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Hirshhorn Museum and Sculpture Garden  Search this

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YouTube Videos

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2021-03-18T00:14:20.000Z

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Entertainment  Search this

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Art, modern  Search this

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Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

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edanmdm:yt_FkJrjFSUres

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2016-04-11T15:20:21.000Z

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Travel & Events  Search this

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Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

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smithsonianfolklife

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edanmdm:yt_n-je6HvZNZ8

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2018-11-09T14:20:53.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_eTXape1Z1cQ

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2018-11-09T14:20:53.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_rcQJLL3Ln18

Interviewee:

Blazek, Anton James, 1902-1974  Search this

Interviewer:

McGlynn, Betty Lochrie Hoag  Search this

Subject:

Ebstrom, David  Search this

Feitelson, Lorser  Search this

Macdonald-Wright, Stanton  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Anton Blazek, 1965 April 13. Archives of American Art, Smithsonian Institution.

Topic:

Federal aid to the arts  Search this

Art and state  Search this

Painters -- California -- Los Angeles -- Interviews  Search this

Sculptors -- California -- Los Angeles -- Interviews  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)13218

(DSI-AAA_SIRISBib)213312

AAA_collcode_blazek65

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213312

Interviewee:

Palmer, Herbert Bearl, 1915-2006  Search this

Interviewer:

Ehrlich, Susan, 1942-  Search this

Names:

Ankrum Gallery  Search this

David Stuart Galleries  Search this

Feigen Palmer Gallery  Search this

Felix Landau Gallery  Search this

Irving Blum Gallery (Los Angeles, Calif.)  Search this

New York University -- Students  Search this

Ankrum, Joan  Search this

Bloch, Lucienne, 1909-1999  Search this

Bluhm, Norman, 1921-1999  Search this

Callahan, Harry M.  Search this

Cézanne, Paul, 1839-1906  Search this

Feigen, Richard L., 1930-  Search this

Garabedian, Charles  Search this

Grooms, Red  Search this

Maillol, Aristide, 1861-1944  Search this

Mullican, Lee, 1919-1998  Search this

Offner, Richard, 1889-1965  Search this

Onslow-Ford, Gordon  Search this

Paalen, Wolfgang, 1907-  Search this

Reiss, Henrietta  Search this

Reiss, Winold, 1886-1953  Search this

Riley, Bridget, 1931-  Search this

Shapiro, Meyer  Search this

Stevenson, Harold, 1929-2018  Search this

Tudor, David, 1926-1996  Search this

Vasa  Search this

Wölfflin, Heinrich, 1864-1945  Search this

Extent:

56 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2004 Dec. 6-22

Scope and Contents:

An interview of Herbert Palmer conducted 2004 Dec. 6 and 22, by Susan Ehrlich, for the Archives of American Art, in West Hollywood, Calif.

Palmer discusses his family background and childhood in New York City; early exposure to art exhibitions; music appreciation; attending New York University; taking classes with Winhold Reiss, Meyer Shapiro, Richard Offner, and Heinrich Wolfflin; his master's thesis on Paul Cezanne's paintings of Mount Saint Victoire; moving to California; learning to fly; meeting Lillian, his wife; founding Feigen-Palmer Gallery with Richard Feigen; other galleries in the area, including Irving Blum, David Stuart, Felix Landau, Charles Garabedian, and Joan Ankrum; Monday Night Art Walks; John Cage and David Tudor performance pieces; the many artists he's exhibited; Andy Warhol's "The Kiss"; 1968 split with Richard Feigen to become the Herbert Palmer Gallery; the theft of a Picasso sculpture in Dec. 1981 and the ensuing legal case, which involved numerous galleries and collectors; his longstanding friendships with Gordon Onslow Ford, Lee Mullican, and Wolfgang Paalen; membership to the Art Dealers Association of California; and his enjoyment of discovering art, old and new. Palmer also recalls Henriette Riess, Harold Stevenson, Lucienne Bloch, Bridget Riley, Vasa Mihich, Maillol, Red Grooms, Norman Bluhm, and others.

Biographical / Historical:

Herbert Palmer (1915-2006) owned the Herbert Palmer Gallery of West Hollywood, Calif. Interviewer Susan Ehrlich is an art historian from Beverly Hills, Calif.

General:

Originally recorded on 4 mini discs. Reformatted in 2010 as 15 digital wav files. Duration is 3 hr., 35 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.

Restrictions:

Use requires an appointment.

Occupation:

Gallery owners -- California  Search this

Topic:

Art thefts  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.palmer04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9865dac29-395b-4aba-932d-dc84613acfdc

EDAN-URL:

ead_collection:sova-aaa-palmer04

Creator:

Smithsonian Asian Pacific American Program  Search this

Type:

YouTube Videos

Uploaded:

2017-06-27T17:27:11.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Asian Americans  Search this

See more by:

apacenter

Data Source:

Smithsonian Asian Pacific American Program

YouTube Channel:

apacenter

EDAN-URL:

edanmdm:yt_LRoQGJa6rZM

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2016-02-16T17:49:49.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_rtbwoKC_pXw

Culture/People:

Seminole  Search this

Previous owner:

Altman Antiques  Search this

Seller:

Altman Antiques  Search this

Seller agent:

Ralph C. Altman, Non-Indian, 1909-1967  Search this

Presenter/funding source:

Viking Fund, Incorporated (The Wenner-Gren Foundation for Anthropological Research, Inc.), 1941-  Search this

Object Name:

Woman's leg rattles

Media/Materials:

Hide, turtle shell/carapace

Techniques:

Perforated, tied

Object Type:

Music and Sound

Place:

Florida; USA

Catalog Number:

21/964

Barcode:

210964.000

See related items:

Seminole

Music and Sound

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws607e178df-cfa9-4e0e-befc-93cc8a49ef78

EDAN-URL:

edanmdm:NMAI_225324

Culture/People:

possibly Zapotec or Mixteca (Mixtec) (archaeological culture) (attributed)  Search this

Previous owner:

Stolper Galleries (Stolper Gallery)  Search this

Seller:

Stolper Galleries (Stolper Gallery)  Search this

Seller agent:

Robert L. Stolper (Robert M. Stolper), Non-Indian  Search this

Object Name:

Trumpet

Media/Materials:

Conch shell/shells

Techniques:

Incised, drilled

Dimensions:

24 x 15 x 11 cm

Object Type:

Music and Sound

Place:

Oaxaca State; Mexico

Date created:

AD 300–1550 (Classic to Post-Classic period)

Catalog Number:

22/6377

Barcode:

226377.000

See related items:

Zapotec (archaeological culture)

Music and Sound

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6e5d8c902-bf3f-4dad-92ab-b6f05ea31d7b

EDAN-URL:

edanmdm:NMAI_241344

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2020-11-02T17:48:14.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_aVPvQ5TA628

Creator:

Hofmann, Hans, 1880-1966  Search this

Names:

Hans Hofmann School of Fine Arts  Search this

Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this

Amgott, Madeline  Search this

Dickey, Tina, 1954-  Search this

Hawthorne, Charles Webster, 1872-1930  Search this

Hofmann, Maria, 1885-1963  Search this

Hofmann, Renate Schmitz, 1930-1992  Search this

Mauer, Alfred  Search this

Extent:

29.92 Linear feet

5 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Sound recordings

Scrapbooks

Transcripts

Interviews

Photographs

Date:

circa 1904-2011

Summary:

The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Scope and Content Note:

The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital materials, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hofmann wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources. Some material is in digital format.

Arrangement:

The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Missing Title

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44, 5.00 GB; ER01-ER04)

Biographical Note:

German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

Missing Title

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.

Related Material:

The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts.

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/

Separated Materials:

Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.

Provenance:

Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters  Search this

Art teachers  Search this

Topic:

Motion pictures (visual works)  Search this

Art -- Study and teaching  Search this

Art -- Philosophy  Search this

Authors -- Massachusetts  Search this

Abstract expressionism  Search this

Painting, Modern -- 20th century -- Study and teaching  Search this

Art students -- New York (State) -- New York  Search this

Function:

Art schools -- Massachusetts

Art Schools -- New York (State)

Genre/Form:

Video recordings

Sound recordings

Scrapbooks

Transcripts

Interviews

Photographs

Citation:

Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.hofmhans

See more items in:

Hans Hofmann papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95a404d2f-0dad-4193-9b6a-738b7eab2811

EDAN-URL:

ead_collection:sova-aaa-hofmhans

Medium:

Bronze

Dimensions:

H x W x D: 28.7 x 13 x 10.3 cm (11 5/16 x 5 1/8 x 4 1/16 in)

Type:

Musical Instrument

Origin:

China

Date:

ca. 525-475 BCE

Period:

Eastern Zhou dynasty, late Spring and Autumn period

Topic:

Eastern Zhou dynasty (770 - 221 BCE)  Search this

Spring and Autumn period (770 - 476 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.4

Restrictions & Rights:

Usage conditions apply

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/ye368ef4af7-afd5-4db1-b996-432f46394dbb

EDAN-URL:

edanmdm:fsg_S1987.4

Medium:

Bronze

Dimensions:

H x W x D: 35.5 x 18.2 x 14.9 cm (14 x 7 3/16 x 5 7/8 in)

Type:

Musical Instrument

Origin:

China

Date:

ca. 525-475 BCE

Period:

Eastern Zhou dynasty, Spring and Autumn period

Topic:

Eastern Zhou dynasty (770 - 221 BCE)  Search this

Spring and Autumn period (770 - 476 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.7

Restrictions & Rights:

Usage conditions apply

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/ye3fea205c3-fc38-4049-a4bb-82eb929a3d2c

EDAN-URL:

edanmdm:fsg_S1987.7

Medium:

Bronze

Dimensions:

H x W x D: 39 x 20 x 16.6 cm (15 3/8 x 7 7/8 x 6 9/16 in)

Type:

Musical Instrument

Origin:

China

Date:

ca. 525-475 BCE

Period:

Eastern Zhou dynasty, Spring and Autumn period

Topic:

dragon  Search this

Eastern Zhou dynasty (770 - 221 BCE)  Search this

Spring and Autumn period (770 - 476 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.8

Restrictions & Rights:

Usage conditions apply

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/ye329a02ade-8126-434e-8dc9-5657fc1cd368

EDAN-URL:

edanmdm:fsg_S1987.8

Medium:

Bronze

Dimensions:

H x W x D: 43 x 22.5 x 17.8 cm (16 15/16 x 8 7/8 x 7 in)

Type:

Musical Instrument

Origin:

China

Date:

ca. 525-475 BCE

Period:

Eastern Zhou dynasty, Spring and Autumn period

Topic:

dragon  Search this

Eastern Zhou dynasty (770 - 221 BCE)  Search this

Spring and Autumn period (770 - 476 BCE)  Search this

China  Search this

Chinese Art  Search this

Credit Line:

Gift of Arthur M. Sackler

Accession Number:

S1987.9

Restrictions & Rights:

Usage conditions apply

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/ye38024e2ce-e606-4c1f-8d14-1bee1c5ebe55

EDAN-URL:

edanmdm:fsg_S1987.9

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2016-08-17T19:23:46.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_9V44I9ZgOj8

Collector:

Archives Center, National Museum of American History  Search this

Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

American Federation of Teachers  Search this

Department of Defense, Comprehensive Review Working Group  Search this

Gay Officers Action League. GOAL  Search this

Gay, Lesbian, Bisexual and Transgender Community Center of Baltimore and Central Maryland  Search this

ONE National Gay and Lesbian Archives  Search this

San Diego LGBT Pride  Search this

Servicemembers Legal Defense Network  Search this

Smith College  Search this

University of Connecticut  Search this

William Way Community Center  Search this

Biren, Joan E.  Search this

Bushnell, Megan  Search this

Davidson, James, Dr.  Search this

Dietrich, Joe  Search this

Exline, Gregory  Search this

Florence, Laura  Search this

Huebner, David  Search this

Jain, Shawn  Search this

Karazsia, Amy  Search this

Karazsia, William G.  Search this

Lombardi, Angela  Search this

Lynch, Patsy  Search this

Meinke, Mark  Search this

Nitz, Ryan  Search this

Reichard, Bradley  Search this

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Ros, Silvia  Search this

Sabatino, Michael  Search this

Shannon, Michael A.  Search this

Sheets, Justin  Search this

Snodgrass, Adam  Search this

Voorheis, Robert  Search this

Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Other:

Larson, Gordon P., 1910-1988 -- 20th century  Search this

Names:

McWaine, Dwayne, Dr.  Search this

Extent:

70.2 Cubic feet (212 boxes, 22 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Postcards

Photographs

Posters

Videocassettes

Advertising

Dvds

Songbooks

Periodicals

Place:

Canada -- Description and Travel

Germany -- description and travel

Amsterdam (Netherlands)

Washington, D.C. -- history

Los Angeles (Calif.)

New York, New York

Date:

1825-2023, undated

bulk 1960-2023

Summary:

This collection contains a variety of periodicals, photographs, correspondence, business and advertising ephemera (corporate and non-profit, personal), organizational records and ephemera, created by, for, and in reaction to the Lesbian, Gay, Bisexual, Transgender (LGBT) community.

Scope and Contents:

The Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection contains periodicals, ephemera, posters, postcards, advertisements, photographs, organizational records, publications, correspondence, and other materials related to all aspects of the LGBT community and the civil rights issues pertaining thereto. The collection was created by the Archives Center to bring together materials specifically pertaining to the LGBT community. This collection contains material from communities and individuals throughout the United States. The collection is currently strongest in periodicals, newspapers and ephemera and very strong in material from California and New York. The collection continues to add new items and the researcher would be wise to take a broad view in targeting their research topics in the collection.

Arrangement:

The collection is divided into twenty-eight series.

Series 1: Periodicals, 1937-2023

Series 2: Agencies, Associations, and Organizations, 1965-2023, undated

Series 3: Community Life and Subject Files, 1825-2023, undated

Subseries 3.1: Photographs and Slides, 1870-2009, undated

Subseries 3.2: Ephemera and Buttons, 1969-2022, undated

Subseries 3.3: Posters and Prints, 1825-2018, undated

Subseries 3.4: Subject Files, 1958-2023, undated

Subseries 3.5: Pride, 1976-2023, undated

Subseries 3.6: HIV and AIDS, 1987-2020, undated

Subseries 3.7: Gay Games, 1982-2018

Series 4: Advertising, Business, and Publications, 1912-2023, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1986-2021, undated

Subseries 4.3: Television, Theater, and Motion Pictures, 1978-2023, undated

Subseries 4.4: Bar ephemera and advertisement, 1979-2018, undated

Subseries 4.5: Publications, 1912-2023, undated

Series 5: Biren, Joan E. (JEB), 195-2018, undated

Subseries 5.1: Xerographic Copies of Photoprints, 1971-1995, undated.

Subseries 5.2: Posters and Oversize Advertisement, 1973-2018, undated

Series 6: Dietrich, Joseph A., 1992-2010

Series 7: Mattachine Society Records, 1942-1996, undated

Subseries 7.1: Correspondence, 1952-1991, undated

Subseries 7.2: Board of Directors Minutes, 1954-1974, undated

Subseries 7.3: Organizational Information, 1942-1993, undated

Subseries 7.4: Councils, Chapters, and Committees, 1953-1965, undated

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

Series 8: Rainbow History Community Pioneers, 2003-2012, undated

Series 9: Strub, Sean O., addendum, 1987-2011, undated

Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB, 1990-2014, undated

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

Series 13: St. George, Philip, 1945-1955, undated

Series 14: Will & Grace, 1995-2006

Series 15: Barna, Joseph T. and Heritage of Pride (HOP), New York, New York, 1910-2014, undated

Subseries 15.1: Photographs, Photographic Negatives, and Slides, 1985-2010, undated

Subseries 15.2: Heritage of Pride (HOP), 1984-2014, undated

Subseries 15.3: Barna, Joseph T., 1910-2013, undated,

Series 16: Becker, John M., 1999-2014, undated

Series 17: Rohrbaugh, Richard, 1972-1986, undated

Series 18: Guest, Michael E., 2001-2009

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

Series 21: Sabatino, Michael and Voorheis, Robert, 1980-2016, undated

Subseries 21.1: Archilla, Gustavo A. and Lokkins, Elmer T., 1916-2014, undated

Series 22: Gay Officers Action League (GOAL), 1982-2016, undated

Series 23: Brown, Adele "Del" and Herizon's Bar, 1985-1991, undated

Subseries 1: Changing Herizons, and Herizons Newsletter, 1983-1991

Series 24: Universal Fellowship Metropolitan Community Churches (UFMCC), 1957-2019, undated

Series 25: The Christmas House, Crown Media Family Networks, 2020-2021

Series 26: Cones, Myra L. and Harris, G. Yvonne, 1979-2001, undated

Series 27: Atlantic States Gay Rodeo Association (ASGRA), 1993-2004, undated

Series 28: Hooker, Meryl, 1989-1996, undated

Historical Note:

While the quest for equal rights has been pursued by generations, it is generally acknowledged that the modern day Lesbian, Gay, Bisexual, and Transgender (LGBT) civil rights movement began in New York City in June 1969 with the Stonewall Riots. Prior to this time a number of activists, individuals, and organizations such as The Mattachine Society, Daughters of Bilitis and others, fought to bring recognition of LGBT civil rights to the forefront of American society. While the movement was primarily, and most visably, centered in New York City and San Francisco, periodicals, guide books, and ephemeral material interconnected the larger LGBT community throughout the United States. The increased visibility of the LGBT movement inspired affinity groups at odds with the LGBT community's new found visibility and quest for broader civil rights. The challenge to what was termed "traditional" values encouraged these counter-LGBT groups to define and solidfy their constituency and also become more pro-active. This collection comprises material that is generated by individuals and organizations promoting both points of view.

Related Materials:

Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)

John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)

Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

The Mattachine Society of Washington "Love in Action" Collection (AC1428)

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

I'm From Driftwood Records (AC1503)

The Division of Political History holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).

The Division of Medical and Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard Hirsch.

The Division of Entertainment and the Arts holds objects donated by The Fosters, Will & Grace, and The Christmas House.

Provenance:

This collection was assembled by the Archives Center, National Museum of American History, Smithsonian, beginning in 2004.

Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Women's music  Search this

Transgender people -- Identity  Search this

Sexual orientation  Search this

Political activists  Search this

Lesbianism  Search this

Lesbian and gay experience  Search this

Gay activists  Search this

Homosexuality  Search this

HIV and AIDS  Search this

Feminism  Search this

Bisexuality  Search this

Bars (Drinking establishments)  Search this

Gay Pride  Search this

Genre/Form:

Passports

Postcards

Photographs -- 2000-2010

Posters

Videocassettes

Advertising

DVDs

Photographs -- 20th century

Songbooks

Periodicals

Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.1146

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80327b53b-2daa-47d1-8c11-89a7b3f4e1bd

EDAN-URL:

ead_collection:sova-nmah-ac-1146

Collector:

Sidney, George, 1916-2002  Search this

National Museum of American History (U.S.). Division of Music, Sports and Entertainment  Search this

Names:

Columbia Pictures  Search this

Metro-Goldwyn-Mayer  Search this

Paramount Pictures  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Margret, Ann-, 1941-  Search this

Robinson, Edward G., 1893-1973  Search this

Sidney, George, 1877-1945  Search this

Sidney, Hazel Mooney  Search this

Sidney, Louis K.  Search this

Sullivan, Ed, 1901-1974  Search this

Donor:

Sidney, Corinne Entratter  Search this

Extent:

54 Film reels

96 Cubic feet (288 boxes, 6 oversize folders)

Type:

Collection descriptions

Archival materials

Film reels

Photographs

Place:

Hollywood (Los Angeles, Calif.)

Date:

1885-2002

bulk 1940-1967

Summary:

George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.

Scope and Contents:

The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.

MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.

Arrangement:

The collection is arranged into six series.

Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.

Subseries 1.1: The Camera Eye of George Sidney, undated.

Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968. Subseries 1.3: Personalities and People, 1932-1996, undated.

Subseries 1.4: Personal and Family, 1914-1992, undated.

Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.

Subseries 1.6: Travel and Locations, 1940-1981, undated.

Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.

Subseries 1.8: Tests, 1938-1967, undated.

Subseries 1.9: Photographic Negatives, 1937-1979, undated

Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.

Subseries 2.1: Production Posters, 1943-1964, undated

Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated

Series 3: Office Files and Personal Material, 1903-2002, undated

Subseries 3.1: Personal Material, 1944-2002, undated

Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated

Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated

Subseries 4.1: Music Manuscripts, 1937-1960, undated

Subseries 4.2: Sheet Music, 1885-1990

Subseries 4.3: Music Related Material, 1971-1992, undated

Series 5: Audiovisual, 1933-2001, undated

Subseries 5.1: Film, 1940-1960, undated

Subseries 5.2: Audio, 1933-2001, undated

Subseries 5.3: Video, 1989-2001, undated

Series 6: George Sidney (1877-1945), 1909-1945, undated

Biographical / Historical:

George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.

Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.

George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.

George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.

Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).

In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.

Related Materials:

The Harry Warren Collection, AC0750

The Groucho Marx Collection, AC0269

Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.

Provenance:

This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.

Restrictions:

Collection is open for research but is stored off-site. Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period.

Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.

Topic:

Motion picture production and direction  Search this

Motion picture producers and directors  Search this

Motion pictures  Search this

Vaudeville  Search this

Musicals  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Citation:

George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney

Identifier:

NMAH.AC.0867

See more items in:

George Sidney Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep878cc8f7c-849a-43d0-8ca9-4149e7f39a74

EDAN-URL:

ead_collection:sova-nmah-ac-0867

User:

Adams, Joe  Search this

Maker:

High Society  Search this

Measurements:

overall: 34 in x 23 in x 3 in; 86.36 cm x 58.42 cm x 7.62 cm

overall: 34 1/2 in x 25 1/2 in x 1 1/2 in; 87.63 cm x 64.77 cm x 3.81 cm

Object Name:

jacket

Place made:

United States: California, Los Angeles

Subject:

Jazz  Search this

ID Number:

2005.0227.04

Accession number:

2005.0227

Catalog number:

2005.0227.04

See more items in:

Culture and the Arts: Entertainment

Music & Musical Instruments

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ab-d626-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1295462