weber, and numerous others. Soyer also corresponded with many writers such as Erskine Caldwell, Allen Ginsberg, Marianne Moore, and Isaac Bashevis Singer.

Also found here is correspondence with the Forum Gallery which represented him and dealer Bella Fishko. There is also correspondence with numerous galleries, museums, and schools which exhibited his work or requested his work for potential exhibitions. Additionally, there is correspondence with students and publishers, mostly requests for him to lecture or write articles, and business correspondence on the sale, donation, or commission of his work. Soyer corresponded with many art historians and critics, curators, gallery owners, and collectors, such as Andrei Chegodaev, Lloyd Goodrich, Joseph Hirshhorn, Abram Lerner, and Carl Zigrosser, as well as arts and social organizations. The collection includes very little family correspondence. Some of the letters are in Russian.

See Appendix for a list of correspondents in Series 2.
Arrangement note:
This series has been scanned in its entirety.
Appendix: Correspondents in Series 2:
A. S. Barnes & Company, Inc.: 1965, 1976

Abeles, Sigmund: 1981, 1987

Abram, Carl Fisher: 1986

ACA Galleries: 1981, 1985

Ackerberg, Sanders: 1974

Ahlas, Lambro: 1964, 1965, 1971, 1973, 1975, 1976, 1978-1980, 1985, 1986, undated

Alderson, Cella: undated

Alexander, Sidney: 1962, 1978, undated

Algase, Benjamin: 1981

Allen, Mary: 1980

Allentuck, Dan: 1986

Allinson, Jane: 1985

American Academy and Institute of Arts and letters: 1981, 1987

American Art Journal -- : 1970

American Contemporary Art Gallery: 1968

Amsden, Floyd T.: 1978

Andrews, Benny: 1965, 1972, 1974

Arikha, Avigdor: 1985-1987, undated

Art Dealers Association of America, Inc.: 1984

Art Harris Gallery: 1972, 1974

Art New -- s: 1953, 1963

Art Students League of New York: 1968

Artists for Core: 1966

Ashkenazy, Arnold: 1984, 1986

Associated American Artists: 1961, 1965, 1968

Atelier Royce: 1977

Bakshi, Ralph: 1978

Baranik, Rudolf: 1961, 1962, 1964, 1973, 1974, undated

Baskin, Leonard: 1963, 1964, undated

Bearden, Romare: undated

Bender, William H., Jr.: 1967

Berman, Saul: 1970, undated

Bernstein, Bo: 1973

Bezalel National Museum: 1963

Biddle, George: 1957, 1962, 1966, 1967, 1971

Biegle, Peter: undated

Bloch, Maurice: 1981

Bloch, Robert: 1984, 1985, undated

Blume, Peter: 1967, 1969

Bohrod, Aaron: 1954, 1960, 1977, 1979

Boston Public Library: 1963

Boston University: 1961, 1965

Bouche, Louis: 1960

Bowdoin College Museum of Art: 1964, 1968

Boyle, Kay: 1983

Bratby, John: 1962, 1965-1968, 1970, 1973, 1974, 1981, 1982, 1984, 1986, 1987, undated

Braun, Walter: 1977

Brook, Alex: 1969, 1977

Brooklyn Association for Mental Health, Inc.: 1969

Brooklyn Community Counseling Center: 1964

Brooklyn Museum: 1966, 1986

Brooks, Van Wyck: 1962, undated

Brown, Margaret Root: 1962

Browne, Renni: undated

Bulla, Clyde Robert: 1978

Burliuk, David Marussia: 1959-1961, 1963, 1966

Burliuk, Nicholas: 1967, 1982, 1983, undated

Burston Graphic Centre, Jerusalem: 1975

Butler Institute of American Art: 1963, 1984, 1987

Butler, Joseph G.: 1963

Caldwell, Virginia: 1978, 1979, 1982, 1983, 1985, 1986, undated

Carvalho, Milton A.: 1968, 1969

Castellon, Hieda: 1977

Centre Culturel Americain: 1979

Chagall, Marc: 1955, 1957

Chapnick, Paul: 1980

Charnow, Miriam: 1964

Chegodaev, A.: 1965, 1966, 1969, 1973, 1974, 1976, 1977, 1979, undated

Chernow, Burt: 1966

Chicago Tribune -- : 1953

Chute, Marchette: 1961, 1966, 1969, 1981

Ciardi, John: 1966, 1969

Cogen, Charlie: 1975

Cohen, Arthur: 1975-1977, 1979, 1980

Coleman, Edward: 1975

Connellan, Carl: 1972

Constructionist -- : 1966

Copper, Dennis: 1976

Corbin, Douglas: 1981

Corcoran Gallery of Art: 1943, 1951

Cornell University: 1962, 1965

Dale, Marion: 1972

De Francia, Peter: 1961, 1968, 1976, 1981, 1984, 1986

De Groot, P.: 1965

Delbanco, Kurt: 1981

Deldeo, Salvatore: 1979

Detroit Institute of Arts: 1963

Diamond, David: 1977

Dickinson, Edwin: undated

Dickinson, Sidney: 1959

Dix, Otto: 1963

Dmitrievitch, Andrei: 1976, undated

Dobkin, John: 1983, undated

Du Bois, Guy: 1951, 1953, 1955

Eaton, Charles Edwar: 1978, 1979

Edel, Leon: 1969

Edgeworth, Richard C.: 1984, 1986

Evergood, Philip: 1941, 1954, 1967, undated

Everson Museum of Art: 1976, 1977

Feinberg, Charles E.: 1947

Feinberg, Paul: 1986

Fiala, Vaclav: 1975, 1978

Fisher, Jacob: 1979

Flaig, Bea: 1981

Floch, Joseph: 1962, undated

Fogg Art Museum: 1974, 1975

Ford Foundation: 1962

Forum Gallery (Bella Fishko): 1961-1963, 1966-1968, 1970, 1973-1975, 1977, 1980, 1982, 1985, 1986, undated

Frankenstein, Alfred V.: 1971

Franklin, Elaine: 1974

Freifeld, Eric: 1968, 1972, 1978

Friends of Art: 1985

Fuks, Leo: 1975

Furth, Dora: 1973, 1975-1977

Garrett, Adams: 1982, 1986

George Mason University: 1980

Georgia Museum of Art: 1968, 1983

Gibbs, Charles: 1972

Gillette, Henry: 1981

Ginsberg, Allen: 1968

Gladstein, Sheldon: 1987

Glaser, Mary Todd: 1965

Goldsmith, Morton G.: 1964

Gonzales, Xavier: 1982

Goodrich, Lloyd: 1963, 1967, 1971, 1981, undated

Goshans, Werner: 1977, 1981, 1982

Grant, Quentin: 1979

Grausman, Philip: 1965, undated

Gray, Don: 1984

Grossman, Emery: 1964

Grosz, George: 1956, 1957

Guggenheim Museum: 1980

Guttuso, Renato: 1962, 1963, undated

Gwathney, Bob: undated

Halegua, Lillian: 1967, 1977

Halper, Albert: 1972

Harmon, Lily: 1981

Harris, Victor: 1977

Harriton, Abe: 1981

Harry N. Abrams, Inc.: 1964, 1969, 1971

Harvard University: 1962

Hautzig, Debbi: 1978

Hebrew Union College: 1983

Hecht, Fels: 1984, 1987

Heckscher Museum: 1977, 1987

Herman, Josef: 1967, 1976, 1983, undated

Hills, Patricia: 1981, 1982, 1985

Hirsch, Joseph: 1960, 1964, 1966, 1977, 1979, 1981

Hirshhorn Museum and Sculpture Garden: 1975, 1979-1983

Hirshhorn, Joseph: 1965, 1968, 1969

Hoag, Paul Sterling: 1954

Hoffman, Gladys: 1961

Hollfelder, Jack: 1983

Homar, Lorenzo: 1979, 1980

Hopper, Edward: 1960-1963, undated

Horn, Lex: 1964

Horowitz, Brenda: 1984

Hosbach, Marguerette: 1973

Hutchins, Robert: 1984, undated

Jackson, Harry: 1966

Jackson, Valentina: 1979

Jewish Museum: 1974, 1981, 1982

Johns, Judith: 1982

Jones, Kathryn: 1986

Jones, Wilma: 1960

Josephson, Matthew: 1969, 1970

Kainen, Jacob: 1968, 1969

Kalet, Maureen: 1982

Kalischer, Nathan: 1979

Kane, Doris: 1975

Kaplan, Kathy Walden: 1983

Karlstrom, Paul: 1972

Kearney, John: 1984, undated

Kennedy Galleries, Inc.: 1980

King, Barry: 1985

King, Raymond: 1986

Kitaj, R. B and Sandra: 1979-1985, 1987, undated

Klemeri, Diana: 1982

Knaths, Karl: 1953

Kroll, Leon: 1945, 1961, 1964

Kuniyoshi, Yasuo: undated

Kunstverein in Hamburg: 1980

Landau, Ellen G.: 1982

Lasansky, Leonardo: 1986

Lasker, Joe: 1955, 1962, 1968, 1970, 1985, undated

Leiser, Erwin: 1980

Lerner, Abram (Al): 1958, 1985

LeRoy, Marvyn: 1968

Lesser, Gerson: 1979

Levin, Eli: 1977

Levin, Gail: 1985

Levine, David: 1963, 1971

Levine, Jack: 1963, 1986

Levine, Sheldon: 1987

Levy, Alan; 1982, 1983, 1985

Lipchitz, Jacques: 1962, undated

Loeb, Albert: 1980

Long, Rose: 1986

Loyola Marymount University: 1985, 1986

Ludgin, Earle: 1966

Lyons, Leonard: 1963

Maass, John: 1986

Maryland Institute, College of Art: 1975

Mayer, Bena Frank: 1967

Mayer, Bernadette: 1981

Mazo, Joe: 1984

McBain, Gertrude: 1986, undated

McDaniel, Aletha: 1982

Metropolitan Museum of Art: 1978-1980, 1982-1984, 1986

Meyers, Bill: 1962, undated

Miami Herald -- : 1972

Milwaukee Art Museum: 1983

Minnigerode, C. Powell: 1940

Mishkan Le'Omanut, Museum of Art: 1964

Mondale, Joan: 1977

Moore, Marianne: 1960, 1968

Morgan, Bill: 1984

Morlan, Nina: 1983

Mourlot, Liliane: 1967

Mumford, Lewis: 1965

Museum of Modern Art: 1953, 1961, 1962, 1966

Museum Tel Aviv: 1962, 1972, 1973

Myers, Neil: 1973

Nathan, Helmuth: 1967

National Academy of Design: 1970, 1977, 1981, 1984

National Arts Club: 1978

National Council of American-Soviet Friendship, Inc.: 1968

Neel, Alice & Neel Family: 1969, 1985

Neugass, Ludwig: 1965

New Republic Book Company, Inc.: 1976, 1977

New School for Social Research: 1980

New York Times -- : 1959, 1972, undated

Newark Public Library: 1981

Newman, John: 1984

Nichols, Norma: 1982

Nordness, Leo: 1961

Otis, Elizabeth R.: 1963

Palevsky, Jaon: 1980

Papazian, Gilbert: 1977, 1978, 1980, 1987

Parrish Art Museum: 1980

Pembroke Gallery: 1983

Penney, Charles: 1981

Pennsylvania Academy of the Fine Arts: 1948

Pennsylvania State University: 1977, 1982, 1983

Perlis, Don: 1979

Perlman, Bennard: 1977

Petrovsky, Mira & Vladimir: 1975, undated

Pink, Marilyn: 1986

Poor, Henry Varnum & Annie: 1957, 1960, 1962, 1966, 1969, 1975, 1985, undated

Porter, Fairfield: 1956, undated

Portland Art Museum: 1985

Provincetown Art Association: 1984

Queens Child Guidance Center, Inc.: 1970

Quirt, Eleanor: 1981, 1985, undated

Randolph-Macon Woman's College: 1985

Random House, Inc.: 1968, 1969, 1976

Rappin, Adrian: 1976

Rewald, John & Alice: 1963, 1966, 1982, undated

Rhode Island School of Design: 1971

Robbins, Warren: 1983, 1984, 1985

Rogers, Leo M.: 1961

Rose, Herman: 1962, undated

Rosenberg, James N.: 1969

Rosenkranz, Rita: 1987

Rosner, Stanley: 1969

Roszak, Theodore: 1977

Roth, Audrey M.: 1978

Rothwell, Jed: 1987

Rozmaryn, Jack: 1974

Russell, Rhoda Winter: 1980

Saint John's University: 1981

Salisbury, Harrison: 1975

Salpeter, Harry: 1964, undated

San Antonio Museum Association: 1980

San Francisco Museum of Modern Art: 1982

Sandler, Marc J.: 1962

Sarnewitz, Lyle Evan: 1984

Schiff, Sidney: 1984

Schlang, Joseph: 1965

Schoen, Jason: 1985, 1986

Schrag, Karl: 1969, undated

Schrag, Raymond: 1986

Seyffert, Richard: 1979

Shannon, Joe: 1981

Shapiro, David: 1979

Shubert, Katherine: 1967

Singer, Isaac B.: 1978, undated

Skowhegan School of Painting and Sculpture: 1981

Sleigh, Sylvia: 1984

Smith, Mrs. Wallace (Kelcey): 1985

Smith, Vincent D.: 1976, 1981

Smithsonian Institution (National Collection of Fine Arts): 1968, 1973, 1977, 1979, 1981, 1982, 1985-1987

Sonnemann, Nell: 1972, 1977, 1979, 1981, 1985, 1986

Styron, William: 1969

Swanson, Mary T.: 1979

Syracuse University: 1965, 1973

Taliano, A. D.: 1978, 1981, undated

Tapper, Joan: 1977

Thaler, Jesse: 1978

Tinsley, Betty: 1961

Todd, Ellen: 1986

Todorchev, Anne: 1979, 1980

Tolskaya, Leidmila: 1965, 1967

Toney, Anthony: 1955

United American Artists: 1940

United Jewish Appeal of Greater New York: 1970, 1974

University of California, Berkeley: 1966

University of Maryland: 1968

University of Minnesota: 1985, 1986

University of Texas: 1969

Van der Tweel, L. H.: 1975

Van Devanter, Ann C.: 1973

Vereisky, Oriest: undated

Vincent Price Collection: 1964

Walsh, Alexandria: 1977

Warner, Keith: 1944

Warshaw, Howard: 1953

Washburn, Gordon B.: 1967

Weber, Max: 1954, undated

Wertham, Fredric: 1967

West, Michael: 1967

Wheelock, Susan; 1976

Whitney Museum of American Art: 1950, 1966, 1969, 1977, 1979, 1981-1983, 1985

Wichita Art Museum: 1977

Wigglesworth, Anne Parker: 1983

William A. Farnsworth Library and Art Museum, 1981, 1985-1987, undated

Winer, Arthur: 1976

Wolff, Theodore: 1981

Worcester Art Museum (Francis Henry Taylor): 1957

Yeshiva University: 1967, 1974

Zabriskie, Virginia: 1979

Zigrosser, Carl: 1941, 1969
Collection Restrictions:
Use of the original papers requires an appointment.
Collection Rights:
The Raphael Soyer 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.
Collection Citation:
Raphael Soyer papers, 1933-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soyeraph, Series 2
See more items in:
Raphael Soyer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-soyeraph-ref33

The Artist, The Collector, and Quality Correspondence in midst of the Digital Era

Creator:
Smithsonian Institution Archives  Search this
Type:
Blog posts
Smithsonian staff publications
Conversations and talks
Blog posts
Published Date:
Tue, 19 Aug 2014 17:00:00 +0000
Topic:
Archive  Search this
See more posts:
The Bigger Picture | Smithsonian Institution Archives
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:posts_688ec29688683b3b33037399ced8b989

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