This small collection of scattered papers of American writer John Weatherwax (1900-1984) dates from 1928 to 1988 (bulk 1931-1933), and measures 0.4 liner feet. The papers document Weatherwax's relationship with Mexican artists Frida Kahlo and Diego Rivera. In 1931, John Weatherwax approached Rivera to illustrate his English translation of the Mayan story of creation, the Popol Vuh. Rivera agreed and produced twenty-four watercolor illustrations for the text. The papers contain Weatherwax's translation, "Seven Times the Color of Fire", as well as manuscript versions of two short stories he wrote about Diego Rivera and Frida Kahlo entitled "The Queen of Montogomery Street" and "Diego". Also found within the collection are correspondence, manuscripts and notes, printed materials, and photographs.
Scope and Content Note:
This small collection of scattered papers of American writer John Weatherwax (1900-1984) dates from 1928 to 1988 (bulk 1931-1933), and measures 0.4 liner feet. The papers document Weatherwax's relationship with Mexican artists Frida Kahlo and Diego Rivera. In 1931, John Weatherwax approached Rivera to illustrate his English translation of the Mayan story of creation, the Popol Vuh. Rivera agreed and produced twenty-four watercolor illustrations for the text. The papers contain Weatherwax's translation, "Seven Times the Color of Fire", as well as manuscript versions of stories he wrote about Diego Rivera and Frida Kahlo, including one entitled "The Queen of Montgomery Street". Also found are several draft manuscripts of stories concerning Diego Rivera, which include "Diego", "Diego, Galka and Toby", the latter about art dealer Galka Scheyer's visit to Diego Rivera's studio in San Francisco containing references to the Blue Rider exhibition she organized in the early 1930s of the work of the artists collective, the "Blue Four" (Dar Blaue Vier).
Also found within the collection is scattered correspondence, including letters from painter, printmaker, and muralist Emmy Lou Packard concerning Diego and Frida, two telegrams from American novelist Upton Sinclair to John Weatherwax, and a letter from the Russian filmmaker, Sergei Eisenstein, to Rivera introducing Weatherwax. Additional manuscripts and notes, printed materials, and photographs are also found within the papers.
Arrangement:
Missing Title
Series 1: Correspondence, 1928-1988 (Box 1, 5 folders)
Series 2: Manuscripts and Notes, circa 1930-1971 (Box 1, 14 folders)
Series 3: Printed Material, 1931-1987 (Box 1, 4 folders)
Series 4: Photographs, circa 1930s, 1974 (Box 1, 3 folders)
Biographical Note:
American writer John Weatherwax (1900-1984) was born in Aberdeen, Washington, and attended the University of Washington in Seattle for two years before going to Harvard College in 1921. His studies focused on English literature, business, mythology, and world literature. Weatherwax wrote a number of children's stories and, in 1934, co-authored with his sister and brother-in-law Gerald Strang, The Coming of the Animals, a series of California Native American stories.
Weatherwax met Mexican muralist Diego Rivera and painter Frida Kahlo in San Francisco when the couple stayed with sculptor Ralph Stackpole in his studio on Montgomery Street. Rivera was there to work on a commission to paint a mural for the San Francisco Stock Exchange. At the time Weatherwax was working on an English translation of the ancient Mayan codex, Popol Vuh, and asked Rivera if he would provide illustrations for the manuscript. Although the translation was never published, Rivera agreed and produced twenty-four watercolor illustrations for the text.
Weatherwax revealed his admiration for Diego and Frida by writing a manuscript entitled "The Queen of Montgomery Street" , a clever short story about Frida's and Diego's experiences in San Francisco. Probably written as a gift to the Rivera's, the central figures of "The Queen of Montgomery Street" where Diego as King and Frida as Queen. He also wrote a story entitled "Diego".
Provenance:
Seema Weatherwax donated her husband's papers to the Archives of American Art, Smithsonian Institution in 1988.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists -- California -- San Francisco Search this
Mural painting and decoration, Mexican -- Influence Search this
Mural painting and decoration, American -- Foreign influences Search this
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