The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.
Scope and Content Note:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.
Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.
Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.
Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.
The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).
Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.
Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.
Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.
Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.
The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.
Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.
Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)
Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)
Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)
Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)
Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)
Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)
Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)
Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)
Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)
Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)
Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)
Biographical Note:
Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.
After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.
Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.
Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.
Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.
Related Material:
Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.
Provenance:
Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. 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.
An interview of Rollin McNeil Crampton conducted 1965 January 29, by Joseph S. Trovato, for the Archives of American Art. Crampton speaks of his work as supervisor of the New York City WPA mural project; selecting muralists and mural sites; how the murals were executed; the effect of the Federal Art Project upon him and his career; his background and early interest in art; and his education at Yale and at the Art Students League. He recalls Burgoyne Diller.
Biographical / Historical:
Rollin McNeil Crampton (1886-1970) was an art administrator and painter in both Woodstock and New York, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 22 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Mural painting and decoration -- New York (State) -- New York Search this
New Deal and the Arts Oral History Project Search this
Extent:
8 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Nov. 5
Scope and Contents:
An interview of Ethel Magafan conducted 1964 Nov. 5, by Joseph S. Trovato for the Archives of American Art.
Magafan speaks of her earliest associations with the WPA Federal Art Project; receiving commissions for murals in post offices and government buildings; subject matter of the murals she painted; her life in Woodstock, N.Y.; and her work methods.
Biographical / Historical:
Ethel Magafan (1915 or 6 -1993) was a mural painter in Woodstock, N.Y. Birthdate cited as both Oct. 10, 1916 and Aug. 10, 1915.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 25 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.
Scope and Contents:
The papers of painter and muralist Louis Bouché measure 5.9 linear feet and date from 1880 to 2007. Found within the papers are biographical material; personal correspondence, including correspondence from the extended Bouché family; writings; financial records; printed material; four scrapbooks; artwork; and photographs of Bouché, his family and friends, and his work.
Biographical material consists of family certificates and Bouché's curriculum vitae.
The bulk of the correspondence consists of letters from Bouché 's father to his mother, and of letters addressed to his daughter, Jane. These include letters Louis and Marian wrote to Jane, along with letters from her first husband, William Pène du Bois, during the early days of their courtship and marriage. The handful of letters directly addressed to Louis and Marian include correspondence from Peggy Bacon and Katherine Schmidt.
Writings include drafts of Bouché's autobiography, eight journals kept by Marian Bouché detailing their travels in the United States and abroad, four reminiscences of Bouché written by others, and a poem written by Peggy Bacon.
Personal business records consist of two ledger books, lists, and receipts documenting inventory and records of sales.
Printed material consists of clippings, exhibition announcements and catalogs, and periodicals related to Bouché's work. There are also three books from Bouché's personal library and exhibition announcements and catalogs from Walt Kuhn's Penguin Club and Wanamaker's Gallery.
Two scrapbooks include clippings, photographs, and printed material related to Bouché 's career. One scrapbook includes material related to the extended Bouché family, and one scrapbook consists of reproductions of works of art by modern French artists.
Photographic materials include ten photograph albums. Three are of Louis, Marian, and Jane, three are of Jane and her family, and four are of Louis' parents and sister's family. There are also loose prints and negatives of Bouché, his family and friends, and works of art.
Artwork consists of sketches and drawings by Louis, Jane, Henri, and Ernest Bouché. Additional sketches by Peggy Bacon, Alexander Brook, Jo Davidson, and Reginald Marsh are also included.
Arrangement:
This collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1880-1964 (2 folders, Box 1)
Series 2: Correspondence, 1880-2003 (1.2 linear feet; Boxes 1-2)
Series 3: Writings, 1933-1995 (.9 linear feet, Boxes 2-3)
Series 4: Personal Business Records, 1930-1974 (4 folders, Box 3)
Series 5: Printed Material, 1900-1997 (.5 linear feet; Boxes 3, 6)
Series 6: Scrapbooks, 1880-1969 (.8 linear feet; Boxes 3, 7-8)
Series 7: Photographic Materials, 1890-1994 (2.3 linear feet; Boxes 3-5, 9-10)
Series 8: Artwork, 1870-1965 (10 folders; Boxes 5, 10)
Biographical / Historical:
Louis Bouché (1896-1969) was a painter, muralist, and educator who lived and worked in New York City.
Bouché was born in New York City to Henri and Marie Bouché. His father was an interior designer who worked with Stanford White and for Tiffany, and his grandfather, Ernest Louis Bouché, was a Barbizon school painter. After his father's death in 1909, his mother moved the family to Paris where Bouché attended art school at La Grand Chaumère. When the family moved back to America in 1915, Bouché enrolled at the Art Students League where he met fellow student and lifelong friend Alexander Brook. In 1916, Bouché was invited to become a member of Walt Kuhn's Penguin Club, and in 1918, he joined the stable of Charlie Daniel's Daniel Gallery. At this time, Bouché began exhibiting in shows organized by Julianna Force for the Whitney Studio Club, which later evolved into the Whitney Museum. In 1920, he was introduced to the Woodstock artist community and was a frequent summer resident at the colony.
Bouché met Marian Wright while they were both members of the Penguin Club, and they were married in 1921. Upon returning from their honeymoon, Bouché accepted a position managing exhibitions for Wanamaker's Belmaison Galleries, the first modern art gallery in a department store in New York. Their daughter Jane would later marry William Pène du Bois, son of Guy Pène du Bois, whom the Bouchés had known from their days in the Penguin Club. In 1926, Bouché separated from Wanamaker's and began taking commissions for mural and design work, eventually completing murals for the U.S. Department of the Interior, Radio City Music Hall, and the Pennsylvania Railroad. In addition to murals, Bouché did illustrative advertising work for various publications, including Condé Nast and Town and Country.
In 1936, Bouché joined the stable at Kraushaar Gallery, where he eventually exhibited a series of ten one-man shows. Bouché also held solo exhibitons at the Valentine Gallery, Staten Island Institute, Century Association, and Albany Institute. Beginning in 1943, Bouché taught for many years at the Art Students League and began teaching at the National Academy of Design in 1951. He received a Guggenheim Fellowship in 1936 and was the American Academy in Rome's artist in residence in 1960.
Louis Bouché died in Pittsfield, Massachusetts, on August 7, 1969.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Louis Bouché, one conducted by John Morse, August 7, 1959, and another by William Woolfenden on March 13, 1963.
Provenance:
A portion of the Louis Bouché papers were loaned for microfilming and subsequently donated by the artist and his wife in 1963 and from 1972 to 1973. Additions were donated by Bouché's daughter, Jane Bouché Strong, in several accretions dating from 1978 to 1988. In 2011, Anne Strong, Jane B. Strong's executor, donated additional materials to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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:
Muralists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Photographs
Sketches
Scrapbooks
Travel diaries
Drawings
Citation:
Louis Bouché papers, 1880-2007. 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 papers of painter and muralist Marion Greenwood (1909-1970) measure 0.5 linear feet and date from circa 1933 to circa 1960. The collection is comprised of biographical materials, printed materials, photographs and negatives.
Scope and Contents:
The papers of painter and muralist Marion Greenwood (1909-1970) measure 0.5 linear feet and date from circa 1933 to circa 1960. The collection is comprised of biographical materials, printed materials, photographs and negatives.
Biographical materials consist of a resume. Printed materials include exhibition announcements and catalogs; clippings of Greenwood's art in commercial publications; a profile of Greenwood written for American Artist magazine; and other miscellaneous material. Photographs in the collection include black and white originals, negatives, copies, and snapshots, primarily depicting Greenwood's work as a muralist and painter. Also present are photographs of the artist, including images of Greenwood with Mexican Muralist Diego Rivera, sculptor and designer Isamu Noguchi, friends, and family.
Arrangement:
This collection is arranged as three series.
Missing Title
Series 1: Biographical material, circa 1960 (1 folder; Box 1)
Series 2: Printed Material, 1883, 1937-1960 (4 folders; Box 1)
Series 3: Photographic material, circa 1933-circa 1960 (0.3 linear feet; Box 1-2, OV 3)
Biographical / Historical:
Marion Greenwood (1909-1970) was an American social realist painter and muralist who worked in both the United States and Mexico.
Greenwood was born in Brooklyn, and educated at the Art Students League of New York and the Academie Colarossi in Paris. She travelled extensively throughout Mexico, China, and the United States, and her travels were often reflected in her paintings. She was the first female American painter to receive a mural commission from the Mexican government, and painted a series of commissioned murals from 1932-1936. Greenwood also worked for the U. S. Works Progress Administration Federal Art Project from 1936-1940, painting murals and frescoes in housing projects in Red Hook, Brooklyn, and Camden, NJ, as well as in the post office of Crossville, TN. After 1940, Greenwood primarily focused on easel painting. In 1944, she was commissioned as a war artist by the Army Medical Corps and by the pharmaceutical company Abbott Laboratories to document soldiers returned from war and their medical care. Greenwood served as a visiting professor at the University of Tennessee from 1954-1955, and was commissioned to paint a mural for the university in 1955.
Marion Greenwood died in Woodstock, NY in 1970.
Related Materials:
Within the collections of the Archives is the Oral history interview with Marion Greenwood, 1964 Jan. 31, by Dorothy Seckler.
Provenance:
The collection was donated by Marion Greenwood in 1964, and at an earlier, unknown date.
Restrictions:
Microfilmed portion must be consulted on microfilm. Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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:
Muralists -- New York (State) -- New York Search this
An interview of Grace Greenwood conducted 1965 Jan. 29, by Joseph Trovato, for the Archives of American Art New Deal and the Arts Project.
Greenwood speaks of her background and art education; her mural work before joining the Treasury Relief Art Project; working on a post office mural in Camden, New Jersey; participating in the WPA Federal Art Project's easel painting project; and her post-FAP career.
Biographical / Historical:
Grace A. Greenwood, (1905-), painter and mural painter of Woodstock, New York.
General:
An interview of Rollin Crampton conducted by J. Trovato is also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
New Deal and the Arts Oral History Project Search this
Extent:
11 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 November 4
Scope and Contents:
An interview of Arnold Blanch conducted by Joseph Trovato on 1964 November 4 for the Archives of American Art.
Blanch speaks of his background and training at the Art Students League; his work on three post office murals for the Federal Art Project; the effect of the FAP on artists; the politics of the FAP; accusations of communism against Blanch and others; government support for the arts; and Blanch's personal art collection.
Biographical / Historical:
Arnold Blanch (1896-1968) was a mural painter in Woodstock, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 37 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Mural painting and decoration -- New York (State) Search this
An interview of Arnold Blanch conducted by Dorothy Seckler (31 pages) on 1963 June 13 for the Archives of American Art, and a lecture by Blanch recorded by Seckler (6 pages), August 1, 1963.
In the interview, Blanch speaks of his childhood in Minnesota; his hostility toward formal education; his art education; moving to New York; the influence of Cezanne and Renoir on his work; the Woodstock art circle; travels in Paris; his association with New York galleries; his involvement with WPA projects; the American Artists Congress; the American art scene in the 1930s; his opinions of government aid to the arts; changes in his style; and his opinions on the contemporary art scene. He recalls Boardman Robinson, Juliana Force, George Bellows, Robert Henri, John Sloan, Kenneth Hayes Miller, Arshile Gorky, Diego Rivera, Jose Clemente Orozco, David Siqueiros, and Raoul Hague. The lecture,"Art Tradition," was delivered by Blanch to the Woodstock Art Association, Woodstock, New York, August 1, 1963.
Biographical / Historical:
Arnold Blanch (1896-1968) was a mural painter in Woodstock, New York.
General:
Originally recorded 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 12 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
An interview of Edward Chavez conducted 1964 November 5, in Woodstock, New York, by Joseph Trovato for the Archives of American Art.
Chavez speaks of the development of his interest in art; working for the Treasury Relief Art Project, and later the WPA Federal Art Project; murals he did for the WPA in high schools and post offices; his post-war paintings and the change in his style; and his feelings about federal support for the arts.
Biographical / Historical:
Edward Chavez (1917-1995) is a painter, mural painter, and sculptor from Woodstock, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 20 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- New York (State) -- Woodstock -- Interviews Search this
Muralists -- New York (State) -- Woodstock -- Interviews Search this
Interview of Philip Guston conducted on January 29, 1965, by Joseph Trovato, in the artist's home in Woodstock, New York, for the Archives of American Art's New Deal and the Arts Oral History Project.
Guston briefly provides biographical information and spends the remainder of his time speaking of his experiences working on the Mural Project (PWAP) in Los Angeles; his move to New York working under Reginald Marsh as a non-relief artist; his multiple mural projects in New York (Penn Station Subway, Queensbridge Housing Project, WPA Mural for the World's Fair, etc.); his success in WPA Fine Arts competitions; his move to Woodstock, New York; his time spent teaching at the University of Iowa; his many influences (Renaissance, Modern and Abstract Painters); his personal/professional feelings about the WPA as well as his political feelings about it.
Biographical / Historical:
Philip Guston (1913-1980) was a painter in both New York and Los Angeles.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
