Search Results

Creator:

Goodrich, Lloyd, 1897-1987  Search this

Interviewer:

Phillips, Harlan B. (Harlan Buddington), 1920-  Search this

Names:

Art Students League (New York, N.Y.) -- Students  Search this

National Academy of Design (U.S.)  Search this

Public Works of Art Project  Search this

Whitney Museum of American Art  Search this

Eakins, Thomas, 1844-1916  Search this

Field, Hamilton Easter  Search this

Force, Juliana, 1876-1948  Search this

Marsh, Reginald, 1898-1954  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Stieglitz, Alfred, 1864-1946  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

225 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Date:

1962 June 13-1963 March 25

Scope and Contents:

An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.

Biographical / Historical:

Lloyd Goodrich (1897-1987) was a museum director and art historian living in New York, New York.

Provenance:

These interviews are 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 others.

Restrictions:

This transcript is open for research. No audio exists. Contact Reference Services for more information.

Occupation:

Art historians -- New York (State) -- New York -- Interviews  Search this

Topic:

Art and state  Search this

Art -- Forgeries  Search this

Museum directors -- New York (State) -- New York -- Interviews  Search this

Function:

Art museums -- New York (State) -- New York

Genre/Form:

Interviews

Identifier:

AAA.goodri62

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb332c1e-f482-4b6c-8f48-05fdcdbac176

EDAN-URL:

ead_collection:sova-aaa-goodri62

Interviewee:

Burlin, Paul, 1886-1969  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Names:

American Artists' Congress  Search this

Downtown Gallery (New York, N.Y.)  Search this

National Academy of Design (U.S.) -- Students  Search this

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

Boas, Franz, 1858-1942  Search this

Gleizes, Albert, 1881-1953  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Huneker, James, 1857-1921  Search this

Matisse, Henri, 1869-1954  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Extent:

5 Items (Sound recording: 5 sound files (2 hr., 39 min.), digital, wav)

65 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Place:

Europe -- description and travel

Southwestern States -- Description and Travel

Date:

1962

Scope and Contents:

Interview of Paul Burlin, conducted on December 5-6, 1962, by Dorothy Gees Seckler, for the Archives of American Art, Smithsonian Institution.

Burlin speaks of his childhood education in England; working for the magazine Delineator; his education at the National Academy of Design; his travels in the American Southwest; his early exhibitions in New York; his first wife's writings on folk music; visiting Europe before the first World War; discovering Cubism and Fauvism; working on the WPA under the Whitney Museum; joining and then leaving the American Artists' Congress in protest; his thoughts on overtly political art; exhibiting at the Downtown Gallery; his image-making process; and his critique of Pop art. Burlin also recalls James Huneker, Franz Boas, Albert Gleizes, Henri Matisse, Edith Halpert, Georgia O'Keeffe, and others.

Biographical / Historical:

Paul Burlin (1886-1969) was a painter in New York, New York.

General:

Originally recorded on 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 39 min.

Provenance:

This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Art, American  Search this

Art -- Political aspects  Search this

Cubism  Search this

Fauvism  Search this

Painters -- New York (State) -- Interviews  Search this

Pop art  Search this

Genre/Form:

Interviews

Sound recordings

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.burlin62

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb9c540b-b1e1-4898-9d25-193966292e9b

EDAN-URL:

ead_collection:sova-aaa-burlin62

Creator:

National Academy of Design (U.S.)  Search this

Names:

American Federation of Arts  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Durand, Asher Brown, 1796-1886  Search this

Lanyon, Ellen  Search this

Ranger, Henry Ward, 1858-1916  Search this

Extent:

92.7 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Interviews

Date:

1817-2012

Summary:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

Scope and Contents:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

The Academy minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006. As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics in the Academy's history; in particular, its founding, administration, school, and exhibition program.

Director files date from 1942-1990 and document the activities of four of the Academy's chief administrators, including Vernon Porter (1950-1966), Earl Tyler (1966-1967), Alice Melrose (1967-1977), and John H. Dobkin (1978-1990). Items include correspondence, memoranda, minutes, and printed material.

Annual reports, dating from 1828-2003, summarize the activities of the Academy over the course of a year, and may include presidents' reports, treasurers' reports, audits of financial operations by public accountants, and printed annual reports containing summaries from multiple council officers. Information pertains to the year's activities including finances, exhibitions, membership, the school, committee activities, awards, and other business.

Academy constitutions date from 1826-2012 and include the printed constitutions and by-laws as well as constitutional proposals. Constitutions and by-laws name the current council officials, professors, academicians, associates, and honorary members, and state the mission and guidelines for operation in regards to membership, officers, annual meetings, elections, school, exhibitions, and how the constitution can be amended or altered. Constitutional proposals contain amendment drafts, alterations, and related correspondence.

Council officer files, dating from 1848-1980, contain the correspondence and subjects files of Academy officers—presidents, vice presidents, corresponding secretaries, and treasurers—concerning all matters of Academy business and operations including membership, gifts and funds, the federal charter, exhibitions, juries, the school, scholarships, committee affairs, anniversaries, publicity, administrative matters, resignations, and relationships with other organizations.

General administrative files date from 1825-1982 and include ledgers, certificates, correspondence, and legal documents pertaining to the Academy's founding, building, financial accounts, art collection, and other administrative matters.

Exhibition files, dating from 1826-2003, document the Academy's long exhibition history and includes annual, gallery, special, and museum exhibitions. Files may include exhibition catalogs, photographs, press clippings, sales records, and correspondence related to jury selection, awards and prizes, and logistical planning. Files pertaining to the Academy's annual exhibitions comprise a bulk of the series. Held since 1826, the Annuals were organized and curated by Academy members, and considered to be an important and sweeping survey of contemporary American art.

Gifts and funding files date from 1860-2009 and include financial documents, ledgers, legal material, and correspondence concerning the bequests, endowments, donations, and other gifts that financed the operations of the Academy and school. A significant number of records pertain to the Abbey Trust Fund and the Archer M. Hunting Fund.

Membership files, 1826-2012, document Academy members, honorary members, fellows, and the nominations and elections whereby members were voted into the Academy. Materials include registers, certificates, nomination ledgers and proposals, candidate biographies, and ballots.

The National Academy Association files date from 1911-1959 and contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the Association, incorporated in 1912 with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens.

The Ranger Fund assignment files, 1919-2008, document the distribution of artworks by living American artists to institutions throughout the United States, in accordance with the will of Henry Ward Ranger. The Ranger Fund was initiated to stimulate public interest in the work of contemporary American painters in 1919, when the Academy received a bequest from Henry Ward Ranger, totaling $400,000. Ranger stated in his will that the capital should be invested and the income used as a purchase fund to facilitate gifts of paintings by living American artists to arts institutions throughout the United States. Files document the assignment of particular works of art to institutions through the official agreement, related correspondence, and in some instances, photographs of the artwork.

Extensive school records, dating from 1826-2008, contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities aligned with the Academy's mission to educate aspiring professional artists. A bulk of this series consists of student course registrations, documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost.

Twenty Academy scrapbooks document the organization's activities from 1828-1939 and include clippings and ephemera. Three of the scrapbooks are devoted to specific topics, including one for the Society of American Artists, one for both the Society of American Artists and the Society of American Fakirs, and one for the Academy's centennial exhibition.

The Society of American Artists files, 1878-1906, document the formation of the Society as a departure from the Academy in 1877, its independent operations and activities, and its eventual consolidation with the Academy in 1906. The Society's members have included Edwin Abbey, James Carroll Beckwith, Mary Cassatt, William Merritt Chase, Thomas Eakins, George Inness Jr., John La Farge, Albert Pinkham Ryder, among many others.

Files from other organizations date from 1817-1997 and may include correspondence, ledgers, and printed material. Many of these organizations had business with the Academy, and records pertain to events, meetings, and exhibitions. Notable organizations include the American Academy of Fine Arts, American Federation of Arts, American Watercolor Society, Art Students League, Fine Arts Federation of New York, Metropolitan Museum of Art, New York Etching Club, Pennsylvania Academy of Fine Arts, and Salmagundi Club.

Oral history transcripts date from 2002-2007. Eight comprehensive interviews, conducted by Avis Berman for the Academy, are with Academy members and cover all aspects of the artists' lives, including family, early life, beginning career, mentors, contemporaries, influences, patrons, awards, residencies, as well as the artists' relationship with the Academy. The interview transcripts provide first-hand accounts of the organization, particularly from circa 1940 up to the time of the interview. Artists interviewed include Will Barnet, Hyman Bloom, Richard Haas, Ellen Lanyon, Jules Olitski, Bernard Olshan, Paul Resika, and Dorothea Rockburne.

Photographic material, dating from 1845-2010, includes a wide variety of formats and processes including 19th and 20th photographic prints, glass plate negatives, copy prints, contact sheets, slides, and 35mm negatives. Subjects include artists and others associated with the Academy, the school, exhibitions and events, Academy buildings, artwork, and reference photographs. Many 19th century photographs contain descriptive annotations. Supplementary inventories and guides prepared by Academy archivists are scattered throughout the series.

Artist files date from 1826-2004 and include the correspondence, writings, manuscripts, diaries, exhibition catalogs, and clippings of many notable artists involved with the Academy, including Asher B. Durand and Rembrandt Peale. Of particular note are two notebooks Durand gifted to the Academy, both containing notes and sketches from anatomy lectures.

While printed material is scattered throughout, the final series collects a small number of additional announcements, brochures, clippings, illustrations, and other ephemera not filed in other series.

Arrangement:

The collection is arranged as nineteen series.

Series 1: Minutes and Committee Files, 1825-2006 (11.5 linear feet; Boxes 1-11, BV 100-106)

Series 2: Director Files, 1942-1990 (0.5 linear feet; Box 11)

Series 3: Annual Reports, 1828-2003, circa 2010 (2.1 linear feet; Boxes 11-13, OV 139-142)

Series 4: Constitutions, 1826-2012 (1.1 linear feet; Boxes 13-14)

Series 5: Council Officers, 1848-1980 (4 linear feet; Boxes 14-18)

Series 6: General Administration, 1825-1982 (0.6 linear feet; Boxes 18, 126)

Series 7: Exhibitions, 1826-2003, 2008 (14.4 linear feet; Boxes 18-33)

Series 8: Gifts and Funding, 1860-2009 (4.1 linear feet; Boxes 33-37)

Series 9: Membership, 1826-2012 (3.4 linear feet; Boxes 37-39, 127-131)

Series 10: National Academy Association, 1911-1959 (0.4 linear feet; Box 39)

Series 11: Ranger Fund Assignments, 1919-2008 (4.3 linear feet; Boxes 39-44)

Series 12: School, 1826-2008 (28.5 linear feet; Boxes 44-56, 68-99)

Series 13: Scrapbooks, 1828-1939 (4 linear feet; Box 56, BV 107-125)

Series 14: Society of American Artists, 1878-1906 (0.8 linear feet; Boxes 56-57)

Series 15: Other Organizations, 1817-1997 (1.8 linear feet; Boxes 57-59, 131)

Series 16: Oral History Transcripts, 2002-2007 (0.7 linear feet; Box 59)

Series 17: Photographic Material, 1845-2010 (6.1 linear feet; Boxes 60-63, 131-138, OV 143-144)

Series 18: Artist Files, 1826-2004 (3.5 linear feet; Boxes 63-66)

Series 19: Printed Material, 1839-1954 (0.4 linear feet; Boxes 67, 131, OV 145)

Biographical / Historical:

The National Academy of Design (1825- ) based in New York City, is a tripartite organization consisting of a membership body of artists, a school, and an exhibition program. The Academy was founded in 1825 by a group of professional artists with the mission to promote the fine arts in America through exhibition and education. Originally named the New York Drawing Association, the Academy was the first organization in the United States established and managed by professional artists. Samuel F.B. Morse, the Academy's first president, was influenced by the organization of the Royal Academy in London, which was comprised of professional artist members and elected government council, an art school, and a venue for exhibitions. After unsuccessful negotiations to unite with the American Academy of Fine Arts, the New York Drawing Association reformed as the National Academy of The Arts of Design on January 19, 1826. Among the founders were mostly young artists who became prominent figures in American art, including Frederick S. Agate, Thomas Cole, Thomas S. Cummings, Asher B. Durand, John Frazee, Charles C. Ingham, Henry Inman, Gerlando Marsiglia, Samuel F. B. Morse, Samuel L. Waldo, and Charles Cushing Wright.

The first Academy members were elected in January 1826, and levels of membership were established shortly thereafter. Originally there were four levels of Academy membership: associates, academicians, artists, and honorary corresponding members. The category of artists was eliminated in 1829, and the honorary member category, established to recognize American artists living outside New York, distinguished foreign artists, and patrons and friends of the Academy, was eliminated in 1862 (the constitution was not amended with this change until 1896). Since 1869, the residency requirement for election to active membership was eliminated and membership was opened to all American artists. In 1920, the classification of honorary corresponding member was re-introduced to recognize representatives of other national academies. With the 1997 constitution, the honorary corresponding member classification was again eliminated, and in 1994 the associate category was eliminated.

Artists are proposed for membership by academicians through the membership committee and are elected for life by a sixty percent majority, based on recognized excellence and significant contributions to the field. Procedures and rules for nominating and choosing new academicians changed over the years, as detailed in the constitutions. Associates were at one time required to present a portrait of themselves upon election and academicians were required to provide an additional representative work upon election. With the elimination of the category of associate in 1994, only one representative work is currently required. These works of art become part of the Academy's permanent collection.

The original classes of professional artists were painting, sculpture, architecture, and engraving. These professional classes were modified over the years. In 1936 the engraving class was made more comprehensive, including all of the graphic arts. Watercolor was added as a class in 1943 and was codified in the 1945 constitution. However, the division into five distinct classes started to create difficulties in how specific works of art were to be categorized. In 1981 the council eased the rules regarding separate media classification so that members could submit a work in any medium to the annual exhibitions regardless of the class to which they had been elected. The constitution of 1994 restated four professional classes—painting, sculpture, graphics, and architecture—which were further reduced in the 2011 constitution to two: visual arts and architecture.

Until 2009, the governing body of the Academy was the council. The seven officers of the council were president, vice-president, treasurer, assistant treasurer, corresponding secretary, assistant corresponding secretary and recording secretary, all of whom were required to be academicians. In 2009, a new constitution provided for a board of governors, replacing the council. The five officers of the board of governors are chair, vice-chair, president, vice-president, and treasurer. Only the offices of president and vice-president are required to be held by academicians.

Central to the Academy's mission, the school began with an anatomy lecture for the New York Drawing Association, delivered by Dr. Frederick G. King in November 1825. The first drawing session took place in November 1826 in the Old Alms House at City Hall Park with two academicians and twenty students. In the school's early years, professional artists met with students to draw from plaster casts of antique sculpture in the academic tradition. Both lectures and studio training were central the school's early curricula. Life classes, the practice of drawing from live models, were introduced in 1837, but only to advanced male students. A life class for women was not instituted until 1857, even though women were allowed membership to the Academy since its beginning. Due to financial difficulties at the Academy, the school was forced to move locations and shut down its operations for extended periods. Mounting dissatisfaction and frustration led several students and Lemuel E. Wilmarth, one of the school's leaders and first full-time professional instructor, to leave the Academy in 1875 and form a new school, the Art Students League. While charging tuition was unpopular, the Academy realized that it was necessary to ensure the school's sustainability, and implemented fee structures with varying success over the second half of the 19th century and first half of the 20th. Eventually, tuition was established by 1951, when the school was reopened at a new location, 5th Avenue and 89th Street.

Exhibitions have always been an important activity for the Academy, even prior to the opening of the National Academy Museum in 1979. Since 1826, the Academy has held annual exhibitions intended to reflect contemporary art currents in America. Any American artist was eligible to submit work to be reviewed by a jury of selection, comprised of academicians. Throughout the 19th century, the annual exhibitions at the Academy were one of the most significant and influential in the country. The selection process for these exhibitions was a critical topic, at times actively discussed in the press, and continually undergoing modification and change. In addition to the Annuals, the galleries of the Academy were often rented or loaned to outside organizations such as the American Watercolor Society, Audubon Artists, and the National Association of Women Artists. The galleries also mounted special exhibitions curated by its members and hosted a certain number of travelling exhibitions organized by other museums or art organizations. The museum, opened in 1979, hosted and presented major exhibitions, many focusing on historic European subjects.

Official Names of the Academy 1825-2017

1825 -- The New York Drawing Association

1826 -- The National Academy of The Arts of Design

1828 -- The National Academy of Design

1997 -- The National Academy Museum and School of Fine Art

2017 -- The National Academy of Design

National Academy of Design Meeting, Exhibition, and School Locations

1826 -- Old Alms House at City Hall Park in lower Manhattan

1827-1830 -- Chambers Street over the Arcade Baths

1831-1840 -- Corner of Nassau and Beckman Streets, the Mercantile Library on the third floor of Clinton Hall

1841 to 1849 -- 346 Broadway (at Leonard Street), the third and fourth floors of the New York Society Library

1850-1854 -- 663 Broadway, where the Academy erected a suite of six galleries

1855-1856 -- 548 Broadway (over Dr. Chapin's Church)

1857 -- 663 Broadway

1858-1861 -- 10th Street and 4th Avenue, the upper floor of a building

1861-1863 -- 625 Broadway, the Institute of Art

1865-1899 -- 23rd Street and Fourth Avenue (now Park Avenue South)

1899-1940 -- 109th Street and Amsterdam Avenue; exhibition galleries at 215 West 57th Street

1940-2017 -- 1083 Fifth Avenue at East 89th Street

Provenance:

The bulk of the collection was donated by the National Academy of Design in 2018. The trustees' ledger book in series 6 was donated in 1979 by Warder Cadbury of the Adirondack Museum; it is unclear how Cadbury acquired the ledger. Microfilm reels 798-799 containing transcriptions of minutes were given to the Archives by Lois Fink in 1974.

Restrictions:

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

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.

Function:

Arts organizations -- New York (State)

Art Schools -- New York (State)

Genre/Form:

Drawings

Scrapbooks

Interviews

Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9790a36d2-0f17-4470-b1e2-0292dba3dd20

EDAN-URL:

ead_collection:sova-aaa-natiacad

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 20, Folder 11

Type:

Archival materials

Date:

1935

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 7: Exhibitions / 7.1: Annual Exhibitions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d5b6692e-2939-4bd8-8870-ab31653c28d1

EDAN-URL:

ead_component:sova-aaa-natiacad-ref578

Creator:

Page, William, 1811-1885  Search this

Names:

National Academy of Design (U.S.)  Search this

Beecher, Henry Ward, 1813-1887  Search this

Beecher, Thomas Kinnicut, 1824-1900  Search this

Briggs, Charles F. (Charles Frederick), 1804-1877  Search this

Curtis, George William, 1824-1892  Search this

Cushman, Charlotte, 1816-1876  Search this

Fenton, Rueben  Search this

Garrison, William Lloyd, 1805-1879  Search this

Hicks, Thomas, 1823-1890  Search this

Lowell, James Russell, 1819-1891  Search this

O'Donovan, William Rudolph, 1844-1920  Search this

Olmstead, Bertha  Search this

Olmstead, Mary  Search this

Page, Sophia Stevens, 1827-1892  Search this

Page, William, 1811-1885  Search this

Perry, E. W. (Enoch Wood), 1831-1915  Search this

Phillips, Wendell, 1811-1884  Search this

Scranton, William Walker  Search this

Shaw, Francis George, 1809-1882  Search this

Stark, William, 1825-1873  Search this

Sumner, Charles, 1811-1874  Search this

Tilton, Theodore, 1835-1907  Search this

Wilmarth, Lemuel Everett, 1835-1918  Search this

Extent:

11.06 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketches

Poems

Drawings

Diaries

Date:

1815-1947

bulk 1843-1892

Summary:

The papers of the portraitist and art theorist William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, bulk 1843-1892. In addition to the papers of William Page, the papers include documents related to Page's wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.

Scope and Content Note:

The papers of the painter William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, with the bulk of papers dating from 1843 to 1892. Papers contain records related to the life and career of William Page, president of the National Academy of Design from 1871 to 1873 and prominent portraitist and art theorist of his day. Also found are records related to his wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.

Correspondence includes the personal and professional correspondence of William and Sophia Page, and their parents, siblings, and children. Significant correspondents include Thomas Hicks, Enoch Wood Perry, William Stark, Theodore Tilton, Lemuel Wilmarth, Wendell Phillips, William Walker Scranton, Francis G. Shaw; James Russell Lowell, Charles Frederick Briggs, George W. Curtis, Charlotte Cushman, Thomas K. Beecher, Mary Olmsted, and Bertha Olmsted.

Writings include the essays and lectures of William Page, as written by him and revised by Sophia Page in the late 1870s, as well as Sophia's writings as a columnist in Europe in the 1850s. Notes, notebooks, diaries, and poems are also found. Personal Business Records include business records related to the sale and exhibition of artwork as well as financial and legal documents. A small number of memoranda and documents related to Page's work at the National Academy of Design are also found. Printed Materials include exhibition catalogs, published works by William and Sophia Page, and clippings and articles about Page.

Photographs consist mainly of portraits, most of them mounted cabinet photographs or cartes-des-visites, some of which appear to have been used as studies for Page's painted portraits. Among those pictured are William Page, James Russell Lowell, Henry Ward Beecher, Reuben Fenton, Wendell Phillips, Charles Sumner, William R. O'Donovan, and William Lloyd Garrison. Many of the photographic portraits are unidentified. Artwork includes sketches, drawings, prints, and a small number of notes made by Page in the course of painting portraits.

Arrangement:

The collection is arranged into 7 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Materials and Artifacts, 1847-1917 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1815-1942 (Boxes 1-4, 9-10; 3.2 linear feet)

Series 3: Notes and Writings, 1839-1888, 1949 (Boxes 4-5, OV 10; 1.3 linear feet)

Series 4: Personal Business Records, 1848-1932 (Boxes 5 and 9; 0.2 linear feet)

Series 5: Printed Materials, 1845-1938 (Boxes 5-7, 9, OV 11; 1.6 linear feet)

Series 6: Photographs, 1845-1947 (Boxes 7-9, OV 12, MGP 5-6; 1.4 linear feet)

Series 7: Artwork, 1856-1874 (Box 8, OV 13-16, rolled documents 17-19; 0.6 linear feet and 3 rolled documents)

Biographical Note:

The painter William Page was born in 1811 in Albany, NY. He attended public schools in New York City, and after working briefly in the law firm of Frederick de Peyster, was placed in the studio of the painter/engraver James Herring in 1825, where he received his first formal art training. He took classes at the National Academy of Design the year it was formed, in 1826, under Samuel F.B. Morse, and in 1827 he was awarded one of the National Academy's first annual student prizes.

Page joined the Presbyterian church and attended Phillips Academy and Amherst with the intention of becoming a minister, but his artistic ability won out, and by 1830 he was painting commissioned portraits in Albany, Rochester, and New York. He married Lavinia Twibill in 1833, and they had three daughters between 1834 and 1839. He joined the American Academy and served on its board of directors in 1835. He exhibited at the American Academy, the National Academy of Design, the Boston Athenaeum, and other venues throughout the 1830s. Favorable reviews brought steady portrait commissions, including John Quincy Adams and the New York governor William L. Marcy. He was made a full member of the National Academy in 1837.

In the 1840s, Page's reputation and maturity as a painter grew. His first wife left him around 1840, and in 1843 he married Sarah Dougherty. The couple moved to Albany, Boston, and back to New York seeking portrait commissions and patronage. He became friends with the poet James Russell Lowell and the writer and publisher Charles Frederick Briggs, two writers and editors who helped to promote his artwork in Boston and New York and published his theoretical writings. In 1844, Lowell dedicated his first published book of poetry to Page, and the following year, Briggs published a series of articles by Page in the Broadway Journal, entitled "The Art of the Use of Color in Imitation in Painting." The series described Page's arduous experiments with color and glazes, and his ideas about correspondences between spirituality and the natural world as expressed in art.

In 1850, Page traveled to Florence, Italy, where he painted several copies of the works of Titian in the galleries of the Uffizi and Pitti palaces, studying his use of color and further developing his own experimental techniques. He became friends with the sculptor Hiram Powers, who introduced him to the writings of Emmanuel Swedenborg, a Christian metaphysician whose ideas fueled Page's interest in the spiritual aspects of art. In 1852, Page moved to Rome, a city with an international artists' community and a strong market for art. Page found a loyal following in Rome's large circle of American ex-patriates, including the sculptors Thomas Crawford and Harriet Hosmer, the actress Charlotte Cushman, and the poets Robert and Elizabeth Barrett Browning, all of whom sat for portraits by Page.

In 1854, Page's second wife left him amidst public scandal, and he sank deep in debt to his bankers at Packenham and Hooker, an English firm that by 1856 had a lien on all the paintings in his studio. That same year Page met Sophia Stevens Hitchcock, an American widow traveling in Rome with Bertha Olmsted, Frederick Law Olmsted's sister. Hitchcock was from Barnet, Vermont and came to Europe after her first husband died in 1852 after only a year of marriage. She traveled to England and Paris, where she wrote regular columns on local customs and events for the New York Tribune that were published under the by-line "An American Woman in Paris." She and Page met in Rome in 1856, and in October 1857, after Page traveled back the United States to obtain a divorce from Sarah Dougherty, he and Sophia married.

The couple stayed in Rome until 1860. His wife's three brothers, all businessmen, helped to promote his artwork in Europe and America. Page's paintings of this period include several Venus subjects, one of which was championed by his most loyal patrons, who raised $3000 by subscription to buy the painting for the Boston Athenaeum. A later Venus painting was rejected from the Paris salon for indecency, a controversy that was later leveraged for publicity in a touring exhibition in the United States.

The Pages returned to the United States in 1860 and settled in Tottenville, New York. They had six children between 1858 and 1870. Page had a studio at Eagleswood, NJ, and later in the Studio Building on 10th Street in Manhattan, where he held a large exhibition in 1867. In the 1860s, he painted a self-portrait and a companion portrait of Sophia set in Rome, as well as a series of civil war heroes including Robert Gould Shaw, Winfield Scott, and David Farragut. Photographs played a consistent part in Page's technique of portraiture, and he is known to have worked with the photographer Matthew Brady, who attended art classes early on with Page, as well as the photographers Sarony and Charles Williamson, who taught classes on drawing from enlarged photo-transparencies. Brady photographs taken for Page include David Farragut and Reuben Fenton.

Page lectured frequently on Titian and Venetian art, a subject in which he was considered an expert, and on painting technique and his philosophical ideas about nature, art, and spirituality. In 1871, Page was elected the president of the National Academy of Design, a post he held until 1873, but his poor health following a collapse in 1872 limited his accomplishments in office. Despite these limitations, he continued to paint, including portraits of General Grant, an idealized portrait of the president based on early photographs and Charles Sumner. He also became interested in portraiture of William Shakespeare around this time, and his studies resulted in a book, Shakespeare's Portraits, a bust based on existing portraiture, and a full-length portrait entitled "Shakespeare Reading," based on Page's measurements of a supposed death mask in Darmstadt, Germany, which he went to inspect against the advice of his doctor in 1874.

In 1877, another collapse left Page incapacitated for the remainder of his life. Sophia Page tried editing and publishing his writings and lectures, but with little success. Page died in 1885. A life marked by personal scandal ended the same, when two of his daughters from his first marriage contested his will, tying up his estate in a lengthy and public probate trial. Their suit was dismissed in 1889, and Sophia Page died in 1892.

This biography relies heavily on Joshua Taylor's William Page: The American Titian (1957).

Separated Material:

The Archives of American Art also holds materials lent for microfilming (reel 1091) including letters from Elizabeth Barrett and Robert Browning, Lydia Maria Child, Charlotte Cushman, James Russell Lowell, Charles A. Dana, and others. Lent material was returned to the donor and is This material is not described in the container listing of this finding aid.

Provenance:

A portion of the collection was donated to the Archives of American Art by Mrs. Lesslie S. (Pauline Page) Howell, William Page's grandaughter, in 1963. William S. Page, Pauline Page Howell's nephew, donated additional papers in 1964 and 1973. Pauline Page Howell and William S. Page also loaned a group of letters to the Archives in 1964 which were microfilmed on reel 1091 and then returned to the donors. Mrs. Howell's son, William Page Howell, donated material in 1980.

Letters of Charles F. Briggs to James Russell Lowell (Series 2.2) were a part of Pauline Page Howell's 1963 donation to the Archives of American Art. They had been given to Mrs. Howell by Charlotte Briggs, daughter of Charles F. Briggs, because of her father's lifelong friendship with William Page. Letters from Lowell to Briggs are in the James Russell Lowell papers in Houghton Library at Harvard University.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Works of art  Search this

Portrait painters -- New York (State) -- New York  Search this

Portrait painting -- 19th century -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Sketches

Poems

Drawings

Diaries

Citation:

William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.pagewill

See more items in:

William Page and Page Family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98de7b472-afbe-4b16-bbf1-c573fb9dcac6

EDAN-URL:

ead_collection:sova-aaa-pagewill

Creator:

Chalfant, Jefferson David, 1856-1931  Search this

Pennsylvania Academy of the Fine Arts  Search this

Subject:

Ainslie, George H.  Search this

Folsom, George C.  Search this

Morris, Lawrence Johnson  Search this

Robbins, Richard  Search this

Sullivan, H. Wood  Search this

Craig and Evans (Firm)  Search this

National Academy of Design (U.S.)  Search this

Society of American Artists  Search this

American Art Association (Society)  Search this

Type:

Drawings

Scrapbooks

Citation:

Jefferson David Chalfant papers, 1885-1976. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7364

(DSI-AAA_SIRISBib)209519

AAA_collcode_chaljeff

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209519

Creator:

National Academy of Design (U.S.)  Search this

Wilmerding, John, 1938-  Search this

Subject:

Baur, John I. H. (John Ireland Howe), 1909-1987  Search this

Ferber, Linda S.  Search this

Novak, Barbara  Search this

Type:

Sound recordings

Citation:

Panel discussion, 1980 Nov. 18. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Theme:

Art instruction and services  Search this

Record number:

(DSI-AAA_CollID)12665

(DSI-AAA_SIRISBib)214332

AAA_collcode_nation80

Theme:

Art instruction and services

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214332

Collection Creator:

National Academy of Design (U.S.)  Search this

Type:

Archival materials

Date:

1836-1988

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad, Subseries 7.2

See more items in:

National Academy of Design records

National Academy of Design records / Series 7: Exhibitions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99632762d-29e4-448a-b577-e7b71c58e060

EDAN-URL:

ead_component:sova-aaa-natiacad-ref31

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 27, Folder 10

Type:

Archival materials

Date:

1955

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 7: Exhibitions / 7.2: Gallery Exhibitions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db90908e-1357-47bc-b18f-3420fbdf1f39

EDAN-URL:

ead_component:sova-aaa-natiacad-ref844

Creator:

Lee-Smith, Hughie  Search this

Names:

Art Students League (New York, N.Y.) -- Faculty  Search this

Audubon Artists (New York, N.Y.)  Search this

Ira Aldridge Society  Search this

National Academy of Design (U.S.)  Search this

Bearden, Romare, 1911-1988  Search this

Goreleigh, Rex, 1902-  Search this

Correspondent:

Carter, Clarence Holbrook, 1904-2000  Search this

Gammon, Reginald, 1921-2005  Search this

Hirsch, Joseph, 1910-1981  Search this

Wald, Carol  Search this

Wessel, Sophie  Search this

Woodruff, Hale, 1900-1980  Search this

Extent:

33.7 Linear feet

0.381 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Interviews

Photographs

Video recordings

Sound recordings

Drawings

Date:

circa 1890-2007

bulk 1931-1999

Summary:

The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.

Scope and Contents:

The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.

Biographical material includes records of Hughie Lee-Smith's schooling, military service, and awards, as well as resumes, bibliographies, and biographical summaries. Also found are family records, including the papers of his mother, Alice Carroll.

Lee-Smith's correspondence is with family, students, arts and cultural organizations, as well as schools, galleries, and museums, primarily regarding his participation in events and exhibitions. He also corresponded with fellow artists, such as Clarence Holbrook Carter, Reginald Gammon, Joseph Hirsch, Carol Wald, and Hale Woodruff, among many others. He maintained extensive correspondence with artist Sophie Wessel.

Lee-Smith's writings include artist statements and personal writings on his history and early influences, as well as many draft lectures and speeches, school writings, notes, and untitled writing fragments. Writings by others primarily include student essays and articles on the topic of Lee-Smith's work. Personal business records include scattered financial documents, including artwork sales records, and contracts and agreements with various art galleries and other organizations. Also found are files regarding his art commissions, gifts, professional activities, and records of his employment at the Art Students League. Exhibition files document select exhibitions in which Hughie Lee-Smith participated, primarily during the 1980s and 1990s. Organization records were maintained by Lee-Smith to document his participation in various groups, such as the National Academy of Design, Ira Aldridge Society, and Audubon Artists.

Printed material consists primarily of exhibition announcements and invitations for exhibitions of Lee-Smith's work, as well as news clippings, magazines, press releases, and publications from various art organizations and schools. One scrapbook contains exhibition announcements additional loose scrapbook pages document his early career. Photographs include many portraits of Hughie Lee-Smith, Lee-Smith in his studio, at events, and with friends and family. Additionally there are many photographs, slides, and transparencies of Lee-Smith's artwork. Also found are five photograph albums. A small amount of original artwork includes drawings by Lee-Smith and two sketchbooks belonging to his wife Patricia.

The collection includes numerous interviews of Hughie Lee-Smith, recorded on 37 sound cassettes, one sound tape reel, and four video cassettes. One audio interview is in digital format. Also found are planning documents, research material, and video footage for a documentary about the life and work of Hughie Lee-Smith, produced by New Deal Films, Inc, but never completed. Footage includes interviews with artists and art historians regarding Lee-Smith, gallery events, and images of his paintings.

The papers of artist Rex Goreleigh primarily documents his later life and includes a letters, biographical documents, printed material, estate records, and photographs and slides depicting Goreleigh, his studio, and artwork. Hughie Lee-Smith was close friends with Goreleigh and served as executor of his estate.

Also of note is a scrapbook put together for Goreleigh's 70th birthday in 1972. Of note is one scrapbook which contains photographs, notes, and artwork by fellow artists and students, including drawings by Romare Bearden and Hughie Lee-Smith.

Arrangement:

The collection is arranged as 13 series.

Missing Title

Series 1: Biographical Material, circa 1890-2001 (1.7 linear feet; Box 1-2, 35, RD 38)

Series 2: Correspondence, 1931-2006 (6.1 linear feet; Box 2-8, 0.006 GB; ER01)

Series 3: Writings, circa 1934-1998 (0.8 linear feet; Box 8-9)

Series 4: Personal Business Records, 1934-2001 (1.6 linear feet; Box 9-11, 35)

Series 5: Exhibition Files, circa 1973-2001 (1.2 linear feet; Box 11-12)

Series 6: Organization Records, 1941-2005 (2.1 linear feet; Box 12-14)

Series 7: Printed Material, 1919, 1930-2007 (8.5 linear feet; Box 14-22, 34)

Series 8: Scrapbooks, circa 1938-1990s (0.2 linear feet; Box 22, 35)

Series 9: Photographs, circa 1890-2003 (4.4 linear feet; Box 22-26, 35, OV 37)

Series 10: Artwork, circa 1940s-1980s (0.2 linear feet; Box 26)

Series 11: Interviews, 1973-1998 (2.1 linear feet; Box 26-28, 0.375 GB; ER02)

Series 12: Documentary Film Materials, 1985-2004 (3.5 linear feet; Box 28-32)

Series 13: Rex Goreleigh Papers, 1935-1994 (0.9 linear feet; 32-33, 36)

Biographical / Historical:

Hughie Lee-Smith (1915-1999) was a painter and educator in Ohio, Michigan, and New York. Born in Eustis, Florida, he lived for a period of time with family in Atlanta before joining his mother in Cleveland, Ohio, in 1925. In 1934 he received a scholarship to attend the Art School of the Detroit Society of Arts and Crafts, and in 1935 returned to Cleveland to attend the Cleveland School of Art. While in school he began exhibiting his paintings and teaching part-time at Karamu House. From 1938 to 1940 Lee-Smith completed lithography commissions for the Ohio WPA. In 1941 he moved to Detroit, married his first wife Mabel Louise Everett, and worked at a Ford automobile factory. He was then drafted into the U.S. Navy as a mural artist. After the war he briefly returned to factory work before enrolling at Wayne State University, earning a degree in Art Education in 1953. From 1953 to 1965 he taught summer art classes at the Grosse-Point War Memorial in Detroit.

In 1957 Lee-Smith moved to the East Village in New York City, signed with the Janet Nassler Gallery (Petite Gallery), exhibited his work extensively, and joined several art organizations. He also taught art at schools in Princeton, New Jersey. In 1967 he became the second African-American member of the National Academy of Design. He was visiting instructor and artist-in-residence at several art programs, including Howard University, and taught at the Art Students League from 1972 to 1988. In 1978 he married his third wife, Patricia. The New Jersey State Museum organized an extensive retrospective of Lee-Smith's work in 1988 which travelled nationally. Despite ill-health in the mid-1990s, he continued to create new paintings and exhibit his work. In 1997 he moved with his wife to Albuquerque, New Mexico, where he lived until his death in 1999.

Related Materials:

Also found at the Archives of American Art is an oral history interview with Hughie Lee-Smith conducted by Carroll Greene in 1968.

Provenance:

A small amount of material was donated 1969-1981 by Hughie Lee-Smith. Additional papers were donated in 2011 by Patricia Lee-Smith, widow of Hughie Lee-Smith.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Fragile original address books are closed to researchers and have been digitized for access. Contact Reference Services for more information.

Rights:

Authorization to publish requires written permission from Robert Panzer, VAGA. The donor has retained all intellectual property rights, including copyright, that they may own. 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 -- Michigan -- Detroit  Search this

Painters -- New York (State) -- New York  Search this

Painters -- Ohio -- Cleveland  Search this

Educators -- New York (State) -- New York  Search this

Educators -- Michigan -- Detroit  Search this

Topic:

Artists' studios -- Photographs  Search this

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American military personnel  Search this

Genre/Form:

Scrapbooks

Interviews

Photographs

Video recordings

Sound recordings

Drawings

Citation:

Hughie Lee-Smith papers, circa 1890-2007, bulk 1931-1999. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.leeshugh

See more items in:

Hughie Lee-Smith papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d69fbd0e-001a-499b-9af3-a6dde3bc825e

EDAN-URL:

ead_collection:sova-aaa-leeshugh

Creator:

Cole, Alphaeus Philemon, 1876-1988  Search this

Subject:

Borglum, Solon Hannibal  Search this

Buffalo Bill  Search this

Cole, Timothy  Search this

Benjamin-Constant  Search this

Curran, Charles C. (Charles Courtney)  Search this

Drake, Alexander  Search this

Ertz, Edward Frederick  Search this

Higgins, Eugene  Search this

Laurens, Jean-Paul  Search this

Pennell, Joseph  Search this

Rio, Anita  Search this

Steichen, Edward  Search this

Tolman, Ruel P. (Ruel Pardee)  Search this

Young, Mahonri Sharp  Search this

Angel, John  Search this

Bransom, Paul  Search this

Coolidge, Calvin  Search this

Crane, Bruce  Search this

Low, Will Hicok  Search this

Murphy, Hermann Dudley  Search this

Ryder, Chauncey F.  Search this

Strode, Hudson  Search this

National Academy of Design (U.S.)  Search this

Type:

Drawings

Citation:

Alphaeus P. Cole papers, 1885-1988. Archives of American Art, Smithsonian Institution.

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5723

(DSI-AAA_SIRISBib)208561

AAA_collcode_colealph

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208561

Creator:

Blumenschein, Ernest Leonard, 1874-1960  Search this

Subject:

Ufer, Walter  Search this

Gilbert, Cass  Search this

Tarkington, Booth  Search this

Glackens, William J.  Search this

Blumenschein, Helen G. (Helen Greene)  Search this

Blumenschein, Mary Greene  Search this

Kuhn, Walt  Search this

Meem, John Gaw  Search this

Sharp, Joseph Henry  Search this

Taos Society of Artists  Search this

National Academy of Design (U.S.)  Search this

Committee on Public Information  Search this

Salmagundi Club  Search this

Type:

Writings

Photographs

Citation:

Ernest Blumenschein papers, 1873-1964. Archives of American Art, Smithsonian Institution.

Topic:

Illustrators -- New Mexico -- Taos  Search this

Taos School of Art  Search this

Works of art  Search this

Painting -- New Mexico -- Taos  Search this

World War, 1914-1918  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6744

(DSI-AAA_SIRISBib)208869

AAA_collcode_blumerne

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208869

Creator:

Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this

Subject:

Inness, George  Search this

Vereshchagin, Vasili Vasilevich  Search this

Smyth, Frederick  Search this

Barye, Antoine-Louis  Search this

Century Association (New York, N.Y.)  Search this

Lambs (New York, N.Y.)  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

National Academy of Design (U.S.)  Search this

Exposition universelle internationale de 1900 (Paris, France)  Search this

Union League Club (New York, N.Y.)  Search this

Lincoln Club (New York, N.Y.)  Search this

Merchants Club (New York, N.Y.)  Search this

Type:

Photographs

Scrapbooks

Citation:

Thomas Benedict Clarke scrapbooks, 1880-1936, bulk 1883-1920. Archives of American Art, Smithsonian Institution.

Topic:

Collectors and collecting -- New York (State) -- New York  Search this

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)7030

(DSI-AAA_SIRISBib)209163

AAA_collcode_clarthom

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209163

Creator:

McEntee, Jervis, 1828-1891  Search this

Subject:

Donoho, J. R., Mrs  Search this

Derrenbacher, John  Search this

DeForest, H. G.  Search this

Johnson, Eastman  Search this

Cropsey, Jasper Francis  Search this

Hicks, Thomas  Search this

Hart, William McDougal  Search this

Gray, Henry Peters  Search this

Gifford, Sanford Robinson  Search this

Casilear, John William  Search this

Butler, Benjamin F.  Search this

Boughton, George Henry  Search this

Vaux, Calvert  Search this

Booth, Edwin  Search this

Church, Isabel  Search this

Church, Frederic Edwin  Search this

Chapin, E. H. (Edwin Hubbell)  Search this

Palmer, Erastus Dow  Search this

Meeks, Louisa B.  Search this

McEntee, James S.  Search this

Shumway, Henry Colton  Search this

Stoddard, Richard Henry  Search this

Sawyer, C. M.  Search this

Husted, James W.  Search this

Inness, George  Search this

Hubbard, Richard William  Search this

Huntington, Daniel  Search this

Kensett, John Frederick  Search this

Lang, Louis  Search this

Jourmans, E. L., Mrs  Search this

Wickes, E. T.  Search this

Whittredge, Worthington  Search this

Zarnnhus, E. L.  Search this

Youmans, Kate  Search this

Stribling, C. K.  Search this

Stone, William O. (William Oliver)  Search this

Thompson, Launt  Search this

Sykes, Charles W.  Search this

Von Glumer, Francisca  Search this

Weir, John F. (John Ferguson)  Search this

Ward, John Quincy Adams  Search this

Baker, George Augustus  Search this

Anthony, A. V. S. (Andrew Varick Stout)  Search this

Boardman, Andrew  Search this

Bellows, Henry W. (Henry Whitney)  Search this

National Academy of Design (U.S.)  Search this

Century Association (New York, N.Y.)  Search this

Type:

Diaries

Sketches

Place:

Lake George (N.Y.) -- Pictorial works

Lake Champlain (N.Y.) -- Pictorial works

Adirondack Mountains (N.Y.)

Citation:

Jervis McEntee papers, 1796, 1848-1905. Archives of American Art, Smithsonian Institution.

Topic:

Artists -- New York (State) -- New York  Search this

Landscape painters -- New York (State) -- New York  Search this

Hudson River school of landscape painting  Search this

Painters -- New York (State) -- New York  Search this

Art, Modern -- 19th century -- New York (State) -- New York  Search this

Artists' studios  Search this

Bull Run (Va.), 1st Battle, 1861  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7251

(DSI-AAA_SIRISBib)209401

AAA_collcode_mcenjerv

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209401

Creator:

Glinsky, Vincent, 1895-1975  Search this

Subject:

Levi, Julian E. (Julian Edwin)  Search this

Architectural League of New York  Search this

Federal Art Project (N.Y.)  Search this

National Academy of Design (U.S.)  Search this

National Sculpture Society (U.S.)  Search this

Citation:

Vincent Glinsky papers, 1927-1982. Archives of American Art, Smithsonian Institution.

Topic:

Sculpture, American -- New York (State) -- New York  Search this

Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7269

(DSI-AAA_SIRISBib)209420

AAA_collcode_glinvinc

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209420

Creator:

Clark, Frederick H. (Frederick Hatfield), 1861-1948  Search this

Subject:

Chase, William Merritt  Search this

American Society of Miniature Painters  Search this

National Academy of Design (U.S.)  Search this

Pennsylvania Academy of the Fine Arts  Search this

School of Industrial Design (Trenton, N.J.)  Search this

Society of American Artists  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Citation:

Frederick H. Clark papers, 1875-1934. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7461

(DSI-AAA_SIRISBib)209619

AAA_collcode_clarfred

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209619

Creator:

Clark, Walter, 1848-1917  Search this

Subject:

National Academy of Design (U.S.)  Search this

Type:

Sketchbooks

Citation:

Walter Clark papers, 1890-1976. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7462

(DSI-AAA_SIRISBib)209620

AAA_collcode_clarwalt

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209620

Creator:

Cummings, Thomas Seir, 1804-1894  Search this

Subject:

Bierstadt, Albert  Search this

Chapman, J. G. (John Gadsby)  Search this

Durand, Asher Brown  Search this

Durand, John  Search this

Edmonds, Francis William  Search this

Elliott, Charles Loring  Search this

Inman, Jane  Search this

Inman, Henry  Search this

Huntington, Daniel  Search this

Gignoux, Régis François  Search this

Lang, Louis  Search this

Morse, Samuel Finley Breese  Search this

Perry, E. W. (Enoch Wood)  Search this

Sully, Thomas  Search this

National Academy of Design (U.S.)  Search this

Citation:

Thomas Seir Cummings correspondence and printed material [microfilm], 1826-1893. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7565

(DSI-AAA_SIRISBib)209725

AAA_collcode_cummthom

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209725

Creator:

Kaplan, Joseph, 1900-1980  Search this

Subject:

Avery, Milton  Search this

Lozowick, Louis  Search this

Gropper, William  Search this

Kaplan, Virginia  Search this

Ishigaki, Eitarō  Search this

Gross, Chaim  Search this

Ishigaki, Aya  Search this

Gottlieb, Adolph  Search this

DeMartini, Joseph  Search this

Soyer, Raphael  Search this

Wilson, Sol  Search this

United States. Public Works Administration  Search this

United States. Works Progress Administration  Search this

Audubon Artists (New York, N.Y.)  Search this

Corcoran Gallery of Art  Search this

National Academy of Design (U.S.)  Search this

Type:

Sketches

Citation:

Joseph Kaplan papers, 1915-1977. Archives of American Art, Smithsonian Institution.

Topic:

Photographers -- Massachusetts -- Provincetown  Search this

Photographers -- New York (State)  Search this

Printmakers -- Massachusetts -- Provincetown  Search this

Printmakers -- New York (State) -- New York  Search this

Theme:

Architecture & Design  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7650

(DSI-AAA_SIRISBib)209813

AAA_collcode_kapljose

Theme:

Architecture & Design

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209813

Creator:

Kelly, Emerson Crosby, 1899-1977  Search this

Hollinger & Co.  Search this

Subject:

Carlsen, Emil  Search this

Murphy, John Francis  Search this

Murphy, Adah Clifford  Search this

Murphy, John Francis  Search this

Sarony, Napoleon  Search this

Vandyk, C.  Search this

Moffett (Firm)  Search this

National Academy of Design (U.S.)  Search this

Pestalozzi Foundation of America  Search this

Salmagundi Club  Search this

Type:

Drawings

Sketchbooks

Place:

Arkville (N.Y.) -- Pictorial works

Citation:

Emerson Crosby Kelly research material relating to J. Francis Murphy, 1761-1973. Archives of American Art, Smithsonian Institution.

Topic:

Artists' studios -- Photographs  Search this

Landscape painting, American -- New York (State)  Search this

Art -- Collectors and collecting -- New York (State)  Search this

Women artists  Search this

Women painters  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)7703

(DSI-AAA_SIRISBib)209867

AAA_collcode_kellemer

Theme:

Diaries

Sketches & Sketchbooks

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209867