Search Results

Painter:

Johnson, Eastman 1824-1906  Search this

Medium:

Oil on canvas

Type:

Paintings

Owner/Location:

Fine Arts Museums of San Francisco Palace of the Legion of Honor Lincoln Park San Francisco California 94121 Accession Number: 1943.6

Date:

1867

Topic:

Architecture interior--Domestic--House  Search this

Figure group--Family  Search this

State of Being--Disabled--Physical Disability  Search this

Animal--Dog  Search this

Control number:

IAP 71068717

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_145213

Creator:

Sinton, Marian W., 1894-1980  Search this

Names:

Anderson, Carlo  Search this

Feldman, Bella Tabak, 1930-  Search this

Oliveira, Nathan, 1928-2010  Search this

Patchen, Kenneth, 1911-1972  Search this

Rose, Henri Marie, 1922-  Search this

Siegriest, Louis Bassi, 1899-1989  Search this

Thiebaud, Wayne  Search this

Van Hoesen, Beth, 1926-2010  Search this

Extent:

0.2 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1962-1971

Scope and Contents:

Thirty-nine letters, mostly thank-yous, to Sinton from mainly San Francisco Bay Area artists Carlo Anderson, Bella T. Feldman, Nathan Oliviera, Henri Marie Rose, Louis Siegriest, Wayne Thiebaud, Beth Van Hoesen and others; and a clipping dated September 16, 1967, about the poetry of Kenneth Patchen.

Biographical / Historical:

Art collector; Hillsborough, Calif.

Provenance:

Donated 1985 by Ruth Steiner, daughter of Marian Sinton. The material formed part of a larger collection of prints and drawings from the estate of the late Mr. and Mrs. Edgar Sinton and donated to the Achenbach Foundation for the Graphic Arts, California Palace of the Legion of Honor (Fine Arts Museum of San Francisco).

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- California  Search this

Topic:

Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.sintmari

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw963ed4abf-fa67-411f-83d7-d2f4f1c47165

EDAN-URL:

ead_collection:sova-aaa-sintmari

Creator:

Hibi, Hisako, 1907-1991  Search this

Hibi, Matsusaburo George  Search this

Type:

Scrapbooks

Citation:

Hisako Hibi and Matsusaburo "George" Hibi papers, circa 1906-2022. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Asian American artists  Search this

Japanese American artists  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Theme:

Asian American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22180

AAA_collcode_hibihisa

Theme:

Asian American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22180

Creator:

Hibi, Hisako, 1907-1991  Search this

Hibi, Matsusaburo George, 1886-1947  Search this

Extent:

3.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

circa 1906-2022

Summary:

The papers of Japanese American artists Hisako Hibi and Matsusaburo "George" Hibi measure 3.9 linear feet and date from circa 1906-2022. These papers are mainly focused on Hisako Hibi's life and career, with some content related to her husband Matsusaburo "George" Hibi. Included are biographical material consisting of immigration documents and interview transcripts; scrapbooks; printed material including catalogs and newspaper clippings; personal and professional correspondence; scattered records of works sold, loaned and donated; and a few sketches. Also found is Matsusaburo's handwritten account of founding the art school at Topaz incarceration camp along with other material related to the forced removal and incarceration of Japanese Americans during World War II.

Scope and Contents:

The papers of Japanese American artists Hisako Hibi and Matsusaburo "George" Hibi measure 3.9 linear feet and date from circa 1906-2022. These papers are mainly focused on Hisako Hibi's life and career, with some content related to her husband Matsusaburo "George" Hibi. Included are biographical material consisting of immigration documents and interview transcripts; scrapbooks; printed material including catalogs and newspaper clippings; personal and professional correspondence; scattered records of works sold, loaned and donated; and a few sketches. Also found is Matsusaburo's handwritten account of founding the art school at Topaz incarceration camp along with other material related to the forced removal and incarceration of Japanese Americans during World War II. A small addition to this collection consisting of letters (many handmade) to Hisako Hibi from friends and fellow artists was merged in with the rest of the correspondence.

Arrangement:

The collection is arranged as 5 series.

Series 1: Biographical Material, 1906-circa 2020 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1922-2022 (1.2 linear feet; Boxes 1, 5-6)

Series 3: Exhibition Files, 1936-2005 (0.4 linear feet; Box 1)

Series 4: Scrapbooks, circa 1934-1985 (0.6 linear feet; Box 2)

Series 5: Printed Material, 1918-2019 (1.5 linear feet; Boxes 2-3, OV 4)

Biographical / Historical:

Hisako Hibi née Shimizu (1907-1991) was a Japanese American artist in Hayward and San Francisco, California. She was married to­ artist Matsusaburo "George" Hibi (1886-1947). Both artists were active members of the San Francisco Bay Area arts community. The two met at the California School of Fine Arts (renamed the San Francisco Art Institute, which closed in 2022) and married in 1930. They had two children, Satoshi and Ibuki. Both Hisako and Matsusaburo "George" Hibi exhibited their paintings widely.

In 1942, the entire Hibi family was forcibly removed and incarcerated at the Tanforan Assembly Center in California and subsequently the Topaz Relocation Center in Utah where they remained until the end of World War II. After the war, the family moved to New York City, where Matsusaburo "George" Hibi passed away in 1947. Hisako Hibi worked as a seamstress at a garment factory and later studied painting at the Museum of Modern Art. In the early 1950s, Hisako Hibi and her daughter Ibuki returned to San Francisco. Hisako Hibi continued to exhibit frequently in group and solo shows. She passed away in 1991.

Provenance:

The Hisako Hibi and Matsusaburo "George" Hibi papers were donated to the Archives of American Art in 2022 by Ibuki Hibi Lee, Hisako and Matsusaburo "George" Hibi's daughter. There was a small addition of material donated in 2023 by Amy Lee-Tai, Ibuki Lee's daughter.

Restrictions:

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

Rights:

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

Occupation:

Painters -- California -- San Francisco  Search this

Printmakers -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Asian American artists  Search this

Japanese American artists  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Scrapbooks

Citation:

Hisako Hibi and Matsusaburo "George" Hibi papers, circa 1906-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hibihisa

See more items in:

Hisako Hibi and Matsusaburo "George" Hibi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ad4ec94-a26a-44a8-94e1-868fddd32f1d

EDAN-URL:

ead_collection:sova-aaa-hibihisa

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(6 folders; see also: CARA; Garcia, Rupert; Gronk; Box 30; OV 32)

Container:

Box 15, Folder 32-37

Type:

Archival materials

Scope and Contents note:

(exhibition announcements; exhibition brochures; catalogs; resume; sales receipt; book by Lomas Garza, Papel Picado: Paper Cutout Techniques, Xicanindio Arts Coalition, Mesa, Arizona, 1984; TYF's notes on Lomas Garza; clippings; oversize materials; slides; note to TYF from Lomas Garza, undated; note to TYF and Dudley, from Lomas Garza, undated; typescript of essay on Lomas Garza by TYF, from the catalog, Carmen Lomas Garza: Lo Real Maravilloso: the Marvelous/The Real, The Mexican Museum, San Francisco, 1988; catalog, Mano a Mano: Abstraction/Figuration: 16 Mexican-American & Latin-American Painters from the San Francisco Bay Area, The Art Museum of Santa Cruz County and University of California Santa Cruz, 1988; Festival Internaxional de la Raza, "Los Artistas Chicanos del Valle de Tejas: Narradores de Mitos Y Tradiciones," 1991; Handwritten transcript of interview with Lomas Garza by TYF; polaroid photographs of Lomas Garza; memo to Dudley and TYF from Vincente M. Martinez, Acting Chief Curator Millicent Rogers Museum, 04/03/1995, re. invitations to exhibition opening and loan of piece)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92227dc1a-8e69-4967-a093-cff997cfa58a

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1011

Photographer:

Jacobs, Mimi  Search this

Names:

Adams, Ansel, 1902-1984 -- Photographs  Search this

Adams, Mark, 1925-2006 -- Photographs  Search this

Allan, William George, 1936- -- Photographs  Search this

Anderson, Jeremy, 1921-1982 -- Photographs  Search this

Armer, Ruth, 1896-1977 -- Photographs  Search this

Arneson, Robert, 1930-1992  Search this

Arnoldi, Charles, 1946- -- Photographs  Search this

Asawa, Ruth -- Photographs  Search this

Beall, Dennis Ray, 1929- -- Photographs  Search this

Beasley, Bruce, 1939- -- Photographs  Search this

Bechtle, Robert, 1932-2020 -- Photographs  Search this

Bengston, Billy Al -- Photographs  Search this

Benton, Fletcher, 1931- -- Photographs  Search this

Berlant, Anthony -- Photographs  Search this

Bischoff, Elmer, 1916-1991 -- Photographs  Search this

Blunk, J. B., 1926- -- Photographs  Search this

Brice, William, 1921-2008 -- Photographs  Search this

Brown, Joan, 1938-1990  Search this

Celmins, Vija, 1938- -- Photographs  Search this

Chicago, Judy, 1939- -- Photographs  Search this

Conner, Bruce, 1933-2008 -- Photographs  Search this

Cunningham, Imogen, 1883-1976 -- Photographs  Search this

De Forest, Roy, 1930-2007 -- Photographs  Search this

DeFeo, Jay, 1929-1989 -- Photographs  Search this

DeLap, Tony, 1927-2019 -- Photographs  Search this

Dickinson, Eleanor, 1931- -- Photographs  Search this

Diebenkorn, Richard, 1922-1993 -- Photographs  Search this

Dill, Guy, 1946- -- Photographs  Search this

Falkenstein, Claire, 1908-1997 -- Photographs  Search this

Francis, Sam, 1923- -- Photographs  Search this

Gilhooly, David -- Photographs  Search this

Goldyne, Joseph R.  Search this

Gooch, Gerald -- Photographs  Search this

Gordon, Russell Talbert, 1936- -- Photographs  Search this

Graham, Robert, 1938- -- Photographs  Search this

Hedrick, Wally, 1928-2003 -- Photographs  Search this

Holland, Tom, 1936- -- Photographs  Search this

Hopkins, Henry, 1928-2009  Search this

Howard, Robert Boardman, 1896-1983 -- Photographs  Search this

Hudson, Robert, 1938- -- Photographs  Search this

Ihle, John Livingston, 1925- -- Photographs  Search this

Irwin, Robert, 1928- -- Photographs  Search this

Johnson, Robert E. (Robert Emory), 1932- -- Photographs  Search this

Kauffman, Craig, 1932-2010  Search this

Light, Alvin, 1931- -- Photographs  Search this

Lobdell, Frank, 1921- -- Photographs  Search this

Martin, Bill, 1943- -- Photographs  Search this

McLean, Richard Thorpe, 1934- -- Photographs  Search this

Mullican, Lee, 1919-1998 -- Photographs  Search this

Nauman, Bruce, 1941- -- Photographs  Search this

Neri, Manuel, 1930- -- Photographs  Search this

Noguchi, Isamu, 1904-1988 -- Photographs  Search this

Oliveira, Nathan, 1928-2010 -- Photographs  Search this

Paris, Harold, 1925-1979 -- Photographs  Search this

Raffael, Joseph, 1933- -- Photographs  Search this

Ramos, Mel, 1935-2018 -- Photographs  Search this

Reichman, Fred, 1925- -- Photographs  Search this

Richardson, Sam, 1934- -- Photographs  Search this

Ruscha, Edward -- Photographs  Search this

Saar, Betye -- Photographs  Search this

Saunders, Raymond, 1934- -- Photographs  Search this

Shaw, Richard, 1941 Sept. 12- -- Photographs  Search this

Siegriest, Louis B., 1899- -- Photographs  Search this

Sinton, Nell, 1910-1997 -- Photographs  Search this

Thiebaud, Wayne -- Photographs  Search this

Todd, Mike, 1935- -- Photographs  Search this

Valledor, Leo, 1936-1989 -- Photographs  Search this

Villa, Carlos, 1936-2013 -- Photographs  Search this

Voulkos, Peter, 1924-2002 -- Photographs  Search this

Wasserstein, Julius -- Photographs  Search this

Wiley, William T., 1937-2021  Search this

Woelffer, Emerson, 1914- -- Photographs  Search this

Wonner, Paul, 1920-2008 -- Photographs  Search this

Zammitt, Norman, 1931- -- Photographs  Search this

Extent:

140 Items (photographic prints, b&w)

Type:

Collection descriptions

Archival materials

Date:

1971-1981

Scope and Contents:

Photographs of artists, many from the San Francisco Bay Area, taken by Mimi Jacobs.

Artists photographed: Ansel Adams, Robert Arneson, Ruth Asawa, Billy Al Bengston, Fletcher Benton, Robert Bechtle, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert B. Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Raymond Saunders, Richard Shaw, Louis Siegriest, Nell Sinton, Wayne Thiebaud, DeWain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William T. Wiley, Emerson Woelffer.

Photographs of Mark Adams, William Allan, Jeremy Anderson, Ruth Armer, Charles Arnoldi, Dennis Beall, Bruce Beasley, Tony Berlant, Elmer Bischoff, Vija Celmins, Judy Chicago, Bruce Conner, Roy de Forest, Tony DeLap, Guy Dill, Claire Falkenstein, Gerald Gooch, Russell Gordon, Wally Hedrick, Tom Holland, Robert Hudson, Robert Emory Johnson, Frank Lobdell, Robert Craig Kaufman, Richard McLean, Bill Martin, Manuel Neri, Bruce Nauman, Nathan Oliveira, Mel Ramos, Sam Richardson, Michael Todd, Julius Wasserstein, Paul Wonner and Norman Zammitt.

In 1999, additional photographs were donated including many duplicates of the previous donations. These include 50 mounted photographs of West Coast artists, twenty-four of which were exhibited in 1980 at the Museum of Contemporary Art, Los Angeles, and published in 50 West Coast Artists: A Critical Selection of Painters and Sculptors (1981, Chronicle Books). Photographs are of Ansel Adams, Robert Arneson, Billy Al Bengston, Robert Bechtle, Fletcher Benton, J. B. Blunk, William Brice, Joan Brown, Imogen Cunningham, Jay De Feo, Eleanor Dickinson, Richard Diebenkorn, Laddie John Dill, Archeliat Esherick, Sam Francis, David Gilhooly, Joseph Goldyne, Robert Graham, Henry Hopkins, Robert Howard, John Ihle, Robert Irwin, Allen Jones, Alvin Light, Lee Mullican, Isamu Noguchi, Howard Paris, Joseph Raffael, Fred Reichman, Ed Ruscha, Betye Saar, Richard Shaw, Louis Siegrist, Nell Sinton, Wayne Thiebaud, De Wain Valentine, Leo Valledor, Carlos Villa, Peter Voulkos, William Wiley, and Emerson Woeffer.

Biographical / Historical:

Photographer; Kentfield, Calif.; b. 1911; d. April 1, 1999. Known in the San Francisco Bay Area for her portraits of prominent local figures, many of whom were artists. She eventually expanded her scope beyond Northern California to included artists in the Los Angeles region as well. These images were widely reproduced in books and in exhibitions and in many cases became the portraits by which the individuals were best known. Among her subjects were Ed Ruscha, Robert Graham, Peter Voulkos, Joan Brown, Isamu Noguchi, Jay DeFeo, Wayne Thiebaud, Imogen Cunningham, and Richard Diebenkorn. Several exhibitions were devoted to the photographs as independent works of art, an acknowledgement of their pictorial qualities as well as their value as documents.

Provenance:

Donated 1976-1992 by Mimi Jacobs. Additional photos, many of them duplicates of previous donations, were donated in 1999 by Leslie Fleming, Jacobs' daughter, for the Estate.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Photographers -- California  Search this

Topic:

Artists -- California -- Portraits  Search this

Artists -- California -- Photographs  Search this

Identifier:

AAA.jacomimi

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e52eeab-c8aa-437c-9967-ac2af528c69f

EDAN-URL:

ead_collection:sova-aaa-jacomimi

Creator:

Nanao, Kenjirō, 1929-2013  Search this

Names:

Nanao, Gail Chadell  Search this

Extent:

10.9 Linear feet

0.706 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Diaries

Drawings

Date:

circa 1885-2017

bulk 1970-2000

Summary:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Scope and Contents:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Biographical material includes address books, forms of international identification, travel documents, and interviews in the form of written typescripts and digital audio recordings.

Correspondence is between Kenjilo Nanao and friends, family, and other artists in both English and Japanese. Notable correspondents include John and Kati Casida, William Hyland, Fumiyo and Jun Kaneko, son Max Nanao, Nathan Oliveira, Mel Ramos, and others. There are also several journals of letter drafts by Kenjilo Nanao. This series also includes letters addressed to Nanao's wife Gail from various individuals.

There are numerous journals which contain entries on daily activities, but also include Kenjilo Nanao's thoughts on art, to-do lists, and some sketches in watercolor and charcoal. Later journals are titled and dedicated to specific travels abroad.

Professional files include appointment books, teaching files from California State University at Hayward, studio documents, assorted ledgers, and lithography course materials.

Printed material includes exhibition announcements and catalogs, clippings, magazines, posters, books written in Japanese, and other miscellaneous materials.

Photographs depict Nanao's family and friends, with a few images of artwork and exhibitions, and one small album of photographs of a house and neighborhood in Japan.

The artwork series mostly consists of sketchbooks, as well as some loose drawings and watercolors.

Arrangement:

The collection is arranged in 7 series:

Series 1: Biographical Material, circa 1960-circa 2017 (0.4 Linear Feet, 0.706 GB; Box 1, ER01)

Series 2: Correspondence, circa 1961-2013 (4.6 Linear Feet; Boxes 1-5, 12, OV 13)

Series 3: Journals, circa 1947-2013 (3.8 Linear Feet; Boxes 5-9, 12)

Series 4: Professional Files, circa 1967-2011 (0.8 Linear Feet; Boxes 9-10, OV 14)

Series 5: Printed Material, circa 1885-1887, circa 1968-2013 (0.6 Linear Feet; Box 10, OV 14)

Series 6: Photographic Material, circa 1960-2011 (0.1 Linear Feet; Box 10)

Series 7: Artwork, circa 1964-2013 (0.6 Linear Feet; Boxes 10-12)

Biographical / Historical:

Kenjilo Nanao (1929-2013) was a painter and printmaker in San Francisco, California.

Nanao was born in Aomori, Japan, and graduated with a degree in economics in 1953 from Nihon University before immigrating to the United States to study art in the San Francisco Bay Area. He received a bachelor's degree from the California School of Fine Arts in 1963 as well as a masters of fine arts from the San Francisco Art Institute in 1971, where he studied under Nathan Oliveira and met his wife and fellow artist, Gail Chadell Nanao.

Kenjilo's primary artistic medium was lithography in which he became known for Surrealist minimal figurative compositions. Eventually he immersed himself in painting in an Abstract Expressionist style that became his main form of artistic production from the 1980s on. Nanao taught lithography and painting at California State University at Hayward from 1971-1990, and lectured at various other schools in the San Francisco Bay Area. His work is included in the collections of the Museum of Modern Art, in New York City, City of San Francisco, Pasadena Art Museum, Los Angeles County Museum, Cincinnati Museum of Art, Honolulu Academy of Art, Gruenwald (University of California, Los Angeles), the Achenbach Foundation, and others.

Kenjilo Nanao died in Berkeley, CA in 2013 and is survived by his wife and son Max.

Provenance:

The Kenjilo Nanao papers were donated to the Archives of American Art in 2016 and 2018 by Gail Nanao, Kenjilo Nanao's widow.

Restrictions:

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

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Rights:

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

Occupation:

Painters -- California -- San Francisco Bay Area  Search this

Educators -- California  Search this

Lithographers -- California  Search this

Topic:

Japanese American artists  Search this

Asian American artists  Search this

Asian American painters  Search this

Asian American printmakers  Search this

Asian American educators  Search this

Genre/Form:

Sketchbooks

Diaries

Drawings

Citation:

Kenjilo Nanao papers, circa 1885-1887, circa 1949-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.nanakenj

See more items in:

Kenjilo Nanao papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9496e27a8-fbe8-42d4-b862-c730a2a51d1e

EDAN-URL:

ead_collection:sova-aaa-nanakenj

Interviewee:

Kingman, Dong, 1911-  Search this

Interviewer:

Andersen, Irene Poon  Search this

Andersen, Stanley, 1922-  Search this

Names:

Mills College -- Faculty  Search this

San Diego Museum of Art  Search this

United States. Works Progress Administration  Search this

Extent:

1 Sound cassette (Sound recording (60 min.), 2 x 1-1/4 in.)

18 Pages (Transcript: supplementary material)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1996 Jul. 3-4

Scope and Contents:

An interview conducted by Stan and Irene Poon Andersen on July 3-4, 1996, New York City, with Dong Kingman. Accompanying the interview are a few newspaper and magazine articles, and a photograph of Kingman, taken by Irene Poon Andersen, 1996. The material was compiled following the 1995 exhibition "With New Eyes: Toward An Asian American Art History in the West," for which Poon Andersen was a curator and exhibitor.

Kingman discusses his early years and education in Oakland, Calif. and Hong Kong; teaching at Mills College, Oakland, University of Wyoming, Laramie and the San Diego Museum; working on the WPA art project; military service with the US Army OSS art department; leaving the Bay Area when he was drafted, moving first to Washington, D.C. and later to New York City where has remained; and work on movies including "Flower Drum Song," "55 Days to Peking," and "Virgin Soldier."

Biographical / Historical:

Dong Kingman (1911-2000) was a Chinese American painter and illustrator based in the San Francisco Bay Area and New York City. Kingman taught at Columbia University and Hunter College. He worked for the Works Progress Administration.

Provenance:

Donated 1997 by Stan Andersen and Irene Poon Andersen.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

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

Artists -- California -- San Francisco Bay Area  Search this

Topic:

Art and motion pictures  Search this

Asian American art  Search this

Asian American artists  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American painters  Search this

Asian American illustrators  Search this

Asian American educators  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.kingdong2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw968633470-310d-446f-82cc-23fe2dc4c14c

EDAN-URL:

ead_collection:sova-aaa-kingdong2

Interviewee:

Wiley, William T., 1937-2021  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Nauman, Bruce, 1941-  Search this

Extent:

221 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1997 October 8-November 20

Scope and Contents:

An interview of William T. Wiley conducted 1997 October 8-November 20, by Paul J. Karlstrom, for the Archives of American Art, in Woodacre, California.

Wiley discusses the importance of the rural setting of his Marin County studio/home and his corresponding lifestyle to his world view and its reflection in his art. He describes his itinerant youth and experience at the San Francisco Art Institute, and his teaching years at UC Davis, which had attracted a faculty that included Robert Arenson and Wayne Thiebaud. Among the graduate students was Bruce Nauman, who he discusses in length and credited with influencing some of his own ideas at the time. He also acknowledges the influence of the assemblage movement through relationships with George Herms and Bruce Conner.

The final session addressed the communal nature of the Bay Area art scene and the differences between East and West Coast art worlds. The interview ends with a discussion of Wiley's iconography and motifs frequently encountered in his works and how their changing meaning are intended to encourage thoughts on visual and verbal complexities as reflections of shifting perception and experience.

Biographical / Historical:

William T. Wiley (1937-2021) was a painter and helped found the funk art movement. He was also an educator at U.C. Davis. Wiley lived and worked in the San Francisco Bay area.

General:

Originally recorded on 8 sound cassettes. Reformatted in 2010 as 15 digital wav files. Duration is 7 hrs., 32 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:

Transcript available on the Archives of American Art website.

Topic:

Painters -- California -- Interviews  Search this

Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this

Funk  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.wiley97

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95d9bf940-efeb-4367-b665-6e08fa8be1ac

EDAN-URL:

ead_collection:sova-aaa-wiley97

Creator:

Kingman, Dong, 1911-  Search this

Names:

Federal Art Project (Calif.)  Search this

Extent:

22 Items

Type:

Collection descriptions

Archival materials

Date:

1938-1942

Scope and Contents:

Photographs of Kingman, his family, and his work; and a New Yorker article about him.

Biographical / Historical:

Dong Kingman (1911-2000) was a Chinese American painter and illustrator based in the San Francisco Bay Area and New York City. Kingman taught at Columbia University and Hunter College. He worked for the Works Progress Administration.

Related Materials:

Dong Kinman papers also at Syracuse University.

Provenance:

The lender, Lewis Ferbrache, collected papers for AAA from artists and administrators of the various government funded art programs of the Depression. It was part of a larger nation-wide, collecting project, "New Deal and the Arts."

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Illustrators  Search this

Painters  Search this

Topic:

Federal aid to the arts -- California -- San Francisco -- Archival resoureces  Search this

Art and state -- California -- San Francisco  Search this

Watercolor painting -- California -- San Francisco  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American painters  Search this

Asian American illustrators  Search this

Chinese American art  Search this

Chinese American artists  Search this

Asian American educators  Search this

Identifier:

AAA.kingdong

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d709ed15-5d08-4a0c-9086-52e5a8c88378

EDAN-URL:

ead_collection:sova-aaa-kingdong

Creator:

California State University, Long Beach. University Art Museum  Search this

Names:

Oliveira, Nathan, 1928-2010  Search this

Extent:

1 Item ((222 cards on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1978-1980

Scope and Contents:

A file of 222 cards constituting a catalog raisonné of Oliveira's graphic work. The cards were compiled for an exhibition, NATHAN OLIVEIRA PRINT RETROSPECTIVE: 1949-1980, and contain information regarding provenance, medium, size, and condition of the prints. Most cards also contain a photograph of the original print.

Biographical / Historical:

Art museum, Long Beach, Calif. Formerly called California State University, Long Beach, Art Museum and Galleries. Nathan Oliveira is a printmaker and painter from the San Francisco Bay Area, California.

Provenance:

Lent for microfilming 1980 by California State University, Long Beach, University Art Museum.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Painters -- California  Search this

Printmakers -- California  Search this

Topic:

Art -- Exhibitions  Search this

Identifier:

AAA.calistat

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw906a27762-54cc-472a-a421-fb324df0576d

EDAN-URL:

ead_collection:sova-aaa-calistat

Creator:

Weeks, James, 1922-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

[ca. 1950-1985]

Scope and Contents:

Biographical information; business correspondence; exhibition material, 1965-1985; teaching notes from the San Francisco Art Institute and UCLA; photographs of Weeks and his wife Lynn, 1980s; photographs of work (billboards), 1950s; and clippings.

Biographical / Historical:

Painter, educator; San Francisco, Calif. and Boston, Mass. Weeks was a prominent San Francisco Bay area painter in the 1950s and 1960s, who has continued those ties since coming to teach at Boston University in 1970 by steadily exhibiting at the Charles Campbell Gallery in San Francisco as well as Hirschl and Adler in New York.

Provenance:

Donated 1986 by James Weeks. Additional material expected including correspondence, photographs, and slides of work.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Educators -- California  Search this

Educators -- Massachusetts -- Boston  Search this

Painters -- California -- San Francisco Bay Area  Search this

Painters -- Massachusetts -- Boston  Search this

Identifier:

AAA.weekjame

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98eba604c-ff9f-4529-8732-9e335ae22cba

EDAN-URL:

ead_collection:sova-aaa-weekjame

Creator:

DeFeo, Jay, 1929-1989  Search this

Names:

Berman, Wallace, 1926-1976  Search this

Blum, Irving, 1930-  Search this

Conner, Bruce, 1933-2008  Search this

Hedrick, Wally, 1928-2003  Search this

Terrill, Ruth  Search this

Extent:

1.5 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

circa 1940s-1979

Summary:

The papers of California painter Jay DeFeo measure 1.5 linear feet and date from circa 1940s to 1979. The collection provides scattered documentation of DeFeo's career, and details on her seminal work, The Rose, through biographical material, correspondence with friends and colleagues, personal business records, writings by others, printed material, photographs highlighting DeFeo's prominent role in her community, and artwork.

Scope and Contents:

The papers of California painter Jay DeFeo measure 1.5 linear feet and date from circa 1940s to 1979. The collection provides scattered documentation of DeFeo's career, and details on her seminal work, The Rose, through biographical material, correspondence with friends and colleagues, personal business records, writings by others, printed material, photographs highlighting DeFeo's prominent role in her community, and artwork.

Correspondence, while scattered, contains some significant and illuminating letters. The series includes documentation of Bruce Conner's assistance in managing the moving and conservation of The Rose, correspondence with the Pasadena Art Museum regarding the first public showing of the work, and correspondence with the San Francisco Museum of Art and Tony Rockwell regarding its conservation. Other correspondents of note include Wallace Berman, Irving Blum and Ferus Gallery, Mark Green, Frank Lobdell, Fred Martin, David Simpson, Ruth Terrill, and Eleanor (Nell) Sinton. Throughout the series letters both to and from DeFeo provide details on her thoughts about her work, personal and professional challenges and decisions at various stages of her career, and her artistic growth as she developed her interest in photography and other media.

Writings are by others and include reflections by Fred Martin on art and travel, and poems from Wallace Berman's self-published journal, Semina. Personal business records contain significant documentation of preservation costs for The Rose, the purchase of DeFeo's work, Incision, and the lease of the flat that was the site of DeFeo's personal and artistic growth and community for over a decade. Printed material includes scattered articles on artwork by DeFeo and others, posters announcing DeFeo's group and solo exhibitions at Ferus Gallery, and announcements and catalogs for others.

Photographs provide important documentation of DeFeo's pivotal role in the San Francisco art community and include some of the most reproduced images of her and others including Wally Hedrick and Joan Brown, taken by photographers such as Jerry Burchard, Wallace Berman, Wally Hedrick, and DeFeo. Many other personal photographs of group trips to the beach and parties at the Fillmore Street flat capture the camaraderie and vitality of the community to which DeFeo belonged.

Also found are several collages made by DeFeo, and artwork by others including Wallace Berman, and sketches by Al Wong.

Arrangement:

The collection is arranged as 7 series

Missing Title

Series 1: Biographical material, 1948-1969 (2 folders; Box 1)

Series 2: Correspondence, circa 1950-1979 (0.4 linear feet; Box 1, OV 3)

Series 3: Writings, circa 1950s-circa 1960s (0.1 linear feet; Box 1, OV 3)

Series 4: Personal Business Records, 1955-1974 (3 folders; Box 1)

Series 5: Printed Material, 1956-1975 (0.2 linear feet; Box 1, OV 3)

Series 6: Photographs, circa 1940s-circa 1970s (0.5 linear feet; Boxes 1-2, OV 3)

Series 7: Artwork, circa 1950s-circa 1960s (0.3 linear feet; Box 2)

Biographical / Historical:

Expressionist and symbolist painter, photographer, and educator Jay DeFeo (1929-1989) was a central figure in the progressive community of artists, poets, and musicians of the San Francisco Bay Area in the 1950s-1960s. She devoted eight years to producing her most celebrated painting, The Rose, and was known for her endlessly experimental cross-disciplinary work in painting, drawing, photography, and collage.

DeFeo was born in Hanover, New Hampshire, and was three years old when her family moved to the San Francisco Bay Area. She attended the University of California Berkeley and earned bachelor's and master's degrees in studio art in 1950-1951. She then traveled for eighteen months on a scholarship to France, Spain, North Africa, and Italy and spent six months in Florence producing her first significant body of work.

DeFeo returned to San Francisco in 1953 and married fellow artist Wally Hedrick in 1954. The couple rented a Victorian flat at 2322 Fillmore Street and actively participated in Beat counterculture, throwing large parties for their friends including artists, musicians, painters, poets, and photographers. Joan and Bill Brown were neighbors and the four artists shared ideas and space to such an extent that they cut a door in an adjoining wall so they could come and go between their two apartments with ease.

DeFeo's first solo exhibition was held at the Dilexi Gallery in 1959, and Dorothy Miller selected her work for her landmark Sixteen Americans exhibition the same year. After an exhibition at Ferus Gallery in 1960, DeFeo turned down other gallery affiliations to work almost exclusively on The Rose. Completed in the Fillmore Street flat in 1966, DeFeo's monumental work was first exhibited at the Pasadena Art Museum in 1969, and was later moved to the San Francisco Art Institute to await conservation.

DeFeo and Hedrick divorced in 1969, and DeFeo moved to Larkspur in Marin County to regroup from personal set-backs and the draining experience of working on The Rose. She taught part-time at various art institutions in California, and in 1981 moved to Oakland and joined the art faculty at Mills College, becoming a tenured professor in 1986. She worked prolifically as an artist to the end of her life.

The Rose underwent extensive conservation and in 1995 was purchased by the Whitney Museum of American Art for the museum's permanent collection. DeFeo's work has been exhibited extensively in the United States and Europe and can be found in the collections of major museums throughout the United States and abroad.

Related Materials:

The Archives of American Art has an oral history interview with DeFeo conducted 1975 June 3-1976 January 23 by Paul Karlstrom for the Archives of America Art. An 83 page transcript is available online. The Bancroft Library at the University of California, Berkeley holds some of DeFeo's archival materials.

Provenance:

Donated between 1975-1981 by Jay DeFeo.

Restrictions:

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

Rights:

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

Occupation:

Painters -- California -- San Francisco  Search this

Photographers -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Women photographers  Search this

Women painters  Search this

Expressionism (Art)  Search this

Symbolism  Search this

Beat generation  Search this

Genre/Form:

Drawings

Citation:

Jay DeFeo papers, circa 1940s-1970s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.defejay

See more items in:

Jay DeFeo papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dff5ea0d-1d76-490d-a136-3ef1e7eeaec4

EDAN-URL:

ead_collection:sova-aaa-defejay

Creator:

Loran, Erle, 1905-1999  Search this

Names:

Fine Arts Museums of San Francisco  Search this

Friends of Ethnic Art  Search this

San Francisco Art Institute  Search this

University of California, Berkeley -- Faculty  Search this

Bearden, Romare, 1911-1988  Search this

Cézanne, Paul, 1839-1906  Search this

Dasburg, Andrew, 1887-1979  Search this

Greenberg, Clement, 1909-1994  Search this

Haley, John, 1905-1991  Search this

Hartley, Marsden, 1877-1943  Search this

Hatfield, Dalzell, 1893-1963  Search this

Hofmann, Hans, 1880-1966  Search this

Levinson, Harry  Search this

Sabean, Samuel  Search this

Schaefer, Bertha, 1895-1971  Search this

Still, Clyfford, 1904-  Search this

Wilke, Ulfert, 1907-1987  Search this

Extent:

12.6 Linear feet

Type:

Collection descriptions

Archival materials

Watercolors

Sketches

Photographs

Writings

Date:

1912-1999

Summary:

The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Scope and Content Note:

The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.

Arrangement:

The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)

Biographical Note:

California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.

Related Material:

Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Art teachers -- California -- Berkeley  Search this

Painters -- California -- Berkeley  Search this

Topic:

Art, Abstract  Search this

Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this

Painting, Modern -- 20th century -- California -- Berkeley  Search this

Art, Modern -- 20th century  Search this

Genre/Form:

Watercolors

Sketches

Photographs

Writings

Citation:

Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Getty Foundation.

Identifier:

AAA.loraerle

See more items in:

Erle Loran papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw925cee8b4-a8f7-4f7f-b704-bf23331c4f25

EDAN-URL:

ead_collection:sova-aaa-loraerle

Creator:

Park, David, 1911-1960  Search this

Names:

Bruno, Phillip A.  Search this

Mills, Paul Chadbourne, 1924-  Search this

Staempfli, George W.  Search this

Extent:

0.6 Linear feet ((microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Date:

1917-1973

Scope and Contents:

Correspondence; artwork; sketchbooks; photographs and slides; list of works and receipts; a master's thesis; and a calendar.

REEL 849: Lists of works and receipts; master's thesis by Paul Mills, "David Park and the New Figurative Painting," 1962; drawings and sketches; photographs of Park's works.

REELS 3001-3002: Correspondence of David and Lydia Park, 1959-1966, with George W. Staempfli and Phillip A. Bruno of Staempfli Gallery, and with the Park's attorney concerning the estate; 55 original works, in oil, pastel, ink, pencil and watercolor; 3 undated sketchbooks of figure and landscape studies; 51 photographs and slides of paintings by Park; a November 1971 calendar from Santa Barbara Museum of Art announcing the acquisition of Park's THREE NUDES; and miscellany.

Biographical / Historical:

Painter, teacher; California. Park taught at the California School of Fine Arts from 1943-1952. Worked in Bay Area figurative painting style.

Provenance:

Material on reel 849 lent for microfilming 1974 and material on reels 3001-3002 donated 1974 by Lydia Park Moore, widow of Park.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- California  Search this

Art teachers -- California  Search this

Topic:

Painting, Modern -- 20th century -- California  Search this

Art -- Study and teaching -- California  Search this

Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.parkdavi

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95f2adfc0-2ab4-4036-85b3-11519f018540

EDAN-URL:

ead_collection:sova-aaa-parkdavi

Creator:

Bechtle, Robert, 1932-2020  Search this

Extent:

13.9 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Date:

circa 1930s-2020

Summary:

The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.

Scope and Contents:

The Robert Bechtle papers measure 13.9 linear feet and date from circa 1930s-2020. The collection documents his career as a photorealist painter in the San Francisco Bay area. Series include biographical material, correspondence, personal business records, exhibition and gallery records, writings which include artist statements interviews and texts by others, teaching files, printed material, photographic material and artwork.

Biographical material includes military service documents including infantry yearbooks, as well as academic records and degrees for Bechtle and his mother, who continued her education later in life. Also included are highschool yearbooks, the senior year issue featuring art direction from Bechtle, as well as resumes and other supplemental material used by Bechtle's employing institutions to grant sabbaticals and other paid leave. Correspondence is mostly from galleries and museums, in addition to letters from various peers. Also included are letters of recommendation written by Bechtle for faculty or graduate art programs, as well as numerous letters by Bechtle to his mother while he was in the military, including photographs of his travels in Europe, especially Germany. Personal business records include grant applications, applications for sabbatical and other paid leave, as well as studio expenses, planners, and miscellaneous travel documents. Exhibition and gallery records include planning documents for key exhibitions, correspondence, financial documents including sales information, and printed materials from galleries Bechtle worked with over the years, as well as mailing lists, print catalogs, print documentation, and inventory records.

Writings include artist statements and interviews, schoolwork including art history and philosophy papers and notebooks, and academic papers written on Bechtle's work. Teaching materials include lessons, readings, materials lists and syllabi particularly concerning painting, design and printmaking courses at San Francisco State University and other schools.

Printed material includes press clipping and a press scrapbook, as well as invitations and posters, press releases and exhibition catalogs, as well as other types of publications featuring Bechtle's artwork and miscellaneous books and pamphlets from Bachtle's European travel.Photographic material includes photographs of Bechtle and his friends and family, his classmates at CCAC and his military colleagues in Germany. Also included are photographs and slides of artwork by Bechtle and others, as well as photographs and slides used to make Bechtle's photorealistic paintings, drawings, and prints. The artwork series includes childhood and early career drawings including sketchbooks by Bechtle, as well as original materials made by Bechtle for his design work including the Kaiser Company, as well as watercolor and tempera works on paper including demonstration works made in the classroom setting.

Arrangement:

The collection is arranged as nine series:

Series 1: Biographical Material , circa 1940s-1999 (1 Linear foot: Box 1)

Series 2: Correspondence, circa 1950-2017 (1.2 Linear feet: Boxes 2-3)

Series 3: Personal Business Records (1 Linear foot: Boxes 3-4)

Series 4: Exhibition and Gallery Records, circa 1960s-2019 (1.3 Linear feet: Boxes 4-5)

Series 5: Writings, circa 1950-2015 (0.8 Linear feet: Boxes 5-6)

Series 6: Teaching Files, circa 1956-1988 (0.2 Linear feet: Box 6)

Series 7: Printed Material, circa 1939-2020 (4.6 Linear feet: Boxes 6-10, 13, Oversize 21)

Series 8: Photographic Material , circa 1930s-2010 (2.8 Linear feet: Boxes 10-15)

Series 9: Artwork, circa 1930s-1999 (1 Linear foot: Box 12, Oversize 16-20)

Biographical / Historical:

Robert Bechtle (1932-2020) was a photorealist painter, educator, and printmaker born in Alameda, California, and lived and worked primarily in the San Francisco Bay Area including a long-time residence in Oakland.

Bechtle completed both undergraduate and Master of Fine Arts degrees at the California College of Arts and Crafts by 1958, in between which he served a few year in the United States Military, primarily stationed in Germany. Like the other photorealist painters of his era, Bechtle engineered a style of painting which was based more on keen observation and excruciating detail than any visually discernible stylism. His subjects were largely suburban and mundane and often incorporated images of himself and family members. He would project photographs and incorporate those copied images directly into paintings. In addition to paintings, Bechtle eventually translated his practice into both charcoal drawing and printmaking. He taught at the San Francisco State University where he was named Professor Emeritus in 1999, as well as other schools.

One of the milestones of his career was a retrospective exhibition organized in 2005 by the San Francisco Museum of Modern Art, also traveling to the Corcoran Museum of Art in 2006. Robert Bechtle's work has been exhibited internationally and his paintings and other artworks are held in numerous collections including the San Francisco Museum of Modern Art, Oakland Museum of California, Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art,and the Guggenheim Museum in New York City, the Walker Art Center in Minneapolis, and the Smithsonian American Art Museum in Washington. Bechtle passed in October 2020 from Lewy Dementia and is survived by his second wife Whitney Chadwick and his two children Max and Anne, who were born from his first marriage to Nancy Dalton.

Related Materials:

The Archives of American Art also holds a 1978 September 13- 1980 February 1 oral history intereview with Robert A. Bechtle and a 2010 February 8-9 oral history interview with Robert A. Bechtle.

Provenance:

Donated 2022 by the Robert Bechtle and Whitney Chadwick Revocable Trust via Robert Firehock, representative of the Estate of Robert Bechtle.

Restrictions:

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

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: 40 demonstration works of art on papers by Robert Bechtle.

Occupation:

Printmakers -- California -- San Francisco  Search this

Painters -- California -- San Francisco  Search this

Educators -- California -- San Francisco  Search this

Topic:

Photo-realism  Search this

Genre/Form:

Scrapbooks

Sketchbooks

Drawings

Diaries

Video recordings

Citation:

Robert Bechtle papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bechrobe

See more items in:

Robert Bechtle papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b997eb71-56ba-4747-8ad4-676d3e3b5e20

EDAN-URL:

ead_collection:sova-aaa-bechrobe

Creator:

Haley, John, 1905-1991  Search this

Haley, Monica E., 1907-1997  Search this

Names:

Booth, Cameron, 1892-1980  Search this

Hein, Joan  Search this

Hofmann, Hans, 1880-1966  Search this

Jensen, Alfred, 1903-1981  Search this

Loran, Erle, 1905-1999  Search this

Peterson, Margaret, 1903-  Search this

Rupprecht, Edgar A.  Search this

Ryder, Worth, 1884-1960  Search this

Schoolcraft, Henry Rowe, 1793-1864  Search this

Vytlacil, Vaclav, 1892-1984  Search this

Extent:

0.6 Linear feet ((on 3 microfilm reels))

2.4 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Date:

1927-1987

Scope and Contents:

Correspondence, writings, photographs, and exhibition catalogs, much of it relating to Hans Hofmann.

REELS 4178-4179: Correspondence between John and Monica Haley, 1937-1938 and 1987, and letters received from Earl and Clyta Loran, undated and 1950-1986, Vaclav Vytlacil, undated and 1966-1984, and Glen Wessels, undated and 1960-1982. Enclosed with a letter written by Vaclav Vytlacil in 1966 is a copy of a manuscript by him on Hans Hofmann. Correspondence from 1987 contains materials pertaining to the painter and teacher Margaret Peterson.

REEL 1355: Papers relating to Hans Hofmann, including five letters from Hofmann to Worth Ryder; three letters between Haley and Hofmann; two manuscripts, one in German, by Hofmann, "Creation in Form and Color - A Textbook for Instruction in Art" (1931); lecture by Hofmann; photographs taken in Germany (1927-1931) of Hofmann, Miz Hofmann, John Haley, Alfred Jensen, Ed and Isabell Rupprecht, Joan Hein, Cameron Booth, and the Hofmann School building in Munich; photographs of works by Hofmann students; brochures for the school; Hofmann exhibition catalogs; and miscellany.

ADDITION: Materials documenting Haley's studies with Hofmann, service in the Navy, and his many years teaching at UC Berkeley; letters from Haley to his wife sent from the South Pacific during World War II; sketchbooks; and photographs.

Biographical / Historical:

John: Painter, sculptor and educator. Monica: Art educator; San Francisco Bay Area, California. Haley studied with Cameron Booth and Hans Hofmann. He taught at the University of California at Berkeley with other "modernists" Worth Ryder, Hofmann, Erle Loran and Margaret Peterson. John Haley died in 1991; Monica in 1997.

Provenance:

Material on reel 1355 lent by John Haley, 1978. He and Monica donated the material on reels 4178-4179 in 1987; Monica donated the remainder in 1992.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Sculptors  Search this

Painters -- California  Search this

Art teachers -- California -- Berkeley  Search this

Topic:

Art, Modern -- 20th century -- California  Search this

Modernism (Art)  Search this

Identifier:

AAA.halejohn

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw996e8c529-cdb6-4b55-9558-a863d6aac11e

EDAN-URL:

ead_collection:sova-aaa-halejohn

Creator:

Kuhlman, Walter  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

[ca. 1939-1994]

Scope and Contents:

Biographical material, correspondence, photographs, exhibition records, and printed materials. Among the correspondents are Clyfford Still, Frank Lobdell and Nathan Oliveira.

Biographical / Historical:

Painter, teacher; San Francisco Bay area, California. Born 1918.

Provenance:

Donated by Walter Kuhlman, 1994.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Painters -- California -- San Francisco Bay Area  Search this

Painters -- California -- San Francisco Bay Area  Search this

Identifier:

AAA.kuhlwalt

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw970f3a9fc-187f-451c-b034-cd54007ba87c

EDAN-URL:

ead_collection:sova-aaa-kuhlwalt

Creator:

Schoener, Jason  Search this

Names:

Arbuthnot, Nancy Prothro  Search this

Schoener, Virginia, 1923-  Search this

Weber, Max, 1881-1961  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, William, 1887-1966  Search this

Extent:

0.2 Linear feet ((144 items))

Type:

Collection descriptions

Archival materials

Place:

Enewetak Atoll (Marshall Islands)

Date:

1952-1996

Scope and Contents:

Correspondence (143 letters, 1952-1988, many addressed to Jason and Virginia) includes 85 letters from Schoener's uncle, William Zorach and his wife Marguerite, discussing daily events, family matters, and offering advice on Schoener's carreer. There is also a letter from Max Weber thanking Schoener for the handmade cufflinks "that were made by one who loves and creates beauty." Also found is the 1996 publication "An American Artist in World War II: Jason Schoener at Eniwetak" by Nancy Arbuthnot, which recounts the Schoener's experiences and reproduces his paintings from his navy commission during the last year of WWII.

Biographical / Historical:

Sculptor, ceramist, painter, educator; Oakland, California. Born 1919. Schoener graduated from the Cleveland Institute of Art and also studied at Case Western Reserve, the Art Students League of New York, and Columbia University. He and his wife, Virginia, settled in the San Francisco Bay area in 1953. Schoener was a longtime professor at the California College of Arts and Crafts in Oakland. During his Navy service in WWII, Schoener produced a series of watercolors which became the subject of a publication by Nancy Prothro Arbuthnot in 1996. He exhibited widely in the U.S. and abroad.

Provenance:

Donated 1996 by Jason and Virginia Schoener.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Sculptors -- California -- San Francisco Bay Area  Search this

Painters -- California -- San Francisco Bay Area  Search this

Ceramicists -- California -- San Francisco Bay Area  Search this

Topic:

Art and war  Search this

Decorative arts  Search this

World War, 1939-1945  Search this

Identifier:

AAA.schojaso

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw967e35556-8c21-43bd-9feb-54463f7cc901

EDAN-URL:

ead_collection:sova-aaa-schojaso

Interviewee:

Carey, Paul, 1904-2001  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Bohemian Club (San Francisco, Calif.)  Search this

Extent:

70 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1993 December 3 and 28

Scope and Contents:

An interview of Paul Carey conducted 1993 December 3 and 28, by Paul Karlstrom, for the Archives of Amerian Art.

Carey discusses the San Francisco Bay Area art scene from the 1920s to 1990s; the Bohemian Club and its members; and his work as an illustrator. Accompanying material consists of a 10 page statement by Carey written in preparation for the interview, and an exhibition brochure for Maurice Logan which includes a short biography written by Carey, 1975; Carey was associated with Logan as an illustrator.

Biographical / Historical:

Paul Carey (1904-2001) was an illustrator and painter from Piedmont, California. Carey attended California School of Fine Arts, 1924-1925.

General:

Originally recorded on 3 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 3 hr., 7 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for transcription provided by the Gerald and Bente Buck Collection as part of the Artists and Models series

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Painters -- California -- Interviews  Search this

Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this

Illustrators -- California -- Interviews  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.carey93

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eff41f44-bebe-499d-846b-46be86d7f8f7

EDAN-URL:

ead_collection:sova-aaa-carey93