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New Mexico

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Before the people there was the land. High mountains in northern New Mexico fork southward, forming arms. One curls westward to embrace the high mesa and plateau land, while the other thrusts directly south to separate the dry grasslands of the east from the fertile valley carved by the Rio Grande. Stories tell that the First People found this land when they emerged onto its surface, born from the womb of Mother Earth.

The Spanish and later the Mexicans also found this land, as they wound their way north on horseback or in carretas, following the course of the long, wild river, and establishing a permanent connection - the Camino Real - between northern New Mexico and Mexico. Then, from Texas, California, Oklahoma, came still others, determined to transform the land and tame the river. And today people still come, on family odysseys that began in Italy, Lebanon, Iran, Czechoslovakia, India, Poland, Japan, or Germany. In one short stretch, the Rio Grande recounts this history as it passes near old communities like San Juan Pueblo and Embudo, then the new atomic city, Los Alamos, and then Albuquerque, a city of a half-million people.

Five hundred years after Columbus, the complex engagement between Europe and America, which his voyage has come to symbolize, continued to produce patterns of accommodation and resistance that were presented in the 1992 Festival program. Conflicting uses and meanings for the same land seem inevitable in New Mexico, where more than 70% of the land is managed by the state or federal government, and where a significant percentage of local income is derived from tourism. Cultural traditions of New Mexico's diverse communities were not seen, at the Festival, as immutable heirlooms passed down from one generation to the next. Rather, visitors could see how today's New Mexicans shape traditions by the conflicted choices they make today, weaving a design that can never be wholly foreseen.

José Griego and Andrew Wiget were Curators, with Philippa Jackson as Research & Program Coordinator and Francesca McLean as Program Assistant.

The New Mexico program was made possible with the support of the State of New Mexico, Bruce King, Governor; with the collaboration of the Department of Tourism, the Office of Cultural Affairs, the New Mexico Arts Division, and the Museum of International Folk Art; and with the assistance of the Tourism Association of New Mexico.
Fieldworkers and consultants:
Fieldworkers

Tomás Atencio, Charles Carillo, Beaumont Chrisner, Patricia D'Andrea, Tobias Duran, Judith Goldberg, José Griego, Jim Harris, Stanley Hordes, Theodore Jojola, Kenneth Keppeler, Gina L'Acqua; Enrique Lamadrid, Katherine Liden, Jack Loeffler, Felix Lopez, Helen Lucero, Gwendolyn Mintz, Lynn Moncus, Stephan Moore, Pat Music, A. Rudy Padilla, Patricia Ruiz, Marilee Schmit, Glenda Sours, Elizabeth Taliman, Soge Track, Sandra Turner, Maria Varela, Marta Wiegle, Peter White

Consultants

Olivia Cadaval, Richard Kennedy
Presenters:
Charles Carrillo, Andrew Connors, José Griego, Kenneth Keppeler, Enrique Lamadrid, Felix Lopez, Tessie Naranjo, Gilbert Sanchez, Maria Varela, Andrew Wiget
Participants:
New Mexico Crafts

Charles Carrillo, santero, Santa Fe, New Mexico

Cordelia Coronado, 1933-, weaver, Medanales, New Mexico

Frances Naranjo Dennis, 1949-, potter, Santa Clara Pueblo, New Mexico

Austin "Slim" Green, saddle maker, Tesuque, New Mexico

Sam Leyba, 1950-, muralist, Santa Fe, New Mexico

Felix Lopez, 1942-, santero, Santa Fe, New Mexico

Irene E. Lopez, 1949-, weaver, Española, New Mexico

José Benjamin Lopez, 1947-, santero, Española, New Mexico

Jerome Lujan, santero, Santa Fe, New Mexico

Deana McGuffin, 1950-, bootmaker, Clovis, New Mexico

Wilberto Miera, adobe worker, furniture maker, Santa Fe, New Mexico

Patricio Mora, 1937-, -- paño -- artist, Albuquerque, New Mexico

Madelyn Naranjo, 1915-, potter, Santa Clara Pueblo, New Mexico

Felipe Ortega, potter, cook, La Madera, New Mexico

Alberto Parra, 1954-, adobe worker, Albuquerque, New Mexico

Carolina Paz, potter, -- quiote -- maker, Tortugas, New Mexico

Lydia Pesata, 1942-, basket maker, storyteller, Dulce, New Mexico

Eliseo Rodriguez, 1915-, straw applique, Santa Fe, New Mexico

Paula Rodriguez, 1915-, straw applique, Santa Fe, New Mexico

Timothy P. Roybal, 1947-, furniture maker, Española, New Mexico

Bonifacio Sandoval, 1922-, tin worker, Santa Fe, New Mexico

Thelma Sheche, 1928-, fetish carver, Zuni Pueblo, New Mexico

Ada Suina, potter, Cochiti Pueblo, New Mexico

Elizabeth Taliman, 1953-, bead worker, cook, Santa Fe, New Mexico

Carmen Romero Velarde, 1928-, adobe worker, cook, Ranchos de Taos, New Mexico

Priscilla Vigil, 1919-2001, potter, cook, storyteller, Tesuque, New Mexico

Maria Vergara Wilson, -- colcha -- embroiderer, La Madera, New Mexico

Home and Garden

Paulette Atencio, 1947-, storyteller, Chama, New Mexico

Alice Hoppes, 1939-2003, cook, Albuquerque, New Mexico

Edward Kretek, 1927-1997, cook, Deming, New Mexico

Geraldine Kretek, 1929-, cook, Deming, New Mexico

Gertrude Kretek, cook, Deming, New Mexico

Consuela Martinez, 1948-, curandera, Mora, New Mexico

Elizabeth Taliman, cook, bead worker, Santa Fe, New Mexico

Maclovia Zamora, 1931-, cook, Albuquerque, New Mexico

Range

Ganados del Valle -- Ganados del ValleEstafanita Martinez, 1968-, weaver, Tiera Amarilla, New MexicoNorma Martinez, 1963-, weaver, Chama, New MexicoSophie Martinez, 1959-, weaver, Tierra Amarilla, New MexicoNena Russan, 1964-, weaver, Chama, New Mexico

Ramah Navajo Sheep Camp -- Ramah Navajo Sheep CampKatie C. Henio, Ramah, New MexicoSamuel Henio, 1952-, Pine Hill, New MexicoAnnie L. Pino, 1925-2006, Ramah, New MexicoLorraine Wayne, Ramah, New Mexico

Mountain Spirit Dancers -- Mountain Spirit DancersFreddy Apache, 1963-, dancer, Mescalero, New MexicoAbraham Chee, 1959-, dancer, drum maker, Mescalero, New MexicoNathaniel Chee, Sr., 1936-2004, drummer, singer, Mescalero, New MexicoNathaniel Chee, Jr., dancer, Mescalero, New MexicoSamuel Chee, 1970-, dancer, drum maker, Mescalero, New MexicoJoseph Geronimo, 1949-, drummer, singer, drum maker, Mescalero, New Mexico

Philip Pike, dancer, Mescalero, New Mexico

Jose Castro, charro, La Mesa, New Mexico

Thelma Castro, charro, La Mesa, New Mexico

Banjo Garcia, camp cook, Continental Divide, , New Mexico

Cindy Jo Gainer Graham, 1959-, ranch skills, Tatum, New Mexico

R.W. Hampton, 1957-, ranch skills, guitarist, vocalist, Sedan, New Mexico

James Keith, farrier, blacksmith, Tucumcari, New Mexico

Pete Lewis, 1938-, ranch skills, fiddler, Dell City, New Mexico

Musicians

Antonia Apodaca, 1923-, accordion, vocals, Rociada, New Mexico

Fernando Cellicion, flute, Zuni Pueblo, New Mexico

Vodra Dorn, 1957-, vocals, Albuquerque, New Mexico

William Dorn, 1952-, vocals, sermon traditions, Albuquerque, New Mexico

Juan Manuel Flores, guitar, Las Cruces, New Mexico

J.P. Lewis, 1950-, guitar, Dell City, New Mexico

Charla Nettleton, 1955-, bass, Mesilla Park, New Mexico

Cleofes Ortiz, fiddle, Albuquerque, New Mexico

Buster Payne, 1915-, fiddle, Eunice, New Mexico

Floyd Trujillo, 1934-, vocals, bone carver, Abiquiu, New Mexico

Gretchen Van Houton, 1963-, fiddle, Albuquerque, New Mexico

Cipriano Vigil, 1941-, guitar, fiddle, vocals, Tesuque Pueblo, New Mexico

Johnny Whelan, 1946-, guitar, poetry, Las Cruces, New Mexico

Luther Whelan, 1975-, harmonica, bass, poetry, Las Cruces, New Mexico

Los Alegres -- Los AlegresFrank Jaramillo, 1950-, bass, Ranchos de Taos, New MexicoJulia Jaramillo, 1922-, mandolin, Ranchos de Taos, New MexicoPablo Trujillo, 1916-, bass, Ranchos de Taos, New Mexico

Los Reyes de Albuquerque -- Los Reyes de AlbuquerqueMiguel Archibeque, 1938-, guitar, vocals, Albuquerque, New MexicoIsidro Chavez, 1921-, guitar, Albuquerque, New MexicoRay Flores, trumpet, Albuquerque, New MexicoLorenzo Martinez, violin, Albuquerque, New MexicoRoberto Martinez, 1929-, vihuela, guitar, vocals, Albuquerque, New MexicoAngela Perez, 1970-, violin, Albuquerque, New Mexico

Plaza Dancers

Los Bernalillo Matachines -- Los Bernalillo MatachinesTheresa Acosta, 1952-, dancer, Bernalillo, New MexicoCharles J. Aguilar, 1946-, violin, Bernalillo, New MexicoRalph Chavez, dancer, Bernalillo, New MexicoJohn Crespin, 1952-, dancer, Bernalillo, New MexicoJocelyn Duran, dancer, Bernalillo, New MexicoJoseph R. Garcia, 1950-, dancer, Bernalillo, New MexicoEddie D. Gutierrez, dancer, Bernalillo, New MexicoLeroy J. Lovato, 1955-, dancer, Bernalillo, New MexicoLaurence Lucero, 1966-, dancer, Bernalillo, New MexicoPhillip Montano, 1961-, dancer, Albuquerque, New MexicoLeonard Prairie, dancer, Bernalillo, New MexicoMelanie Wiggins, dancer, Bernalillo, New Mexico

Los Comanches de la Serna -- Los Comanches de la SernaDavid Antonio Gonzales, 1965-, dancer, Ranchos de Taos, New MexicoFrancisco Gonzales, 1941-, singer, dancer, Ranchos de Taos, New MexicoMoises Romero, dancer, Ranchos de Taos, New MexicoJulian Struck, dancer, Ranchos de Taos, New Mexico

Concha Dancers -- Concha DancersAdeline Concha, 1973-, dancer, bead worker, Taos Pueblo, New MexicoBenito Concha, 1965-, drummer, flautist, dancer, Taos Pueblo, New MexicoCelestina Concha, 1937-, dancer, bead worker, Taos Pueblo, New MexicoJodie Concha, dancer, bead worker, Taos Pueblo, New MexicoMichelle Concha, dancer, bead worker, Taos Pueblo, New MexicoMike Concha, 1932-, vocals, drummer, dancer, Taos Pueblo, New MexicoNicolas Concha, dancer, Taos Pueblo, New MexicoDonna Sandoval, 1964-, dancer, bead worker, Taos Pueblo, New MexicoSonny Spruce, dancer, Taos Pueblo, New MexicoBransen Velarde, dancer, Taos Pueblo, New Mexico
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1992, Series 4
See more items in:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5ae5a762a-85e4-4dcf-bfd0-a37ac001006a
EDAN-URL:
ead_component:sova-cfch-sff-1992-ref34

Festival Recordings: El Bordo Stage: Murals & Low Riders: Border History; Chinese Presence in Baja, California

Creator:
Smithsonian Institution. Festival of American Folklife. Borderlands Program 1993 Washington, D.C.  Search this
Performer:
Herrera, Alonso Encina  Search this
Callejo, Carlos, 1951-  Search this
Frías, Romulo  Search this
Sandoval, José Luis Lee  Search this
Felix, Marciella  Search this
Warrior, William, 1927-  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
compact audio cassette
1 Sound cassette (analog.)
Culture:
Mexicans  Search this
Americans  Search this
Hispanic Americans  Search this
Maroons  Search this
Type:
Archival materials
Sound cassettes
Place:
United States
Washington (D.C.)
Durango
Mexico
Texas
Ciudad Juar̀ez (Durango, Mexico)
El Paso (Tex.)
China
Tecate (Mexico)
Del Rio (Tex.)
Date:
1993 July 5
Track Information:
101 Murals and Low Riders / Alonso Encina Herrera, Carlos Callejo, Romulo Frías.

102 Border History: Chinese Presence in Baja California / José Luis Lee Sandoval, Marciella Felix, William Warrior.
Local Numbers:
FP-1993-CT-0096
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1993.
General:
This audio recording has been transcribed. View transcription and play recording here. Download a PDF of the transcription here.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Topic:
Oral history  Search this
Lowriders  Search this
Automobiles  Search this
Mural painting and decoration  Search this
Emigration & immigration  Search this
Wood-carving  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1993, Item FP-1993-CT-0096
See more items in:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife
Smithsonian Folklife Festival records: 1993 Festival of American Folklife / Series 5: U.S.-Mexico Borderlands / 5.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5c48cf350-a1b5-4c9b-8c39-5ffb9aaeb102
EDAN-URL:
ead_component:sova-cfch-sff-1993-ref718
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Festival Recordings: El Bordo Stage: Murals & Low Riders: Border History; Chinese Presence in Baja, California digital asset number 1

Oral history interview with Milford Zornes, 1999 July 18-September 5

Interviewee:
Zornes, James Milford, 1908-2008  Search this
Interviewer:
Anderson, Susan M. (Susan Mary)  Search this
Type:
Sound recordings
Interviews
Record number:
(DSI-AAA_CollID)12820
(DSI-AAA_SIRISBib)222975
AAA_collcode_zornes99
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_222975
Online Media:

William S. Schwartz papers, 1921-1967

Creator:
Schwartz, William S. (William Samuel), 1896-1977  Search this
Subject:
Art Institute of Chicago  Search this
Pennsylvania Academy of the Fine Arts  Search this
Topic:
Painting, American  Search this
Theme:
Lives of American Artists  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Record number:
(DSI-AAA_CollID)9510
(DSI-AAA_SIRISBib)211708
AAA_collcode_schwwill
Theme:
Lives of American Artists
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211708

John Trumbull collection at the Gilcrease Institute, 1820-1831

Creator:
Trumbull, John, 1756-1843  Search this
Topic:
Painting, American  Search this
Art, American  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10024
(DSI-AAA_SIRISBib)212843
AAA_collcode_trumjohc
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212843

Charles M. Russell letters, 1902-1926

Creator:
Russell, Charles M. (Charles Marion), 1864-1926  Search this
Subject:
Cole, Philip C.  Search this
Topic:
Art, American  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10030
(DSI-AAA_SIRISBib)212849
AAA_collcode_russchar
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212849

Doel Reed printed material, 1951-1984

Creator:
Reed, Doel, 1894-1985  Search this
Topic:
Painting, Modern -- 20th century -- New Mexico  Search this
Prints -- 20th century -- New Mexico  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10549
(DSI-AAA_SIRISBib)214023
AAA_collcode_reeddoel
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214023

Alexandre Hogue papers, 1929-1992

Creator:
Hogue, Alexandre, 1898-1994  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10077
(DSI-AAA_SIRISBib)212947
AAA_collcode_hogualex
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212947

Arthur Sinclair Covey papers, 1882-1960

Creator:
Covey, Arthur Sinclair, 1877-1960  Search this
Subject:
Bransom, Paul  Search this
Lenski, Lois  Search this
Penfield, Edward  Search this
Dunn, Harvey  Search this
Type:
Sketchbooks
Scrapbooks
Photographs
Sketches
Topic:
Mural painting and decoration -- Buildings  Search this
Works of art  Search this
Illustrators -- Connecticut  Search this
Muralists -- Connecticut  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7531
(DSI-AAA_SIRISBib)209690
AAA_collcode_covearth
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209690
Online Media:

Howard Chandler Christy letters, 1949

Creator:
Christy, Howard Chandler, 1873-1952  Search this
Subject:
Gilcrease, Thomas  Search this
Topic:
Art, American  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10033
(DSI-AAA_SIRISBib)212855
AAA_collcode_chrihowa
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212855

Arthur Sinclair Covey papers

Creator:
Covey, Arthur Sinclair, 1877-1960  Search this
Names:
Bransom, Paul, 1885-  Search this
Dunn, Harvey, 1884-1952  Search this
Lenski, Lois, 1893-  Search this
Penfield, Edward, 1866-1925  Search this
Extent:
5.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Photographs
Sketches
Date:
1882-1960
Summary:
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Scope and Content Note:
The papers of mural painter and illustrator Arthur Sinclair Covey measure 5.7 linear feet and date from 1882 to 1960. Found within the papers are biographical material; correspondence with art institutions, patrons, and colleagues; scattered business and financial records; notes and writings by Covey and others, including a transcript of an interview with Covey by a radio station; art work and sketchbooks by Covey and his colleagues including Paul Bransom, Harvey Dunn, and Edward Penfield; project files concering Covey's mural projects; a scrapbook of clippings; additional printed material; and photographs of Covey, family members, colleagues, and art work.
Arrangement:
The collection is arranged into nine series according to type of material and further arranged in chronological order. Oversized material from various series has been housed in Boxes 6-8 and Oversized Folders 9-12, and is noted in the Series Descriptions/Container Listing section at the appropriate folder title with see also/see references.

Missing Title

Series 1: Biographical Material, 1925-1960, undated (Box 1, 6; 4 folders)

Series 2: Correspondence, 1915-1960, undated (Box 1, OV 9; 28 folders)

Series 3: Business Records, 1915-1958, undated (Box 1; 14 folders)

Series 4: Notes and Writings, 1923-1958, undated (Box 1; 10 folders)

Series 5: Art Work, 1921-1957, undated (Box 1, 6, OV 9-10; 23 folders)

Series 6: Project Files, 1916-1959 (Box, 1-2, 6, OV 9-12; 68 folders)

Series 7: Scrapbook, 1914-1960 (Box 8; 1 folder)

Series 8: Printed Material, 1882-1959, undated (Box 2-4, 7; 2.4 linear feet)

Series 9: Photographs, 1891-1959, undated (Box 5, 7-8; 21 folders)
Biographical Note:
Arthur Sinclair Covey was born June 13, 1877 in Leroy, Illinois, son of Byron and Emeline Edwards Covey. His boyhood was spent in various small towns in Missouri and Kansas. As a teenager in 1893, Covey "made the run" to claim land at the opening of the Cherokee Strip in Oklahoma.

From 1895 to 1896, Covey attended Southwestern College in Winfield, Kansas, followed by three years of study under Frank Duveneck, among others, at the Chicago Art Institute, from which he graduated in 1899. From 1900 to 1901, he worked as a staff artist and art editor for the Indianapolis Press and the Cleveland Plain Dealer. For the next two years, he taught at the Chicago Art Institute and established his own studio.

In 1904, Covey traveled to the Royal Academy in Munich where he was a student of Karl Marr, and, from 1905 to 1908, served as assistant to British mural painter Frank Brangwyn and taught at the London School of Art. In 1908, Covey returned to New York and married Mary Dorothea Sale, with whom he had two children, Margaret Sale Covey and Laird Fortune Covey.

Covey received official recognition for his artwork when he assisted Robert Reid and Jules Guerin on murals for the 1914-1915 Panama-Pacific Exposition and received the Bronze Medal. The following year, Covey completed his first commission to paint murals for the Wichita, Kansas, Library, and continued to work steadily on mural projects for the rest of his career.

Following the death of his wife in 1917, Covey married children's book illustrator Lois Lenski in 1921. They had a son, Stephen John Covey.

In 1925, Covey received the Architectural League's Gold Medal of Honor in Painting for his murals at the Kohler Company. From 1926 to 1929, he served as President of the national Mural Painters Society, and from 1929 to 1942, he taught pictorial composition at the National Academy Schools in New York. From 1938 to 1939, Covey created pierced brass on redwood murals for the exterior of the Contemporary Arts Building at the New York World's Fair. In 1939, he decorated the dome and globe of the Land Plane Building at La Guardia Airport in New York.

In the 1950s, Lois Lenski Covey's failing health required that the couple move permanently to Florida's warmer climate.

Arthur Sinclair Covey died on February 5, 1960, in Tarpon Springs, Florida.
Provenance:
The Arthur Sinclair Covey papers were donated from 1961 to 1965 by the artist's widow, Lois Lenski Covey.
Restrictions:
The collection is open for research. Use 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:
Painters  Search this
Topic:
Mural painting and decoration -- Buildings  Search this
Works of art  Search this
Illustrators -- Connecticut  Search this
Muralists -- Connecticut  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Photographs
Sketches
Citation:
Arthur Sinclair Covey papers, 1882-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.covearth
See more items in:
Arthur Sinclair Covey papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b265373-484f-42ea-9f9b-4ffd2f233604
EDAN-URL:
ead_collection:sova-aaa-covearth

John Steuart Curry and Curry family papers

Creator:
Curry, John Steuart, 1897-1946  Search this
Names:
Curry, Kathleen, 1899-  Search this
Extent:
10.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Video recordings
Photographs
Sketches
Interviews
Date:
1848-1999
Summary:
The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.
Scope and Content Note:
The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Biographical Materials include chronologies, biographical narratives, genealogical notes, certificates and awards, and other ephemera related to Curry and his family. Family Correspondence includes the earliest records created by Curry himself, including letters home from art school and from the East Coast during his early career.

Correspondence and Project files document mural projects, appearances, gallery relationships, and other activities from the early 1930s until his death in 1946 with correspondence, photographs, clippings, contracts, writings, and other miscellany. Subject files include pictorial reference and research files created by Curry for subjects depicted in his murals and paintings. Curry's writings include essays, lectures, interviews, and notes related to his technical and philosophical approach to art, as well as notes from his various travels, and essays by others about Curry. Personal Business Records contain records of artwork, business transactions, and personal finances.

Print Materials include print copies of published artwork by Curry, including magazine illustrations from Curry's early career. Extensive clippings, exhibition catalogs, and a scrapbook created by Curry as a youth are also found. Photographs depict Curry throughout his life in formal portraits, candid snapshots, and publicity photographs, with a significant number of photographs depicting Curry creating and posing with his artwork. The Artwork series contains a few sketches by Curry and seven canvases used for testing art materials. Additional sketches are found in Subject Files and scrapbooks.

Estate Papers contain materials dated after Curry's death in 1946 and mainly document the activities of Kathleen Curry in managing her husband's estate from 1946 until her death in 2001. Estate papers contain writings about Curry, correspondence, inventories of artwork, and alphabetical files documenting sales, exhibitions, and other projects.
Arrangement:
The collection is arranged into ten series:

Missing Title

Series 1: Biographical Materials, 1911-1993 (Box 1; 0.2 linear feet)

Series 2: Family Correspondence, 1916-1946 (Box 1; 0.2 linear feet)

Series 3: Correspondence and Project Files, 1928-1946 (Boxes 1-3, OV 11; 2.3 linear feet)

Series 4: Subject Files, 1848-1946 (Boxes 3-4, OV 11-12; 0.7 linear feet)

Series 5: Notes and Writings, circa 1911-1946 (Box 4; 0.3 linear feet)

Series 6: Personal Business Records, 1916-1952 (Box 4, OV 13; 0.3 linear feet)

Series 7: Print Materials, 1918-1985 (Boxes 4-5, 10; OV 12-13; 1.6 linear feet)

Series 8: Photographs, circa 1900-1998 (Boxes 5-6, OV 14; 1.1 linear feet)

Series 9: Artwork, 1941, undated (Box 7, OV 12, 14, 15; 0.2 linear feet)

Series 10: Estate Papers, circa 1946-1999 (Boxes 7-9 and rolled document; 2.3 linear feet)
Biographical Note:
Painter, muralist, and illustrator John Steuart Curry is considered one of the three important painters of the American Regionalist movement, along with Thomas Hart Benton of Missouri and Grant Wood of Iowa. Curry was born in north-eastern Kansas in 1897, and grew up on his family's farm. Curry left high school to attend the Kansas City Art Institute briefly, and then studied at the Art Institute of Chicago in 1916 with Edward J. Timmons and John Norton. Curry later spent a year in Paris studying with Basil Schoukhaieff in 1926 and 1927.

Curry began his career as a freelance illustrator in Leonia, New Jersey, under the influence of Harvey Dunn. Curry's illustrations were widely published in illustrated magazines such as Boy's Life, Country Gentleman, and Saturday Evening Post in the early 1920s. He married Clara Derrick in 1923 and lived in Greenwich Village, and then Westport, Connecticut, from 1924 to 1936. Derrick died in 1932, and in 1934 Curry married Kathleen Gould.

Curry's career shifted from illustration to painting during the 1920s and 1930s, bolstered by success in exhibitions and sales. Exhibits included the National Academy of Design (1924), the Corcoran Gallery (1927-1928), a solo exhibition at the Whitney Studio Club (1930), and the Carnegie International Exhibition (1933). Early sales include Baptism in Kansas, purchased by the Whitney in 1930, and Spring Shower, purchased by the Metropolitan Museum in 1932. Curry taught at Cooper Union (1932-1934) and the Art Student's League (1932-1934), and painted his first murals in Westport under the Federal Art Project in 1934.

In 1936, he was appointed artist-in-residence at the University of Wisconsin College of Agriculture as part of a rural art program developed by rural sociologist John Burton. The purpose of his residency was to serve as an educational resource for rural people of the state. Curry stayed in this position until his death in 1946, carrying out the program's mission through lectures and visits with dozens of art and civic groups around the state, and by making himself available to rural artists through correspondence and guidance in his studio. He also helped to organize annual rural art exhibitions for UW's Farm and Home Week beginning in 1940. In return for his work, he was given a salary and a studio on campus and the freedom to execute his own work as he chose.

Under the Federal Art Program's Section of Painting and Sculpture, Curry completed two murals in the Justice Department building in Washington in 1936, Westward Migration and Justice Defeating Mob Violence, and two murals in the Department of the Interior building in 1938, The Homestead and The Oklahoma Land Rush. A design that was rejected by the government for the Justice building, a mural entitled Freeing of the Slaves, was later executed at the University of Wisconsin in their law library. From 1938 to 1940, Curry worked on murals for the state house rotunda in Topeka, Kansas admist a stormy, public controversy over his dramatic depiction of Kansas history. The legislature effectively blocked Curry's completion of the project through a formal resolution not to remove marble that was blocking areas that were part of Curry's design. Infuriated, Curry left the unfinished murals unsigned, and later derided the state frequently for the treatment he received. The Kansas State legislature issued a formal apology and appreciation of the completed murals in the 1990s.

Despite the lack of appreciation of his home state, Curry did receive recognition elsewhere during his lifetime as an artist of national importance. He continued to paint and exhibit in the art centers of the East Coast. In 1941, he won the Gold Medal Award at the Pennsylvania Academy of the Fine Arts exhibition, and in the 1942 Artists For Victory exhibition, he won the top prize for Wisconsin Landscape. Curry's book illustrations were in high demand, and he contributed to books such as My Friend Flicka, editions of Lincoln's and Emerson's writings, and Wisconsin writer August Derleth's The Wisconsin. A biography of Curry written by Laurence Schmeckebier was published in 1942.

Curry died in 1946 of heart failure. A retrospective that had been planned for the living artist opened less than a month after his death at the Milwaukee Art Institute. His wife, Kathleen Curry, maintained his estate until her death, in 2001, at the age of 102. Additional retrospective exhibitions were held at Syracuse University in 1956 and in the Kansas State Capitol in 1970. In 1998, the exhibition "John Steuart Curry: Inventing the Middle West" was organized at the University of Wisconsin and traveled to the M.H. de Young Memorial Museum and the Nelson Atkins Museum of Art.
Related Material:
The Archives of American Art holds an oral history interview with Kathleen Curry regarding John Steuart Curry conducted in 1990 and 1992.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 164-168 and 4574-4576) including 98 sketchbooks, 1919-1942; a ledger, 1938-1946, of expenses with four loose letters to John Steuart Curry in Italian and Spanish; a notebook, 1932-1938, titled "Account and records of works, etc."; a journal, undated, of drafts of poems, and approximately 50 sketches. Loaned materials were returned to the lender some of which were subsequently donated to the Worcester Museum of Art in Worcester, Massachusetts. This material is not described in the collection container inventory.

John Steuart Curry memorabilia received with the Kathleen Curry's donation in 1979 (baby cup, baby dress, overalls, medals, paint box, watercolor box, 2 photographs) were transferred to the Spencer Museum of Art in 1985.
Provenance:
John Steuart Curry's widow, Kathleen Curry, lent materials on reels 164-168 for microfilming in 1971. In 1979, she subsequently donated portions of the material lent, along with additional items, some of which were transferred to Spencer Museum of Art. In 1972, Mildred Curry Fike, John Steuart Curry's sister, gave material and R. Eugene Curry, a brother, donated more material in 1975 and 1993. Ellen Schuster, John Steuart Curry's daughter, donated the home movies in 1973 and Daniel Schuster, John Steuart Curry's son-in-law, gave additional papers in 1991 in 1992, 1995, and 1999. In 1992, 1999 and 2000, additions were received from Kathleen Curry that may contain material previously filmed as a loan on reels 164-168.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions 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:
Painters -- Wisconsin  Search this
Topic:
Art -- Study and teaching  Search this
Art -- Technique  Search this
Works of art  Search this
Regionalism  Search this
Muralists -- Wisconsin  Search this
Illustrators -- Wisconsin  Search this
Genre/Form:
Scrapbooks
Video recordings
Photographs
Sketches
Interviews
Citation:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.currjohn
See more items in:
John Steuart Curry and Curry family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9943b22b6-7e9f-4538-b0aa-808dbe459e9d
EDAN-URL:
ead_collection:sova-aaa-currjohn
Online Media:

Olinka Hrdy papers

Creator:
Hrdy, Olinka, 1902-  Search this
Extent:
200 Items ((on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1913-1955
Scope and Contents:
Correspondence, photographs and printed material, 1913-1955.
Reel LA7: Scrapbook containing family photogrpahs, photographs of Hrdy and her work, newspaper clippings, articles and miscellaneous items. Included is a letter from Frank Lloyd Wright, July 27, 1933, commenting on her work and inviting her to visit him to discuss it.
Reel LA8: Clippings and miscellany, 1936-1938.
Biographical / Historical:
Muralist and designer. Born 1902, Prague, Okla.
Provenance:
Lent for microfilming 1964 by Olinka Hrdy.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Oklahoma  Search this
Muralists -- Oklahoma  Search this
Designers -- Oklahoma  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women muralists  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.hrdyolin
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9351dae27-6732-4d89-8a33-ce48dc29a4c7
EDAN-URL:
ead_collection:sova-aaa-hrdyolin

By Others, "Mexican and Chicano Workers in Visual Arts" by Shifra M. Goldman

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1982
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 3: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db9da8b9-f317-4565-b88b-92af72115005
EDAN-URL:
ead_component:sova-aaa-casamel-ref17
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Oral history interview with Milford Zornes

Interviewee:
Zornes, James Milford, 1908-2008  Search this
Interviewer:
Anderson, Susan M. (Susan Mary)  Search this
Extent:
152 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 July 18-September 5
Scope and Contents:
An interview of Milford Zornes conducted 1999 July 18-September 5, by Susan M. Anderson, for the Archives of American Art, in Zornes' studio/home, Claremont, California.
Beginning with his childhood in Oklahoma, this interview recounts the formative influences on Mr. Zornes' development as an artist, including his close relationship with Millard Sheets at Pomona College. He discussed the impact of the Mexican muralist Jose Clemente Orozco on his work and on other artists of the California School as well as the importance of nature. He recalled his prolific work on federally-funded art projects such as the PWAP and his mural commission for the Claremont Post Office. Mr. Zornes discussed the impact that WWII had on the California School in general and his particular experience on the China-Burma-India front as one of forty-two official US army artists. He described his long career as a teacher in various educational institutions as well as in outdoor painting workshops conducted around the world. Finally, Mr. Zornes discussed his struggle with macular degeneration and the subsequent change in his working methods due to his recent blindness.
Biographical / Historical:
James Milford Zornes (1908-2008) was a painter from Claremont, California. Zornes is one of the leading artists of the California School, a West Coast watercolor movement that arose during the Depression era.
General:
Originally recorded on 12 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 11 hrs., 2 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview provided by Orange County Museum of Art Historical Collections Council
Restrictions:
Transcript available on the Archives of American Art website.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.zornes99
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986bf335b-b59f-4686-b717-b4292dc319de
EDAN-URL:
ead_collection:sova-aaa-zornes99
Online Media:

Olive Rush papers

Creator:
Rush, Olive, 1873-1966  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Diaries
Photographs
Date:
1879-1967
Summary:
The papers of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art.
Scope and Contents note:
The records of Olive Rush measure 6.3 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other records that document her education and career as an illustrator, portraitist, muralist, painter, and promoter of Native American art.

Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s.

Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts.

Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes.

Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Delaware from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings.
Arrangement note:
The collection is arranged into seven series:

Missing Title

Series 1: Biographical Material, 1886-1966 (Box 1; 7 folders)

Series 2: Correspondence, 1889-1964 (Boxes 1-2, 8; 1.4 linear feet)

Series 3: Writings, 1886-1962 (Box 2; 0.6 linear feet)

Series 4: Records of Artwork, 1904-1956 (Box 3; 8 folders)

Series 5: Artwork, 1896-1957 (Boxes 3-4, 7, OV 8-12; 1 linear foot)

Series 6: Printed Materials, 1879-1967 (Boxes 4-5, 7, OV 13; 1.6 linear feet)

Series 7: Photographs, circa 1890-1966 (Box 6; 0.4 linear feet)
Biographical/Historical note:
Olive Rush was born in Fairmount, Indiana in 1875 to a Quaker farm family of six children, and attended nearby Earlham College, a Quaker school with a studio art program. Encouraged by her teacher, Rush enrolled in the Corcoran School of Art in Washington, D.C. in 1890, where she stayed for two years and achieved early recognition for her work. In 1893, Rush joined the Indiana delegation of artists to the World's Columbian Exposition in Chicago.

In 1894, she moved to New York City and continued her studies at the Art Students League with Henry Siddons Mowbray, John Twachtman, and Augustus St. Gaudens. She secured her first job as an illustrator with Harper and Brothers and quickly started doing additional illustration work for Good Housekeeping, Scribner's, The Delineator, Woman's Home Companion, Sunday Magazine and St. Nicholas Magazine. Rush also became a staff artist at the New York Tribune and illustrated several books.

In 1904, Rush sent an inquiry with samples of her work to master illustrator Howard Pyle, who had established what was then the only school of illustration in the country in Wilmington, Delaware. There he provided free instruction to a small number hand-picked artists culled from hundreds of applicants. Although Pyle did not admit women to his studio, he encouranged her to come and join the class for lectures and criticisms. Rush moved to Delaware later that year, joining a growing number of female illustrators there including Ethel Pennewill Brown (later Leach), Blanche Chloe Grant, Sarah Katherine Smith, and Harriet Roosevelt Richards, among others. Rush and her female colleagues lived together in a boarding house known as Tusculum, which became well-known as a gathering place for women artists.

Rush traveled to Europe in 1910, embarking on a period of intense study and travel which would mark a steady transition from illustration to painting. She studied at Newlyn in Cornwall, England and then in France with the American impressionist Richard E. Miller. She returned to Wilmington in 1911, where she moved into Pyle's studio with Ethel Pennewill Brown. Rush bounced to New York, Boston, and back to France, where she lived for a time with fellow artists Alice Schille, Ethel Pennewill Brown, and Orville Houghton Peets. Her reputation grew, and she began to exhibit regularly in major national and regional juried exhibitions including the Carnegie, Pennsylvania Academy, and Corcoran annual exhibitions, as well as the Hoosier Salon.

In 1914, Rush made her first trip to Arizona and New Mexico. Passing through Santa Fe on her return trip, Rush made contact with the artists community at the Museum of New Mexico, where she secured an impromptu solo exhibition after showing her new work, inspired by the landscape of the Southwest. She made Santa Fe her permanent home in 1920 in an adobe cottage on Canyon Road, which became a main thoroughfare of the Santa Fe artists' community.

Rush began to experiment with fresco painting, and developed her own techniques suitable to the local climate. She became a sought-after muralist and was asked to create frescoes for many private homes and businesses. In her painting, she often depicted the Native American dances and ceremonies she attended. She exhibited these paintings around the country, including with the Society of Independent Artists in New York, and in the Corcoran Annual Juried exhibition, where Mrs. Herbert Hoover and Duncan Phillips both purchased her work.

In 1932, Rush was hired to teach at the Santa Fe Indian School. Rush's enthusiastic work in the 1930s with the young pueblo artists is credited with helping to bring about a flourishing of Native American visual art in New Mexico. Rush continued to work with native artists throughout her life, and many of her associates went on to gain national reputations, including Harrison Begay, Awa-Tsireh, Pop Chalee, Pablita Valerde, and Ha-So-De (Narciso Abeyta).

From 1934 to 1939, Rush executed murals for the Public Works of Art Project (PWAP) and the Federal Art Project (FAP) of the Works Progress Administration (WPA). Rush's federal art projects included murals for the Santa Fe Public Library (1934), the Biology Building of the New Mexico Agricultural College (1935), the Pawhuska, Oklahoma Post Office (1938), and the Florence, Colorado Post Office (1939). Rush was also asked to join the Advisory Committee on Indian Art created by the PWAP in 1934, to help administer a segment of the program aimed at employing Native American artists.

In her later years, Rush's artwork became increasingly experimental, incorporating the ideas of Chinese painting, Native American art, and her contemporaries, the modernists, especially Wassily Kandinsky. She continued painting and exhibiting until 1964, when illness prohibited her from working. She died in 1966, leaving her home and studio to the Santa Fe Society of Friends.

Sources consulted for this biography include Olive Rush: A Hoosier Artist in New Mexico (1992) by Stanley L. Cuba, and Almost Forgotten: Delaware Women Artists and Arts Patrons 1900-1950 (2002) by Janice Haynes Gilmore.
Related Archival Materials note:
The Archives of American Art holds a brief oral history interview with Olive Rush concerning her involvement with Federal Art Projects.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reel SW4) including scrapbooks, photographs, clippings, and exhibition catalogs. Most of this material was later donated, but some items remain with the lender and are not described in the collection container inventory.
Provenance:
Olive Rush donated the bulk of her papers to the Archives of American Art in 1963 and 1964. Additional exhibition catalogs and photographs were added to the collection upon her death in 1966. An anonymous donation of diaries, sketchbooks, and a photograph was received by the Archives in 1970. Also in 1970, the Olive Rush Memorial Studio lent papers for microfilming. Many, but not all, of the loaned materials were later donated.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:
Painters -- New Mexico -- Santa Fe  Search this
American Indians in art  Search this
Art and state  Search this
Mural painting and decoration -- 20th century -- New Mexico -- Santa Fe  Search this
Muralists -- New Mexico -- Santa Fe  Search this
Illustrators -- New Mexico -- Santa Fe  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sketches
Diaries
Photographs
Citation:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rusholiv
See more items in:
Olive Rush papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9658989d9-2bae-49ac-8468-a447e744a90e
EDAN-URL:
ead_collection:sova-aaa-rusholiv
Online Media:

Oral history interview with Olinka Hrdy

Interviewee:
Hrdy, Olinka, 1902-  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Extent:
3 Sound tape reels (Sound recordings , 3 in.)
59 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 Mar. 13-Mar. 17
Scope and Contents:
An interview of Olinka Hrdy conducted 1965 Mar. 13-Mar. 17, by Betty Hoag, for the Archives of American Art's New Deal and the Arts Oral History Project.
Hrdy discusses her childhood in Oklahoma; Native American culture and its influence on her work; studying and mural painting at the University of Oklahoma; influence of music in herwork; outlining technique in her painting; working in Tulsa; the Nicholas Rorick Museum; textile design; Dynamic Symmetry; working for Seymore Lipton, Frank Lloyd Wright, and Hans Schwitzer; relationship with Wright; Taliesin; the project period; her projects in California; job as Chief Designer for the State of CA; her personal creative approach. She recalls Bruce Goff, Dorothy Jenkins, and Suzanne Miller.
Biographical / Historical:
Designer, mural painter; Prague, Okla.
General:
Unrelated interviews of Helen Lundeberg and of Charles White conducted by B. Hoag are also on the tapes.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Oklahoma  Search this
Muralists -- Oklahoma  Search this
Designers -- Oklahoma  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration  Search this
Women artists  Search this
Women painters  Search this
Women designers -- Biography  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hrdy65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c1186a82-3752-4042-9deb-f191fcc8b812
EDAN-URL:
ead_collection:sova-aaa-hrdy65
Online Media:

Commodus, (painting)

Title:
Emperor Commodus, Son of Marcus Aurelius (Dressed as Hercules), Leaving the Arena at the Head of the Gladiators, (painting)
Painter:
Blashfield, Edwin Howland 1848-1936  Search this
Subject:
Commodus  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Hermitage Foundation Museum Norfolk Virginia 23505
Date:
1878
Topic:
History--Ancient--Rome  Search this
Occupation--Military--Gladiator  Search this
Portrait male--Full length  Search this
Architecture--Classical  Search this
Figure group  Search this
Control number:
IAP 88690010
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_361510

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