Search Results

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Asante (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Ghana

Date:

1970

Scope and Contents:

"Clearly it is important for many Asante artefacts and images to be witty: to express certain truisms concisely and pleasingly. Many of these images are thus absorbed into a wider system of debate and discourse: they suggest ideas about ideal forms of relationship and, by their public appearance, serve to keep these to the forefront of Asante consciousness. Today, the favoured image depicting a crocodile with a mudfish in its mouth has a range of proverbial meanings which turn upon problems of weak and strong living together. For gods the image is doubly appropriate: the power of god to man is likened to that of crocodile to mudfish, while the god's power to exist independently but also to enter partially the world of man is paralleled by the crocodile's amphibious abilities." [McLeod M.D., 1981: The Asante. British Museum Publications Ltd]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

T 2 ASH 1.3 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

D9

Frame value is 33.

Slide No. T 2 ASH 1.3 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Works of art in situ  Search this

Mural painting and decoration  Search this

Animals in art  Search this

Animals in art -- Crocodiles  Search this

Animals in art -- Fishes  Search this

Animals in art -- Roosters  Search this

Animals in art -- Sankofa birds  Search this

Animals in art -- Lizards  Search this

Animals in art -- Elephants  Search this

Cultural landscapes  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 16547

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Ghana

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo758489837-d09f-4deb-a4aa-43083775cd08

EDAN-URL:

ead_component:sova-eepa-1973-001-ref7854

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Asante (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Ghana

Date:

1970

Scope and Contents:

"Clearly it is important for many Asante artefacts and images to be witty: to express certain truisms concisely and pleasingly. Many of these images are thus absorbed into a wider system of debate and discourse: they suggest ideas about ideal forms of relationship and, by their public appearance, serve to keep these to the forefront of Asante consciousness. Today, the favoured image depicting a crocodile with a mudfish in its mouth has a range of proverbial meanings which turn upon problems of weak and strong living together. For gods the image is doubly appropriate: the power of god to man is likened to that of crocodile to mudfish, while the god's power to exist independently but also to enter partially the world of man is paralleled by the crocodile's amphibious abilities." [McLeod M.D., 1981: The Asante. British Museum Publications Ltd]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.

Local Numbers:

T 2 ASH 1.1 EE 70

General:

Title is provided by EEPA staff based on photographer's notes.

Local Note:

Frame value is 34.

Slide No. T 2 ASH 1.1 EE 70

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Mural painting and decoration  Search this

Animals in art  Search this

Animals in art -- Snakes  Search this

Animals in art -- Crabs  Search this

Animals in art -- Birds  Search this

Animals in art -- Cats  Search this

Works of art in situ  Search this

Cultural landscapes  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 16590

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Ghana

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo70c0fea1e-8118-4df3-8023-f5487d00f06f

EDAN-URL:

ead_component:sova-eepa-1973-001-ref7902

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-02-26T15:54:44.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_uMUFVrxm8Kc

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-05-30T17:06:51.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_-nxqfKrN7H4

Names:

History Film Forum  Search this

National Endowment for the Humanities  Search this

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Place:

United States -- History

Date:

circa 2017-2020

Descriptive Entry:

This accession consists of the History Film Forum website as it existed on March 17, 2020. The History Film Forum, presented by the Smithsonian Institution and the National Endowment for the Humanities, explores history on the screen and the state of film as public history through analysis of narrative film, documentaries, television shows, and internet videos. The website, hosted by the Smithsonian Institution, provides information about the Forum and associated events. At the time of capture, the website did not appear to have been updated since late 2017 or early 2018. Materials are in electronic format.

Topic:

Web sites  Search this

Museums -- Public relations  Search this

Special events  Search this

Historical films  Search this

Motion pictures and history  Search this

History in motion pictures  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-093, Smithsonian Institution, Website Records

Identifier:

Accession 22-093

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-093

Creator:

Smithsonian Astrophysical Observatory  Search this

Type:

YouTube Videos

Uploaded:

2011-07-13T14:28:10.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Astronomy  Search this

See more by:

cxcpub

Data Source:

Smithsonian Astrophysical Observatory

YouTube Channel:

cxcpub

EDAN-URL:

edanmdm:yt_jM6lLHWBuVE

Creator:

Nathan, Emily S., 1907-1999  Search this

De Creeft, José, 1884-1982  Search this

Subject:

Lerner, Abram  Search this

Goldberg, Rube, 1883-1970  Search this

Spyropoulous, Jannis  Search this

Johns, Jasper  Search this

Rothko, Mark  Search this

Smith, Tony  Search this

Namuth, Hans  Search this

McLanathan, Richard B. K.  Search this

Woolfenden, William E. (William Edward)  Search this

De Creeft, José  Search this

Hirshhorn, Joseph H.  Search this

Towle Mfg. Company  Search this

Smithsonian Institution  Search this

Archives of American Art  Search this

Type:

Sound recordings

Interviews

Citation:

Emily Nathan papers, circa 1943-1985. Archives of American Art, Smithsonian Institution.

Topic:

Roosters -- Pictorial works  Search this

Roosters -- Anecdotes  Search this

Caricatures and cartoons  Search this

Art, American  Search this

Inventors -- Interviews  Search this

Archives -- Public relations  Search this

Museums -- Public relations  Search this

Arts administrators -- New York (State) -- New York -- Interviews  Search this

Art and industry  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)8071

(DSI-AAA_SIRISBib)210242

AAA_collcode_nathemil2

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210242

Creator:

Carnegie Institute, Museum of Art  Search this

Names:

Art Institute of Chicago  Search this

Buffalo Fine Arts Academy  Search this

Corcoran Gallery of Art  Search this

Gallery of William Macbeth  Search this

M. Knoedler & Co.  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Alexander, John White, 1856-1915  Search this

Beatty, John W. (John Wesley), 1851-1924  Search this

Beaux, Cecilia, 1855-1942  Search this

Brush, George de Forest, 1855-1941  Search this

Chase, William Merritt, 1849-1916  Search this

Church, Samuel Harden  Search this

East, Alfred, Sir, 1849-1913  Search this

Hassam, Childe, 1859-1935  Search this

Homer, Winslow, 1836-1910  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Extent:

265.8 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Letterpress books

Museum records

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1883-1962

bulk 1885-1962

Summary:

The records of the Carnegie Institute, Museum of Art measure 252.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; and Department of Fine Arts letterpress copy books.

Scope and Contents:

The records of the Carnegie Institute, Museum of Art measure 252.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; and Department of Fine Arts letterpress copy books.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Arrangement:

The collection is arranged into five series:

Missing Title

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Biographical / Historical:

The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.

Provenance:

The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.

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:

Art -- Economic aspects  Search this

World War, 1914-1918  Search this

Depressions -- 1929  Search this

Art, Modern -- Exhibitions  Search this

Fascism  Search this

World War, 1939-1945  Search this

Museum directors  Search this

Function:

Art museums -- Pennsylvania

Genre/Form:

Photographs

Letterpress books

Museum records

Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.carninst

See more items in:

Carnegie Institute, Museum of Art records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw941920dd5-82b0-485f-802d-62b012a74357

EDAN-URL:

ead_collection:sova-aaa-carninst

Creator:

McLanathan, Richard B. K., 1916-1998  Search this

Subject:

Bulfinch, Charles  Search this

Munson-Williams-Proctor Institute  Search this

Museum of Fine Arts, Boston  Search this

Harvard University  Search this

American Association of Museums  Search this

Type:

Sound recordings

Moving images

Citation:

Richard McLanathan papers, 1901-1995, bulk 1940s-1990s. Archives of American Art, Smithsonian Institution.

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)6431

(DSI-AAA_SIRISBib)215555

AAA_collcode_mclarich

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215555

Creator:

McLanathan, Richard B. K.  Search this

Names:

American Association of Museums  Search this

Harvard University  Search this

Munson-Williams-Proctor Institute  Search this

Museum of Fine Arts, Boston  Search this

Bulfinch, Charles, 1763-1844  Search this

Extent:

29.8 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Moving images

Date:

1901-1995

bulk 1940s-1990s

Summary:

The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence, education records, writings, and lecture files; papers related to his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, administrative reorganization, funding, and publicity. The collection is primarily composed of correspondence, writings, reports, printed matter, as well as some photographs and audiovisual material.

Scope and Contents:

The papers of art historian, arts administrator, consultant, and author Richard McLanathan, measure 29.8 linear feet and date from 1901 to 1995, with the bulk of the records dating from the 1940s to 1990s. The collection documents McLanathan's career through correspondence with artists, museum professionals, and collectors; records from his education at Harvard, including papers related to the American architect Charles Bulfinch; papers pertaining to various lectures, essay, and book projects; material documenting his career at the Museum of Fine Arts, Boston, and his directorship at the Munson-Williams-Proctor Arts Institute; and project files from his consulting work in arts, education, historic preservation, and administrative reorganization, funding, and publicity. Also included is a significant amount of material related to McLanathan's post as art curator at the American National Exhibition, Moscow, USSR, in 1959; and his work as writer, researcher, and editor at the National Gallery of art form the late-1960s to late-1970s.

Arrangement:

This collection is arranged as 9 series

Series 1: Biographical Material, 1942-1994 (1.0 linear feet; Boxes 1, 30-31, FC 32)

Series 2: Correspondence, 1901-1995, bulk 1940s-1990s (0.4 linear feet; Box 1)

Series 3: Writings, 1934-1995 (9.6 linear feet; Boxes 1-10, 31)

Series 4: Association and Membership Records, 1950-1987 (3.5 linear feet; Boxes 11-14, FC 33)

Series 5: Museum of Fine Arts, Boston, circa 1946-1976 (2.0 linear feet; Box 14-16)

Series 6: Munson-Williams-Proctor Arts Institute, 1958-1963 (1.0 linear feet; Box 16-17)

Series 7: Consulting Projects, 1950s-1991 (10.8 linear feet; Box 17-28, 31)

Series 8: Printed Material, 1930s-1990s (1.0 linear feet; Box 28-29)

Series 9: Photographs, circa 1940s-1990s (0.5 linear feet; Box 29)

Biographical / Historical:

Richard McLanathan (1916-1998) was an art historian, curator, museum administrator, consultant, and author in New York and Boston. McLanathan began his career at the Museum of Fine Arts, Boston, followed by the Munson-Williams-Proctor Arts Institute, Utica, New York before moving on to consulting work for the remainder of his career. He published numerous books and articles, was a key member of several professional and cultural organizations, and consulted on multiple projects for corporations, municipalities, museums, and educational institutions.

McLanathan graduated from high school from The Choate School in 1934, followed by his bachelor's degree and doctorate from Harvard University. While writing his dissertation on the early-American architect Charles Bulfinch, McLanathan was hired as assistant curator of paintings at the Museum of Fine Arts, Boston (MFA). Other titles he held there include Secretary of the Museum (1949-1956), Editor of Museum Publications (1952-1957), and Curator of Sculpture and Decorative Arts (1954-1957). Additionally, McLanathan was a member of the art and executive committees for the Boys' Club of Boston (circa 1950-1956).

McLanathan moved to Utica, New York, in 1957, for the position of director at the Munson-Williams-Proctor Arts Institute, Museum of Art (MWP) where he organized exhibitions, was responsible for the institute's community arts program, oversaw the planning and completion of a new museum building designed by Philip Johnson, and worked on the restoration of Fountain Elms, a nearby 1850s Tuscan villa. McLanathan was then assigned as curator of the art exhibition at the American National Exhibition, Moscow, USSR, in 1959. This led to additional roles as an American specialist for the State Department in West Germany (1959), Poland (1959), Denmark (1959), and Yugoslavia (1961). Around this time, McLanathan also served on the Commissioner's Committee for the Arts and Museum Resources under the New York State Council of the Arts (1960-1964).

After resigning from MWP in 1961, McLanathan worked primarily as a freelance writer, lecturer, and consultant. His consulting projects included program planning, future development, curriculum development, administrative reorganization, exhibitions, historic preservation, budgeting and funding, and policy development. His clients included the Atlanta Art Association, IBM, the Metropolitan Museum of Art, Time-Life, State University of New Mexico, and U. S. Plywood. In the late 1960s, McLanathan began working as a project consultant for the National Gallery of Art in Washington, D.C. While there, his projects included Art & Man (1969-1973), A Guide to Civilisation: The Kenneth Clark Films on the Cultural Life of Western Man (1970), East Building, National Gallery: A Profile (1978), and various other writings and films .

As a writer, McLanathan contributed to the Encyclopedia of World Art and Webster's Unabridged Dictionary, and published articles on artists, architecture, art history in general, and museums in the Atlantic Monthly, New York Times, Art News, and Journal of the Society of Architectural Historians. The books he wrote include Images of the Universe: Leonardo da Vinci, The Artist as Scientist (1966), The Pageant of Medieval Art and Life (1966), The American Tradition in the Arts (1968), Art in America, A Brief History (1973), The Art of Marguerite Stix (1977), and World Art in American Museums, A Personal Guide (1983).

Provenance:

This collection was donated in two installments by Richard McLanathan, 1994-1995, and by Jane McLanathan, 2005-2007, via her estate's executor.

Restrictions:

The collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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:

Art consultants -- New York (State)  Search this

Art historians -- New York (State)  Search this

Arts administrators -- Massachusetts -- Boston  Search this

Arts administrators -- New York (State) -- Utica  Search this

Authors -- New York (State)  Search this

Genre/Form:

Sound recordings

Moving images

Citation:

Richard McLanathan papers, 1901-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.mclarich

See more items in:

Richard McLanathan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94cfbdcde-8849-4607-902b-41ada5b9da17

EDAN-URL:

ead_collection:sova-aaa-mclarich

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-02-26T15:54:44.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_xbUO-0thFYA

Names:

United States. National Aeronautics and Space Administration  Search this

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2020

Descriptive Entry:

This accession consists of the Smithsonian Astrophysical Observatory (SAO)/United States, National Aeronautics and Space Administration (NASA) Astrophysics Data System (ADS) website as it existed on April 7, 2020. The website is a digital library portal for researchers in astronomy and physics, operated by SAO under a NASA grant. This accession does not include the bibliographic data. Materials are in electronic format.

Topic:

Web sites  Search this

Museums -- Public relations  Search this

Astronomy  Search this

Physics  Search this

Astrophysics Data System  Search this

Digital libraries  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-082, Smithsonian Astrophysical Observatory, Website Records

Identifier:

Accession 22-082

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-082

Names:

Smithsonian Institution  Search this

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2020

Descriptive Entry:

This accession consists of the Access Smithsonian page on the Smithsonian Institution website as it existed on March 17, 2020. The page provides information on museum accessibility for visitors and programs for children and young adults with special needs. It also lists the responsibilities of the office and the services it provides to staff. Materials are in electronic format.

Topic:

Museums and people with disabilities  Search this

Web sites  Search this

Museums -- Public relations  Search this

Museum visitors  Search this

Museums -- Educational aspects  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-091, Access Smithsonian, Website Records

Identifier:

Accession 22-091

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-091

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2020

Descriptive Entry:

This accession consists of the "Tween Tribune," a free K-12 resource for teachers administered by Smithsonian Enterprises, as it existed on March 17, 2020. The website includes articles written at multiple Lexile levels, lesson plans, and related resources. Website content may be incomplete in this accession. Materials are in electronic format.

Topic:

Museums -- Public relations  Search this

Web sites  Search this

Museums -- Educational aspects  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-092, Smithsonian Enterprises, Website Records

Identifier:

Accession 22-092

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-092

Names:

National Air and Space Museum (U.S.)  Search this

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

1991-2020

Descriptive Entry:

This accession consists of the Air and Space Magazine website, maintained by Smithsonian Enterprises, as it existed on March 17, 2020. The website utilizes a blog platform and contains articles, blog posts, and image and video features encompassing every era of aviation and space exploration. Much of the content is generated based upon the collections of the National Air and Space Museum. The website has been back-populated with content dating from as early as 1991. Due to technical issues, some content may be missing or may not function as expected. Materials are in electronic format.

Topic:

Web sites  Search this

Blogs  Search this

Museums -- Public relations  Search this

Museum publications  Search this

Aeronautics  Search this

Astronautics  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-094, Smithsonian Enterprises, Website Records

Identifier:

Accession 22-094

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-094

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2020

Descriptive Entry:

This accession consists of two web pages on the Smithsonian Institution website as they existed on March 17, 2020. One lists dining options at the museums and the other provides information about group reservations and ticket sales. Materials are in electronic format.

Topic:

Web sites  Search this

Museums -- Public relations  Search this

Museum visitors  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-095, Smithsonian Institution, Website Records

Identifier:

Accession 22-095

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-095

Type:

Collection descriptions

Archival materials

Electronic records

Web sites

Date:

2020

Descriptive Entry:

This accession consists of the "SmithsonianStore.com" website as it existed on January 3, 2020. The website, maintained by Smithsonian Enterprises, is an online store featuring products that reflect the museums' collections with profits directly supporting the Smithsonian Institution. This accession may not include the entire catalog. Materials are in electronic format.

Topic:

Web sites  Search this

Museums -- Public relations  Search this

Museum shops  Search this

Teleshopping  Search this

Genre/Form:

Electronic records

Web sites

Citation:

Smithsonian Institution Archives, Accession 22-096, Smithsonian Enterprises, Website Records

Identifier:

Accession 22-096

See more items in:

Website Records

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa22-096

Medium:

Gold

Dimensions:

H x W x D: 9.3 x 18.1 x 0.5 cm (3 11/16 x 7 1/8 x 3/16 in)

Type:

Weapon and Armament

Origin:

Northwestern Iran

Date:

ca. 800-500 BCE

Period:

Iron Age III

Topic:

chasing  Search this

repoussé  Search this

metal  Search this

gold  Search this

tree  Search this

bull  Search this

Iron Age III (ca. 800 - 500 BCE)  Search this

griffin  Search this

Iran  Search this

Ancient Near Eastern Art  Search this

Credit Line:

Gift of Joseph H. Hirshhorn to the Smithsonian Institution

Accession Number:

S1986.496

Restrictions & Rights:

Usage conditions apply

On View:

Sackler Gallery 21: Feast Your Eyes: A Taste for Luxury in Ancient Iran

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3a964f948-6893-4d75-a2e8-1628ce1bc42a

EDAN-URL:

edanmdm:fsg_S1986.496

Creator:

Smithsonian Provenance Research Initiative  Search this

Subject:

Milosch, Jane  Search this

Smithsonian Institution Office of the Under Secretary for Museums, Education, and Research/Provost  Search this

Smithsonian Institution Office of the Under Secretary for History, Art, and Culture  Search this

Renwick Gallery  Search this

International Schwabing Art Trove Task Force Advisory Group  Search this

German/American Provenance Research Exchange Program  Search this

Physical description:

13 cu. ft. (13 record storage boxes)

Type:

Manuscripts

Collection descriptions

Brochures

Newsletters

Clippings

Compact discs

Electronic records

Floppy disks

Digital versatile discs

Posters

Date:

1953

1953-1954

1953-1954, 1985-1986, 1988, 2000-2019

Topic:

Art museum curators  Search this

International cooperation  Search this

Art--Provenance  Search this

World War, 1939-1945  Search this

Art museums  Search this

Museums--Public relations  Search this

Congresses and conventions  Search this

Professional associations  Search this

Strategic planning  Search this

Research grants  Search this

Fund raising  Search this

Contracts  Search this

Workshops  Search this

Committees  Search this

Meetings  Search this

Museum exhibits  Search this

Web sites  Search this

Budget  Search this

Local number:

SIA Acc. 22-102

Restrictions & Rights:

Restricted for 15 years, until Jan-01-2035; Transferring office; 6/29/2022 memorandum, Johnstone to Carroll; Contact reference staff for details

See more items in:

Director's Records 1953-1954, 1985-1986, 1988, 2000-2019 [Smithsonian Provenance Research Initiative]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404756

Creator:

Smithsonian American Art Museum Office of External Affairs and Digital Strategy  Search this

Subject:

Smithsonian American Art Museum Office of External Affairs  Search this

National Museum of American Art (U.S.) Office of Public Affairs  Search this

Renwick Gallery  Search this

The West as America: Reinterpreting Images of the Frontier, 1820-1920 (Exhibition) (1991: Washington, D.C.)  Search this

Physical description:

6 cu. ft. (6 record storage boxes)

Type:

Manuscripts

Collection descriptions

Date:

1995

1995-2020

1991, 1995-2020

Topic:

Special events  Search this

Art museums  Search this

Publicity  Search this

Museums--Public relations  Search this

Museum exhibits  Search this

Local number:

SIA Acc. 22-106

See more items in:

Publicity Records 1967-2020 [Smithsonian American Art Museum Office of External Affairs and Digital Strategy]

Data Source:

Smithsonian Institution Archives

EDAN-URL:

edanmdm:siris_arc_404759