Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
Biographical material, photographs, project files, subject files, correspondence, printed material and audio visual material concerning Gerome Kamrowski's career as a Surrealist painter.
Biographical material includes curriculum vitae and an interrview transcript with Kamrowski by Michael Sherker. Photographs, slides and negatives are of Kamrowski, his family, studio, artwork, exhibition installations and exhibitions. The bulk of the project files concern individual works of art and include correspondence, reviews, photographs and miscellany. Subject files pertain to the University of Michigan, exhibitions that involved Kamrowski, organizations and people who worked with Kamrowski, and include correspondence and printed material.
Correspondence includes letters from Andre Breton, Monique Lange, Hilla von Rebay, Mercedes Matter, Irving Sandler, and numerous dealers and institutions including the Guggenheim Foundation, The Whitney Museum of Art, the Andre Emmerich Gallery, The Metropolitan Museum of Art, and the Art Students League.
Audio visual material includes an interview on three cassettes of Kamrowski conducted by Martica Sawin, 1986, and three reels of motion picture film footage of sculptures, one labeled "Celestial Rhythms" and the others untitled, 1971. Printed material includes Kamrowski's portfolios, exhibition reviews, catalogs, and announcements, press releases, and newspaper clippings.
Biographical / Historical:
Gerome Kamrowski (1914-2003) was a Surrealist painter in New York, N.Y. and Ann Arbor, Mich.
Provenance:
Donated 2008 by Mary Jane Kamrowski, Kamrowski's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.
Scope and Contents:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, 5 scrapbooks, and photographs.
Biographical materials include educational records, documentation of Friedman's World War II service in the U.S. Navy, and birth, marriage, and death certificates.
Correspondence is with friends, family, artists, art world figures and institutions, writers, publishers, and literary agents. Among the correspondents are: John I. H. Baur, Harry Bertoia, Flora Biddle, Norman Bluhm, James Brooks, Fritz Bultman, Leo Castelli, William N. Copley, Jim Dine, Helen Frankenthaler, Brendan Gill, Robert Goodnough, Cleve and Francine Gray, Howard Kanovitz, Grace Knowlton, Stanley Kunitz, Conrad Marca-Relli, Mercedes Matter, Fred W. McDarrah, Rory McEwen, Robert Motherwell, Arnold Newman, Barnett Newman, Dorothy Norman, Alfonso Ossorio, Provincetown Fine Arts Work Center, Robert Richenburg, Barney Rosset, Philip Roth, Judith Rothschild, Irving Sandler, Salvatore Scarpitta, Jon Schueler, Sidney Simon, David Slivka, Clyfford Still, Myron Stout, Calvin Tompkins, and David Windham.
There are transcripts of interviews with B. H. Friedman, his daughter and wife conducted by the Yale University School of Medicine's "Adult Development Study," and 2 recordings of interviews with Friedman for radio broadcast.
Writings by Friedman include manuscripts of novels, short stories, plays, articles, monographs, and art criticism, some published versions of his work, and a variety of notes. Also found are recordings of lectures by B. H. Friedman and panel discussions in which he participated. Other authors represented are John Cage, W. B. Henry, and Jon Schueler. Friedman's diaries, 1948-1993 (41 volumes) record activities, thoughts, and events.
Subject files compiled by Friedman reflect professional and personal interests, activities, and projects. Many concern publicity for published writings or efforts to find publishers. Especially well documented is his interest in Jackson Pollock, Timothy Leary, and Alfonso Ossorio, and his affiliation with the Whitney Museum of American Art.
The majority of printed material is about or mentions Friedman. Five scrapbooks consist mainly of printed material.
Most photographs are of B. H. and Abby Friedman, their family, and friends. Among the individuals pictured are: Elise Asher, Cary and Norman Bluhm, Sandy Friedman, Joellen Hall, Doug Huebler, Howard Kanowitz, Stanley Kunitz, Lee Krasner, Sheridan Lloyd, Barnett and Annalee Newman, Alfonso Ossorio, Magda Salvesen, Salvatore Scarpitta, John Schueler, and Myron Stout. A photograph album records scenes from a 1979 performance of Whispers, a stage adaptation by Alan Wynroth from Friedman's novel of the same title.
Arrangement:
This collection is arranged as 9 series:
Series 1: Biographical Materials, 1926-2011 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1946-2011 (Boxes 1-15; 14.7 linear feet)
Series 3: Interviews, 1969-2001 (Box 15; 0.2 linear feet)
Series 4: Writings, 1940s-2010 (Boxes 16-23; 8 linear feet)
Series 5: Diaries, 1948-1993 (Boxes 24-25; 1.75 linear feet)
Series 6: Subject Files, 1940-2010 (Boxes 25-30; 4.45 linear feet)
Series 7: Printed Material, 1954-2010 (Box 30-31; 0.2 linear feet)
Series 8: Scrapbooks, 1960-2006 (Boxes 30-32; 0.8 lilnear feet)
Series 9: Photographs, circa 1950s-2008 (Box 30; 0.4 linear feet)
Biographical / Historical:
Bernard Harper Friedman (1926-2011), a writer best known as the author of the first biography of Jackson Pollock, was also an art critic and art collector involved in the cultural life of New York City.
Bernard Harper Friedman, known professionally as B. H. Friedman, was called Bob by family and friends. After interrupting his studies at Cornell University to serve in the U.S. Navy during World War II, he graduated in 1948 with a degree in English. Friedman and his new bride, fellow student Abby G. Noselson (1926-2003), returned home to New York City and he began a real estate career in his uncles' firm, Uris Buildings Corporation. While a businessman, Friedman spent much of his spare time writing. He produced fiction, plays, and criticism; Friedman's articles on art, literature and music appeared in a wide variety of periodicals. During this period, Friedman also pursued his interests in jazz, collecting abstract art, and psychedelic drug experiences with Timothy Leary.
His first published novel, Circles, about the Abstract Expressionist milieu, appeared in 1962. A year later, B. H. Friedman became a full-time writer. For nearly 20 years, he divided his time between New York City and Provincetown, Massachusetts, where he was affiliated with the Fine Arts Work Center as a director and consultant. During this period, he published several novels and two biographies: Jackson Pollock: Energy Made Visible and Gertrude Vanderbilt Whitney, written with Flora Biddle. More novels and short story collections were published, and staged readings of seven plays were presented between 1987 and 2007. Tripping, a memoir of using psychedlics with Timothy Leary, appeared in 2006.
A founding member of Fiction Collective, a nonprofit publishing group run by and for writers, Friedman was also a member of several national writers' organizations. He served as a trustee of the Whitney Musuem of American Art, 1961-1968, and then as honorary trustee. B. H. Friedman died from complications of pneumonia on January 4, 2011 in New York City.
Related Materials:
Also available is an oral history interview with Bernard Harper Friedman, 1972 November 10, conducted by Paul Cummings for the Archives of American Art.
Provenance:
The Bernard Harper Friedman papers were donated to the Archives of American Art in 2012 by his daughter, Daisy Friedman.
Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials 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.
Occupation:
Art critics -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions, one digitized, on art and artists; and printed materials.
Scope and Content Note:
The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; and printed materials.
Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art.
Writings and notes are and about Charles Cajori. Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School.
Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.
Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. A file of printed materials on the Tanager Gallery includes exhibition catalogs and clippings.
Arrangement:
The collection is arranged as 4 series:
Series 1: Correspondence, 1942-2011 (Boxes 1-2; 1.1 linear feet)
Series 2: Writings and Notes, 1949-2010 (Box 2; 0.3 linear feet)
Series 3: Interviews, Talks, and Panel Discussions, 1983-2010 (Boxes 2-3; 1.2 linear feet, ER01; 0.070 GB)
Series 4: Printed Material, circa 1950s-2010 (Boxes 3-4; 1.4 linear feet)
Biographical Note:
Painter and teacher Charles Cajori (b. 1921-) has worked in New York City and Connecticut.
Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture, where he became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists.
Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, has been continuously showing his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.
In conjunction with his activities as an artist, Charles Cajori has taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, and the University of California at Berkeley. Cajori was a co-founder of the New York Studio School, where he continues to serve on the faculty.
Charles Cajori has received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953 and a grant from the National Endowment for the Arts in 1981.
Charles Cajori is married to the painter Barbara Grossman and they live in Watertown, Connecticut.
Provenance:
The collection was donated by Charles Cajori in 2011.
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.
Topic:
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sound recordings
Interviews
Video recordings
Transcripts
Citation:
Charles Cajori papers, 1942-2011. Archives of American Art, Smithsonian Institution.
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence primarily discussing art school-related matters and the exhibition and sale of Vytlacil's work, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.
Scope and Content Note:
The papers of abstract painter and art instructor Vaclav Vytlacil date from 1885-1990 and measure 5.2 linear feet. Found within the papers are scattered biographical materials, correspondence, scattered business and financial records, and notes and writings including lecture notes. The papers also contain audio recordings of interviews of Vytlacil and his associates, artwork by Vytlacil and others, four scrapbooks, printed material including clippings and exhibition catalogs, and photographs of Vytlacil, his colleagues, and his artwork.
Scattered biographical materials include documents relating to family history and biographical accounts for Vytlacil. Correspondence consists of letters exchanged between Vytlacil and his wife and colleagues including Josef Albers, Worden Day, Hugo Feigl, John Haley, Alfred Jensen, Irving Manoir, Mercedes Matter, Worth Ryder, Ernest Thurn, and Glenn Wessels.
Scattered business and financial records consist of teaching contracts and scattered financial records. Notes and writings include lecture notes, notebooks concerning teaching, minutes of meetings, essays, and writings by others. Three untranscribed sound recordings on cassette contain an interview of Vytlacil by Susan Larsen and interviews of Vytlacil's students and associates.
Artwork consists of drawings and prints by Vytlacil and others, etchings by Betty Vytlacil, and a color woodcut by Zalmar. Four scrapbooks contain printed materials and artwork by students compiled as a get-well gift to Vytlacil. Additional printed materials include numerous clippings, exhibition catalogs, and art school catalogs. Photographs in the collection are of Vytlacil, family members, his artwork, and his colleagues including Blanche Lazzell and Irving Manoir with Diego Rivera. One small motion picture film reel, 8mm, shows views of Manhattan and a family outing.
Arrangement:
The collection is arranged as 10 series:
Series 1: Biographical Material, 1885, 1933-1981 (Box 1; 3 folders)
Series 2: Correspondence, 1911-1985 (Boxes 1-2, 7; 2.0 linear feet)
Series 3: Business Records, 1912-1982 (Box 3; 11 folders)
Series 4: Notes and Writings, 1928-1978 (Boxes 3, 7; 0.9 linear feet)
Series 6: Artwork, 1921-1952 (Boxes 4, 7; 5 folders)
Series 7: Scrapbooks, 1927-1979 (Boxes 4, 7; 4 folders)
Series 8: Printed Material, 1912-1990 (Boxes 4-5, 7; 1.3 linear feet)
Series 9: Photographs, 1906-1976 (Boxes 6-7; 27 folders)
Series 10: Motion Picture Film, circa 1938-1968 (Box FC 8; 1 film reel)
Biographical Note:
Vaclav Vytlacil (1892-1984) was an abstract painter and art instructor who worked primarily in the New York city area. He was also one of the co-founders of the American Abstract Artists group.
Born in New York City of Czech parentage, Vytlacil moved at an early age with his family to Chicago. Beginning in 1906 he studied at the Art Institute of Chicago under Antonin Sterba for approximately 3 years. In 1912 he graduated as William Vytlacil from Crane Technical and English High School. After receiving a scholarship in 1913, Vytlacil returned to New York to study at the Art Students League with John C. Johansen for three years. From 1917 to 1921 Vytlacil was employed as an instructor at the Minneapolis School of Art.
Beginning in 1921 Vytlacil traveled to Paris, Prague, and Munich, deciding to remain in the latter city indefinitely. He enrolled as a student at the Royal Academy of Art in Munich with fellow American art students Worth Ryder and Ernest Thurn. Vytlacil first studied under Karl Kaspar and, a year later, he and Ernest Thurn enrolled at the Hans Hofmann School in Munich. Vytlacil studied with Hofmann sporadically over the next seven years.
On August 18, 1927, Vytlacil married Elizabeth Foster of St. Paul, Minnesota at the Palazzo Vecchio in Florence, Italy. In the following year, he accepted an invitation to teach at the Art Students League and became an invited lecturer at the University of California at Berkeley during the summer terms of 1928 to 1929. Vytlacil urged Hans Hofmann, with his assistance, to come to the United States to teach at the Art Students League during the 1931-1932 term. Also during the early 1930s, Vytlacil and his wife spent summers in Positano, Italy, and winters in Paris.
In 1935 the Vytlacils returned permanently from Europe to live at 8 West 13th Street in New York City, where they stayed for three years. Vytlacil resumed teaching at the Art Students League, spending the summer sessions teaching at the California College of Arts and Crafts. In the following year he accepted an invitation to teach at the Florence Cane School at Rockefeller Center and continued teaching during the summer session at the California College of Arts and Crafts. It was also during 1936 that Vytlacil co-founded the American Abstract Artists with thirteen other artists.
While continuing to teach at the Art Students League and at the Florence Cane School, Vytlacil began conducting art classes at the Dalton School, where he taught until 1941. In 1938, he moved from New York City to South Mountain Road in New City. Two years later, Vytlacil established his residence and studio in Sparkill, New York, and in 1941, he acquired property in Martha's Vineyard which provided a place to work during the summers.
In 1942, Vytlacil left the Art Students League to become Chairman of the Art Department of Queens College in Flushing, New York. He held this position until 1945, when he accepted an invitation to teach at Black Mountain College. From 1946 to 1951, he returned as instructor at the Art Students League and began selling his artwork through the Feigl Gallery in New York. He also taught at the Minneapolis School of Art in 1947, and at Columbia University in 1950.
From 1952 to 1954, Vytlacil traveled to Colorado to paint and teach at the summer sessions of the Colorado Springs Fine Arts Center. After a summer spent on Monhegan Island, Maine, Vytlacil and his wife spent 1955 in Europe. Upon his return in 1956, he became a guest instructor at the Art Institute of Chicago and, in the following year, he taught a summer session at Boston College.
During the winter months of 1960 and 1961, Vytlacil lived in Oaxaca, Mexico. In 1964, he was a guest instructor at the University of Georgia in Athens, Georgia.
Vytlacil was a member of the Art Students League of New York, the American Abstract Artists, the Federation of American Painters and Sculptors, and the Audubon Artists.
Vaclav Vytlacil died at his home in Sparkill, New York on January 5, 1984.
Related Material:
Also found in the Archives of American Art are oral history interviews with Vaclav Vytlacil, March 2, 1966 and January 10, 1974, and 19 items microfilmed on reel 2016 relating to a 1975 Montclair Art Museum exhibition organized by Worden Day.
Separated Material:
The Archives of American Art also holds material lent for microfilming (D295) including correspondence, lecture notes, general notes, clippings, notebooks concerning paintings, photographs of paintings, photographs titled "Vineyard Boats," and two of Mrs. Vytacil's Paris journals. Two dozen of these letters were later donated. All other lent materials remain with the lender and are not described in the collection container inventory.
Provenance:
Vaclav Vytlacil lent the Archives of American Art materials for microfilming in 1966. Vaclav Vytlacil's daughter, Anne Vytlacil, donated the Vaclav Vytlacil papers in several installments from 1989 to 1993.
Restrictions:
Use of the 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.
Occupation:
Art teachers -- New York (State) -- New York Search this
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Scope and Content Note:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, audio/visual recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Biographical material includes educational records from high school through his studies at the Ozenfant School of Fine Arts using G.I. benefits. Birth, marriage,and death certificates are also found, along with Richenburg family memorabilia. There is a digital video recording of Robert Richenburg's memorial service.
Correspondence consists mostly of family letters, including some illustrated letters and many handmade cards featuring original artwork. Condolence letters addressed to Marggy Kerr are from friends, relatives, colleagues, neighbors, and acquaintances.
Subject files contain various combinations of correspondence, printed material, photographs, writings and notes relating to Richenburg's professional career and personal life. They document exhibitions, gallery representation, gifts of art work to museums and individuals, memberships, teaching activities, former students, friendships, and other aspects of his life. Files of significant interest are: The Club, Tina Dicky and Madeline Amgott, Former Students (particularly Raphael Montanez Ortiz), Bonnie L. Grad and Lynne Moulton, Hans Hofmann, Ibram Lassaw, Philip Pavia, Pratt Institute, Hilla Rebay and the Museum of Non-Objective Painting, Tibor De Nagy Gallery, and Veterans Administration.
Writings by Richenburg consist of notes, reviews, artist's statements, and the text of a speech. Also included are quotations compiled over the years by Marggy Kerr of Richenburg's comments on art and life. Among the writings by others are student papers, reviews, and poems.
Sound and visual recordings include interviews with Robert Richenburg, often conducted as research for exhibitions. Videocassettes document events such as panel discussions, and artist gatherings; a few were produced in conjunction with museum exhibitions. Also found are videotapes by video artist Raphael Montanez Ortiz, Richenburg's friend and former student.
Printed material includes items that are specifically about Robert Richenburg as well as items that incidentally mention him. The majority consist of exhibition catalogs and announcements.
Photographs show art work by Richenburg, exhibition openings and other events, and a variety of people and places. Among the events recorded is the "Artists Roundtable on Art of the '50s." Moderated by Dore Ashton, the panel included Herman Cherry, Sidney Geist, Ibram Lassaw, Mercedes Matter, and David Slivka. There are photographs of Richenburg's boyhood home in Roslindale, MA, and his house in Ithaca, NY. He is pictured with others including family members, dealers, and curators. Of particular interest are photographs of Richenburg in Provincetown, MA, 1952-1953, with friends, including: Giorgio Cavallon, Franz Kline, Ibram and Ernestine Lassaw, and Philip and Marcia Pavia. World War II photographs consist of images of art work (not by Richenburg), Richenburg and other individuals taken in France and England; a number include views of Shrivenham American University.
Arrangement:
The collection is arranged as 7 series:
Series 1: Biographical Material, circa 1910s-2006 (Box 1; 0.1 linear ft., ER01; 1.66 GB)
Series 2: Correspondence, 1940-2007 (Box 1; 0.4 linear ft.)
Series 3: Subject Files, 1942-2008 (Boxes 1-3, OV 7; 2.25 linear ft.)
Series 4: Writings, circa 1950-2006 (Box 3; 0.1 linear ft.)
Series 5: Sound and Video Recordings, 1996-2006 (Boxes 3-4; 0.75 linear ft., ER02; 2.66 GB)
Series 6: Printed Material, 1947-2008 (Boxes 4-5; 1.25 linear ft.)
Series 7: Photographs, circa 1923-2006 (Boxes 5-6; 0.45 linear ft.)
Biographical Note:
Robert Bartlett Richenburg (1917-2006) was a painter and educator in New York City, Ithaca, New York, and East Hampton, New York.
At age 13, Bob Richenburg's artistic talent earned him a place in a daily class for Boston Public School students at the Museum of Fine Arts. Most classes focused on copying; of far greater benefit to the young art student was the opportunity to wander through the museum and look at art nearly every day of his high school career.
Richenburg's father was an architect who also ran a stained glass lampshade business; neither endeavor was profitable, so the family endured very hard times during the Depression. To help support the family, after school and on weekends, Bob delivered ice and coal with an older brother, a job he continued while attending night school courses in liberal arts at Boston University. He studied at George Washington University in Washington, DC, 1937-1939, often working as many as four part-time jobs to cover tuition and living expenses; during summers and school vacations, he returned to Boston to work with his brother. Due to his difficult financial situation, Richenburg's college career ended before he earned a degree.
After learning that the Corcoran School of Art charged no tuition, Richenburg returned to Washington in 1940 to study painting and sculpture. Although uninformed about the art world, he realized that New York was a better place for an aspiring artist. In 1941, he began studying with George Grosz and Reginald Marsh at the Art Students League. On his own, he studied materials and techniques and copied paintings at the Metropolitan Museum Art.
With war looming and the near certainty of being drafted, Robert Richenburg and Libby Chic Peltyn (always called Chic) married in November 1942; two weeks later, he entered the army. Richenburg spent three years in England and France as a combat engineer, transporting explosives and instructing troops in the demolition of mines and booby traps. In England, he managed a photo lab and taught drawing in the fine arts section of Shrivenham American University, a school run by the U. S. Army.
Once discharged, Richenburg returned to New York and took advantage of the G.I. Bill to continue studying painting (and for the subsistence allowance that provided modest support for his family - son Ronald was born in 1947). Richenburg studied at the Ozenfant School, 1947-1949, where he developed a life-long friendship with fellow student Ibram Lassaw.
He continued his art education with Hans Hofmann in New York and Provincetown, 1949-1951. During this period, Richenburg taught drawing, painting, and art history classes sponsored by the Extension Division of City College of New York and held at venues such as Brooklyn's Central YMCA, and branches of the New York Public Library. Richenburg quickly discovered that he liked teaching and enjoyed the students.
In 1951, Richenburg joined the Pratt Institute faculty and taught studio courses at night; soon, he was teaching full time during the day. Richenburg began to achieve recognition as the youngest of the Abstract Expressionists and by the early 1960s his career was well established. Tibor De Nagy Gallery in New York and Dwan Gallery in California represented Richenburg, and a number of paintings were sold to museums and private collectors. As Richenburg experimented with new ideas and materials, his work began changing. He was a popular instructor at Pratt with several promising students who also began experimenting. In 1964, when the unorthodox work of one student in particular caught the attention of Pratt administrators, Richenburg was asked to change his approach to teaching. This roused student protests, and press coverage focused on the specific situation and academic freedom in general. He chose to resign rather than alter his teaching philosophy.
Richenburg secured a position at Cornell University. The confluence of his absence from New York City and the ascendance of Pop Art were damaging, and his career was derailed when De Nagy and Dwan dropped him from their rosters a few years later. After it was clear that he would not secure tenure at Cornell, Richenburg returned to New York in 1967 and began teaching at Hunter College. Daily life in New York was harder than he remembered and, for him, the City had lost its allure.
When offered the chairmanship of the Ithaca College art department, the Richenburgs were delighted to return to tranquil Ithaca, New York. Chic died in 1977, and Bob remained at Ithaca College until retiring in 1983. In addition full-time teaching and handling administrative activities as department chairman, Richenburg made time to work in his studio practically every day. He created a large body of work in a wide variety of media and styles, moving on to new ideas and experiments after exhausting his possibilities or interest.
Beginning in 1949 with a loan exhibition organized by The Museum of Non-Objective Art, Richenburg participated in a wide range of group shows. His first solo exhibition was held in 1953 at the Hendler Gallery, Philadelphia. Over the years, he enjoyed other solo exhibitions at venues such as: David Findlay Jr. Fine Art, Dwan Gallery, Hansa Gallery, Ithaca College Museum of Art, McCormick Gallery, Rose Art Museum (Brandeis University), Santa Barbara Museum of Art, Sidney Mishkin Gallery (Baruch College), and Tibor De Nagy Gallery. In the 1960s and 1970s, Richenburg's work was seldom shown, but from the mid-1980s onward there has been renewed interest.
Richenburg's work is represented in the permanent collections of many museums including Hirshhorn Museum, Museum of Modern Art, Philadelphia Museum of Art, and Whitney Museum of American Art. In addition, his work was acquired by many highly regarded private collectors including Larry Aldrich, Walter P. Chrysler, Jr., Joseph H. Hirshhorn, J. Patrick Lannon, and James A. Michener.
Robert Richenburg and Margaret (Marggy) Kerr, a painter and sculptor living in Ithaca, were married in 1980. Ms. Kerr is known for "brick rugs" made from cut bricks forming designs for site specific sculpture and garden walks. Richenburg became close to his stepfamily of three children, Marggy's grandchildren and her mother. After he retired from Ithaca College, Bob and Marggy moved to Springs in East Hampton, New York.
Although Richenburg suffered from Parkinson's disease during the last six years of his life, he continued to work in his home studio until physically unable to produce art. He died on October 10, 2006.
Related Material:
An oral history interview of Robert Richenburg was conducted by Dorothy Seckler for the Archives of American Art, circa 1968.
Provenance:
Donated in 2008 by Margaret Kerr, widow of Robert Richenburg, on behalf of herself and his son Ronald Richenburg.
Restrictions:
Use of original material requires an appointment. Use of audiovisual material 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.
Topic:
Educators -- New York (State) -- East Hampton Search this
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.
James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.
Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.
Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.
There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.
Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.
Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:
Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)
Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.
In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.
In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.
Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.
In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.
For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
An interview of George McNeil conducted 1968 Jan. 9-May 21, by Irving Sandler, for the Archives of American Art. McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting. He recalls Vaclav Vytlacil, Hans Hofmann; Arshile Gorky, John Graham, Jan Matulka, John Marin, Wassily Kandinsky, Mercedes Carles Matter, Albert Swinden, Fernand Léger, Stuart Davis, Burgoyne Diller, David Smith, Edgar Levy, Leo Manso, Irene Rice Pereira, Willem de Kooning, Ilya Bolotowsky, Mark Rothko, Adolph Gottlieb, Joan Miró, Robert Motherwell, George L.K. Morris, Albert Gallatin, Charles Shaw, John Ferrin, Ralph Rosenborg, Hananiah Harari, Agnes Lyall, Jean Helion, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and printmaker from New York, N.Y.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 5 hrs., 14 min.
Provenance:
These interviews are 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:
Transcript is available on the Archives of American Art's website.
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:
Tanager Gallery records, 1952-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Lee Krasner's correspondence spans over forty years, but the bulk of it ranges from 1970 to her death in 1984. Found here is correspondence with galleries and gallery owners that represented her, exhibited her work, or requested her work for potential exhibitions. Krasner was friends with many artists and art professionals and her personal correspondence includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also corresponded with art historians and critics, curators, collectors, arts and social organizations, admirers, and family members. Additionally, this series includes fan mail, student inquiries, correspondence with journalists and publishers, requests for her to lecture, and business correspondence on the sale of her work. There are numerous letters and telegrams congratulating Krasner on exhibitions, such as the 1965 Whitechapel retrospective and extensive documentation of her 1958 commission to create a mural for Uris Brothers, Inc.
See Index for List of Notable Correspondents from Series 2.2
Arrangement note:
Letters are arranged chronologically and include both letters received by Krasner and handwritten or typed drafts sent by Krasner. Later in her life many of the drafts were written by her secretary.
Index: List of Notable Correspondents from Series 2.2:
List represents only a selection of correspondents.
Albright-Knox Art Gallery
American Federation of Arts
Appelhof, Ruth Ann
Asher, Elise
Australian National Gallery
Barron, Maida
Berkson, Bill
Collier, Oscar
Cooper Union
County of Nassau Office of Cultural Development
Diamonstein, Barbaralee
Dickler, Gerald
Eames, Ray
Englesmith, Tejas
Erskine, Halley
Forge, Andrew (Yale University)
Franklin Siden Gallery
Friedman, B. H.
Friedman, Sanford
Glaser, Bruce
Goodman, Naomi
Gray, Cleve
Gregory-Hood, Alex (Rowan Gallery)
Guggenheim Museum
Guild Hall
Holladay, Billie
Howard, Richard
Howell, Douglas Morse
Hubbard, E. W.
Janie C. Lee Gallery
Johnson, Philip
Landau, Ellen
Lauck, Anthony
Lloyd, Frank
Marlborogh Fine Art, Ltd.
Martha Jackson Gallery
Matter, Mercedes
McHenry, Barnabas (Barney)
Michael, Marjorie
Museum of Modern Art
Myers, John Bernard
Namuth, Hans
Nemser, Cindy
New York WPA Artists, Inc.
Nochlin, Linda
Novak, Barbara
O'Connor, Francis
Oppler, Ellen
Ossorio, Alfonso
Pace Gallery
Parrish Art Museum
Pavia, Philip
Pollock, Jay
Rago, Louise Elliott
Robert Miller Gallery
Robertson, Bryan
Rose, Barbara
Russell, Bertrand
Schilling, Marge
School of Visual Arts
Sidney Janis Gallery
Siegel, Adele
Smithsonian Institution
Spaeth, Elaine
Stasik, Andrew
Still, Clyfford
Stony Brook Foundation
Tate Gallery
Thaw, Eugene V.
Thayer, Jeanne
Valliere, James
Van Fossen, Ted
Whitechapel Art Gallery
Whitney, David
Whitney Museum of American Art
Wise, Howard
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.
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:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.
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:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Maxwell, William ( -- See also -- : Correspondence, Personal, Box 1, F 21)
May, Stephanie
Metropolitan Museum of Art
Michael H. Lord Gallery
Miller
Miller, Ingeborg Morath
Miller, Stephen (re: Kay Sage)
Collection Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs 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:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
