Search Results

Creator:

DeMonte, Claudia, 1947-  Search this

McGowin, Ed, 1938-  Search this

Extent:

7.2 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Date:

1960-2018

Summary:

The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Scope and Contents:

The papers of Claudia DeMonte and Ed McGowin measure 7.2 linear feet and date between 1960 and 2018. The papers primarily document Claudia DeMonte's career as a painter, and to a lesser extent her husband's career, through correspondence with family, friends, colleagues, and art institutions; notebooks, poetry, and other writings; scrapbooks; curriculum vitas, awards and certificates, commissions, and other professional activity; exhibition announcements and catalogs, newspaper clippings, magazine articles, and other printed material; sketchbooks and other artwork; personal photographs, portraits, of artwork, and other photographic material.

Correspondence includes letters and postcards to and from family, friends, colleagues, and art institutions.

Writings includes a file of poetry written by DeMonte, manuscripts of books written by DeMonte, and a series of notebooks. Some of the notebooks are a combination of notes and sketches.

Scrapbooks consist of eight scrapbooks consisting of mixed material such as notes, photographs, sketches, and printed material.

Professional material consists of awards and certificates, a large number of calendars, commision work including an art project for the University of Northern Iowa completed by both DeMonte and McGowin, and a number of VHS and Betamax cassettes documenting DeMonte's career and interviews in connection with her Women of the World exhibition.

Printed material consists of newspaper clippings, magazine articles, exhibition announcements and catalogs, exhibition posters, and newsletters.

Artwork consists of a file of drawings and some sketchbooks.

Photographic material consists of photographs and slides of DeMonte, her artwork, and some of her exhibitions. There is also a file of photographs of DeMonte and McGowin at the White House with First Lady Laura Bush, and there are personal photographs of DeMonte and McGowin traveling and with family and friends.

Arrangement:

The collection is arranged into seven series.

Series 1: Correspondence, 1967-2013 (1.7 linear feet; Boxes 1-2)

Series 2: Writings, 1975-2013 (0.5 linear feet; Boxes 2-3)

Series 3: Scrapbooks, 1967-2009 (1.0 linear feet; Box 3, 9-10)

Series 4: Professional Activity Files, 1964-2013 (1.7 linear feet; Boxes 3-5, 9)

Series 5: Printed Material, 1960-2018 (1.9 linear feet; Boxes 5-7)

Series 6: Artwork, circa 1973 (0.1 linear feet; Box 7)

Series 7: Photographic Material, circa 1977-2010 (0.3 linear feet; Boxes 7-8)

Biographical / Historical:

Claudia DeMonte (1947- ) was born and raised in Astoria, New York City. She has more than 100 one-person shows and 600 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, etc.

Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.

DeMonte is also the curator of "Women of the World: A Global Collection of Art." This traveling exhibition, with accompanying books, includes works of women from 177 countries dealing with the images of women.

DeMonte's work is heavily influenced by her travels to over 80 countries, her interest in the roles of women in contemporary society and Outsider Art, a collection compiled with her husband, artist Ed McGowin.

For 33 years, DeMonte has served on the faculty of the University of Maryland, where she was named Distinguished Scholar Teacher and Professor Emerita. In 2006, She was awarded an Honorary Doctorate from the College of Santa Fe.

DeMonte presently lives with her husband in New York City and Kent, Connecticut.

Ed McGowin (1938- ) was born in 1938 in Hattiesburg, Mississippi and grew up in Mississippi and Alabama, receiving the M.A. from the University of Alabama. He has had one-person exhibitions at the Corcoran Gallery in Washington, D.C.; the Baltimore Museum; and the Museum of Modern Art of the City of Paris, France. Since 1979, McGowin has executed major outdoor commissions for numerous public and private organizations, often collaborating with his wife, Claudia DeMonte.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Claudia DeMonte conducted by Liza Kirwin between February 13 and April 24, 1991; and the Ed McGowin papers, 1962-1998.

Provenance:

The Claudia DeMonte and Ed McGowin papers were donated in 1994 by Claudia DeMonte and in 2020 by Claudia DeMonte and Ed McGowin.

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 References Services for more information.

Rights:

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

Occupation:

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

Mixed-media artists -- New York (State) -- New York  Search this

Educators -- Maryland -- College Park  Search this

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

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

Topic:

Women artists  Search this

Women sculptors  Search this

Women educators  Search this

Genre/Form:

Video recordings

Citation:

Claudia DeMonte and Ed McGowin papers, 1960-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.democlau

See more items in:

Claudia DeMonte and Ed McGowin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98cf90804-0751-4bb3-b276-8f730e83692b

EDAN-URL:

ead_collection:sova-aaa-democlau

Creator:

Yunkers, Adja, 1900-1983  Search this

Names:

Alice Simsar Gallery  Search this

Impressions Gallery of Photography  Search this

Smith Andersen Gallery  Search this

Bjornstjerna, Mikael  Search this

Grossman, Morton, 1926-  Search this

Haley, Donna  Search this

Olsen, Cheryl  Search this

Wood, Denis  Search this

Extent:

2.32 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Date:

1939-1983

Scope and Contents:

REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.

REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.

REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.

UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.

Biographical / Historical:

Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.

Related Materials:

Adja Yunker papers also at Syracuse University.

Provenance:

Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.

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.

Unmicrofilmed: ACCESS RESTRICTED; written permission required.

Occupation:

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

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

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

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

Topic:

Abstract expressionism  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Prints, Abstract -- New York (State) -- New York  Search this

Artists' illustrated books  Search this

Prints -- 20th century  Search this

Identifier:

AAA.yunkadja

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ddbf2fbb-ff0e-4910-8bf2-70c282edc073

EDAN-URL:

ead_collection:sova-aaa-yunkadja

Creator:

Smithsonian American Art Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2012-12-03T20:39:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_1BtEJqvhosw

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2012-12-03T00:00:26.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_2P_rCxbEcVI

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-02-03T19:11:36.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_KmvOVLplrRk

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Subject:

Bunker, John  Search this

Myers, Ella Price  Search this

Citation:

Frank Harmon Myers papers, 1891-1976, bulk 1908-1960. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8044

(DSI-AAA_SIRISBib)210215

AAA_collcode_myerfran

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210215

Creator:

Cole, Max, 1937-  Search this

Charlotte Jackson Fine Art (Gallery)  Search this

Subject:

Haines Gallery  Search this

Schmidt Contemporary Art  Search this

Type:

Interviews

Citation:

Max Cole papers, 1949-2021. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Native American  Search this

Theme:

Women  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)22153

AAA_collcode_colemax

Theme:

Women

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22153

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Names:

Bunker, John  Search this

Myers, Ella Price  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1976

bulk 1908-1960

Summary:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Scope and Contents:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Biographical materials include Myers' resume, letters that confirm some of the courses he studied and taught, one membership list and meeting minutes of the Carmel Art Association, notes from a Myers art lecture on Sante Fe, one sales ledger, and drafts and notes of "And The Glory," a biography on Myers written by his wife, Ella Price Myers. Correspondence is a mixture of personal and professional letters, shedding light on Myers' freidnships, personal and professional relationship with his wife, and his travels. Correspondents include artists Sheldon Dixie and Albert Berne, poet and advertiser John Bunker, Myers' nephew Sheldon, and his son Frank. The series also includes a map that of the United States on which Myers traced his sketching trips, 1926 to 1950, a cartoon by Herman Wessel, and clippings related to John Weis. Printed materials include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions, a series of advertisements illustrated by Myers, two lithographs of his artwork, and some exhibition ephemera. Artwork consists of childhood drawings by Myers of Native Americans, holiday themes, and portraits; later sketches, mostly in charcoal and pencil, include figure and portrait studies, city scenes, and several still lifes; one 1916 landscape painting by Myers, cloth with a linoleum block design, paint samples from Myers' studio, and small sketches and doodles drawn on scraps of paper. Photographic materials depict Myers' artwork, portraits of the artist, his family and friends, and his home in Pacific Grove.

A fair amount of the collection's files include notes with contextual information written by Ella Price Myers.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, 1891-1976 (Box 1; .2 linear feet)

Series 2: Correspondence, 1921-1973 (Box 1-2; 1 linear feet)

Series 3: Printed Materials, 1924-1963 (Box 2, OV 3; .5 linear feet)

Series 4: Artwork, circa 1908-1956 (Box 2, OV 4; .6 linear feet)

Series 5: Photographical Materials, 1910-1962 (Box 2; 4 folders)

Biographical / Historical:

Frank Harmon Myers (1899-1956) was an impressionist painter and art educator who lived in Cincinnati, Ohio, and Pacific Grove, California. Myers was born in Cleves, Ohio, and moved to Cincinnati around 1907. His interest in art took off prior to his teenage years, illustrating a series of body-length portraits of Native Americans, several landscapes, and art with holiday themes. Myers studied at the Art Academy of Cincinnati under Frank Duveneck, H. H. Wessel, and John Ellsworth Weiss; took a summer course at the Pennsylvania Academy of Fine Arts under Daniel Garber, Hugh Henry Breckenridge, and Joseph Thurman Pearson Jr.; and the School of Fine Arts at Fontainebleau, France, under Jean Despujols and Gourguet. Myers began showing his art at the Closson Galleries circa 1920 and taught at the Art Academy of Cincinnati from 1921 to circa 1941. In 1932, Myers spent a year on sabbatical in Sante Fe, New Mexico, painting animals, people, ranches and farms, villages, and landscapes. He and his wife, Ella Price Myers, moved to Pacific Grove, California, in 1940 so that Myers could pursue painting full-time. His work was frequently exhibited at the Carmel Art Association from this point onwards, with additional solo shows at Pebble Beach Galleries, San Jose State College, M. H. De Young Museum, Crocker Art Gallery, and others. Myers paintings were featured in group exhibitions at The Salon, Paris, Harlow Galleries, New York, St. Louis City Museum, Missouri, Alright Museum, New York, and more. Myers served as president of the Carmel Art Association in 1953.

Separated Materials:

The Archives of American Art also holds one scrapbook of Frank Myers publicity, circa 1925-1945, lent for microfilming on reel D42. Loaned materials were returned to Ella Price Myers and are not described in the collection container inventory.

Provenance:

The collection was donated by Ella Price Myers, Myers' widow, from 1960 to 1974. An addition was donated in 1994 by Myers' daughter-in-law Patricia Clarke Myers, ex-wife of Myers' only son Frank P. Myers.

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:

Educators -- Ohio -- Cincinnati  Search this

Landscape painters -- Ohio -- Cincinnati  Search this

Painters -- Ohio -- Cincinnati  Search this

Painters -- California -- Monterey  Search this

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.myerfran

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9077c2193-4a6b-4502-a980-af9b71db1d43

EDAN-URL:

ead_collection:sova-aaa-myerfran

Creator:

Biesel family  Search this

Names:

Artists Equity Association  Search this

Federal Art Project (Ill.)  Search this

United States. Works Progress Administration  Search this

University of Chicago. Renaissance Society  Search this

Beisel, Frances Strain, 1898-1962  Search this

Biesel, Charles, 1865-1945  Search this

Biesel, Fred, 1893-1954  Search this

Richards, William Trost, 1833-1905  Search this

Extent:

2.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Date:

circa 1859-1983

bulk 1919-1983

Summary:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Materials include biographical summaries, Fred and Frances Biesel's personal and professional correspondence, writings, and professional records documenting Fred Biesel's involvement with the Federal Arts Project and Frances Biesel's tenure as the director of the Renissance Society at the University of Chicago. Also found are scrapbooks with news clippings, printed materials, photographs of the Biesel family and their artwork, and artwork in the form of handmade Christmas cards, sketchbooks and loose figure sketches and small paintings.

Scope and Contents:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Included in the papers are biographical material; correspondence; writings; professional files; personal business records; printed material; scrapbooks; photographic material and artwork. Correspondence contains letters to Frances and Fred Biesel regarding exhibiting artwork, project consultation, club membership and speaking engagements. Writings contains a notebook with addresses and price list notes; lecture notes and essay drafts by Fred Biesel on printmaking and art movements such as modernism and cubism, as well as essay typescripts and lectures by others. Also found is a short story about a meeting with Charles Biesel. Professional Files contain correspondence, funding proposals, business records and other materials related to the Biesel's management and participation in various organizations and project such as The Renaissance Society and Artist Union Chicago in Frances Biesel's case and Fred Biesel's involvement with the WPA's Federal Art Project's Illinois chapter, as well as his time as an art professor. The personal business records series contains Charles Biesel's deed lists, and printed material includes several exhibition catalogs related to the Biesel family and other artists, along with clippings and materials related to the Federal Arts Program. The papers also include two scrapbooks of clippings, photographs of the Biesel family, their friends and art associations, artwork, and exhibitions. Artwork is in the form of sketches, etchings, handmade christmas cards and small paintings.

Arrangement:

The collection is arranged as nine series

Series 1: Biographical Material, circa 1949-1961 (2 Folders: Box 1)

Series 2: Correspondence, circa 1927-1963 (0.1 Linear feet: Box 1)

Series 3: Writings, circa 1921-1960 (0.1 Linear feet: Box 1)

Series 4: Professional Files, circa 1939-1962 (0.5 Linear feet: Box 1)

Series 5: Personal Business, circa 1928-1961 (2 Folders: Box 1)

Series 6: Printed Material, circa 1897-1983 (1.5 Linear feet: Box 1-3)

Series 7: Scrapbooks, 1915-1931 (0.1 Linear feet: Box 3, OV 1)

Series 8: Photographic Material, circa 1919-1960 (0.3 Linear feet: Box 3)

Series 9: Artwork, circa 1876-1945 (0.4 Linear feet: Box 4)

Biographical / Historical:

The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The Biesel Family were a family of artists comprised of Charles Biesel, his son Fred Biesel, and Fred's wife Frances Strain Biesel.

Charles Biesel (1865-1945) was a marine painter who spent time apprenticing and working with the American Lithography Company in New York and Philadelphia before relocating to Newport, Rhode Island where he co-founded the Newport Art Association in 1912. In 1918, Charles Biesel moved to Chicago where he lived at the 57th street artist colony and was a member of the Arts Club of Chicago and the Chicago Society of Artists. He also helped found the Chicago No-Jury Society of Artists where he served as the organization's first secretary. Biesel exhibited work in several solo exhibitions across the United States; as well as with a group of other Chicago painters who exhibited work annually at the Art Institute of Chicago.

Fred Biesel (1893-1954) was a painter and art administrator born in Philadelphia in 1893 and raised in Newport, Rhode Island where he went on to study at the Rhode Island School of Design from 1913 to 1915. After serving in the U.S. Naval Reserve from 1916 to 1919, Biesel followed his father to Chicago and continued studying at the Art Institute of Chicago where he met his wife Francis Strain and painter John Sloan who wound up influencing them significantly and becoming a lifelong friend. Biesel exhibited at the Art Institute of Chicago, the Chicago Society of Artists, and the Society of Independent Artists. He also participated in museum exhibitions in Rhode Island, New York, New Mexico, and New Jersey. From 1935–1943, Biesel worked under the Federal Art Project, and served as director of Illinois Art and Craft Project from 1941–1943, as well as on the faculty of the Layton Art School in Milwaukee 1946–1953.

Frances Strain Biesel (1898-1962) was a painter and director of the Renaissance Society at the University of Chicago. A native of Chicago, Frances Strain Biesel was an important figure in the art scene of 1920s-1930s Chicago where she was involved in almost every independent exhibition and exhibition group that emerged during that time. Two of these groups included the Chicago No-Jury Society of Artists and the Ten Artists of Chicago, a collective characterized by their commitment to modernist ideals. Her work has been shown across the country, including the Chicago Society of Artists, the Whitney Museum and the Newark Museum.

Provenance:

Microfilmed material was donated in 1985 by Garnett Biesel, son of Fred and Frances Biesel. He later donated unmicrofilmed material in 1990, after it had been used in preparation for the book The Federal Art Project in Illinois, 1935-1943 (1990), by George Mavigliano and Richard Lawson.

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:

Marine painters -- Illinos -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Topic:

Modernism (Art)  Search this

Art, Modern -- 20th century -- Illinois -- Chicago  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Drawings

Sketchbooks

Citation:

Biesel Family Papers, circa 1859-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.biesfami

See more items in:

Biesel family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw934594a62-5981-42c6-af0b-69aab802d235

EDAN-URL:

ead_collection:sova-aaa-biesfami

Creator:

Cole, Max, 1937-  Search this

Charlotte Jackson Fine Art (Gallery)  Search this

Names:

Haines Gallery  Search this

Schmidt Contemporary Art  Search this

Extent:

7.8 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1949-2021

Summary:

The papers of painter Max Cole (1937- ) measure 7.8 linear feet and date from 1949 to 2021. The collection comprises biographical materials containing curriculum vitae, writings by and about Cole, and recordings and transcripts of interviews; gallery files for Charlotte Jackson Fine Art, Haines Gallery, Schmidt Contemporary Art, and several galleries in Europe; professional files consisting of administrative records, sales and shipping reports, buyer and collector information, and chronological files containing mixed professional activity records; printed materials including clippings, exhibition announcements and catalogs, press binders, posters, and a few German publications; photographic materials contain photographs, slides, transparencies, negatives, and electronic discs containing portraits and self portraits of Cole, photos of her studios, photographs of locations by Cole, and works of art; and unidentified born digital materials.

Scope and Contents:

The papers of painter Max Cole (1937- ) measure 7.8 linear feet and date from 1949 to 2021. The collection comprises biographical materials containing curriculum vitae, writings by and about Cole, and recordings and transcripts of interviews; gallery files for Charlotte Jackson Fine Art, Haines Gallery, Schmidt Contemporary Art, and several galleries in Europe; professional files consisting of administrative records, sales and shipping reports, buyer and collector information, and chronological files containing mixed professional activity records; printed materials including clippings, exhibition announcements and catalogs, press binders, posters, and a few German publications; photographic materials contain photographs, slides, transparencies, negatives, and electronic discs containing portraits and self portraits of Cole, photos of her studios, photographs of locations by Cole, and works of art; and unidentified born digital materials.

Arrangement:

The collection is arranged as 6 series.

Series 1: Biographical Materials, 1967-2017 (0.8 linear feet; Box 1)

Series 2: Gallery Files, 1978-2021 (1.0 linear foot; Boxes 1-2)

Series 3: Professional Files, 1963-2021 (1.0 linear foot; Boxes 2-3)

Series 4: Printed Materials, 1963-2021 (3.0 linear feet; Boxes 3-5, OV 10)

Series 5: Photographic Materials, 1949-2018 (2.0 linear feet; Boxes 5-9)

Series 6: Unidentified Born Digital Materials, circa 2005-circa 2015 (22 electronic discs; Boxes 9)

Biographical / Historical:

Max Cole (1937- ) is a painter based in Las Vegas, New Mexico.

Cole was born in Kansas in 1937. She received a B.A. from Fort Hays State University in 1961 and a M.F.A. from the University of Arizona in 1964. After school, she began her art career in Los Angeles where she lived from 1964 to 1978. From 1978 until 2002, she lived in New York City. She was the recipient of the National Endowment for the Arts fellowship in 1983, was an artist in residence at the Roswell Museum and Art Center in 1995, and in 2009 she was a participant in the Artist's Meeting with the Pope in Vatican City. Her artwork is in the permanent collections of the Panza di Biumo Collection, Museum of Modern Art, Vatican Museum's Contemporary Art Collection, and other major museum collections. Cole is known for her neutral-toned, minimalist paintings. She cites Cherokee philosophy, imparted on her by her father who was half Cherokee, and time spent in the American Southwest as major influences in her artwork.

Provenance:

The papers were donated in 2022 by Max Cole.

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 References Services for more information.

Rights:

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

Occupation:

Painters -- California  Search this

Topic:

Women artists  Search this

Women painters  Search this

Native American  Search this

Genre/Form:

Interviews

Citation:

Max Cole papers, 1949-2021. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.colemax

See more items in:

Max Cole papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c4fae6da-3496-4ed9-8f4f-70f2563a28b2

EDAN-URL:

ead_collection:sova-aaa-colemax

Creator:

Jackson, William Henry, 1843-1942  Search this

Photographer:

Geological Survey (U.S.)  Search this

J. Gurney & Son  Search this

Savage & Ottinger  Search this

Bell, C. M. (Charles Milton), approximately 1849-1893  Search this

Carter, C. W., 1832-1918  Search this

Chamberlain, W. G. (William Gunnison)  Search this

Easterly, Thomas M. (Thomas Martin), 1809-1882  Search this

Gardner, Alexander, 1821-1882  Search this

Hillers, John K., 1843-1925  Search this

M'Clees, Jas. E. (James E.)  Search this

Shindler, A. Zeno (Antonio Zeno), 1823-1899  Search this

Ulke, Henry, 1821-1910  Search this

Vannerson, Julian, 1827-  Search this

Westmann, Orloff R.  Search this

Whitney, Joel E. (Joel Emmons), 1822-1886  Search this

Names:

Geological Survey of the Territories (U.S.) (1862-1872) (Hayden Survey)  Search this

Powell-Thompson Survey  Search this

Extent:

9 Albums (circa 4000 prints, albumen (some copies))

Culture:

White Mountain Apache  Search this

Warm Springs Chiricahua Apache (New Mexico)  Search this

Wahpetonwan Dakota (Wahpeton Sioux)  Search this

Waco Indians  Search this

White River Ute (Yampa)  Search this

Wyandot  Search this

Ho-Chunk (Winnebago)  Search this

Wichita  Search this

Tewa Pueblos  Search this

Taos Indians  Search this

Stockbridge Indians  Search this

Sisitonwan Dakota (Sisseton Sioux)  Search this

Ute  Search this

Uintah Ute  Search this

Tonkawa  Search this

Pueblo  Search this

Tohono O'odham (Papago)  Search this

Akimel O'odham (Pima)  Search this

A:shiwi (Zuni)  Search this

Yanktonnai Nakota (Yankton Sioux)  Search this

Montauk  Search this

Bannock  Search this

Diné (Navajo)  Search this

Brotherton Indians  Search this

Modoc  Search this

Inunaina (Arapaho)  Search this

Mojave (Mohave)  Search this

Sahnish (Arikara)  Search this

Minneconjou Lakota (Minniconjou Sioux)  Search this

Missouria (Missouri)  Search this

Apache  Search this

Numakiki (Mandan)  Search this

Chiricahua Apache  Search this

Miami  Search this

Oto  Search this

Kitchai Wichita  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Kiowa  Search this

Osage  Search this

Chickasaw  Search this

Odawa (Ottawa)  Search this

Jicarilla Apache  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Cherokee  Search this

Omaha  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Niimíipuu (Nez Perce)  Search this

Sicangu Lakota (Brulé Sioux)  Search this

Oglala Lakota (Oglala Sioux)  Search this

Caddo  Search this

Hunkpapa Lakota (Hunkpapa Sioux)  Search this

Iowa  Search this

Sauk  Search this

Seminole  Search this

Dakota (Eastern Sioux)  Search this

Shawnee  Search this

Potawatomi  Search this

Shoshone  Search this

Indians of North America -- Southwest, New  Search this

Sihasapa Lakota (Blackfoot Sioux)  Search this

Choctaw  Search this

Cochiti Pueblo  Search this

Niuam (Comanche)  Search this

Muskogee (Creek)  Search this

Apsáalooke (Crow/Absaroke)  Search this

Sioux  Search this

Lenape (Delaware)  Search this

Fox  Search this

Hopi Pueblo  Search this

Seneca  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Plateau  Search this

Indians of North America -- Great Basin  Search this

Type:

Collection descriptions

Archival materials

Albums

Photographs

Date:

circa 1877

Scope and Contents note:

Albums probably assembled by William Henry Jackson, mostly containing portraits of Native American delegates in Washington, D.C. and photographs made on US Geological Surveys (including the Hayden and Powell surveys). Photographs from the field include John K. Hillers' photographs of the Southwest, photographs of Fort Laramie (possibly by Alexander Gardner), Orloff R. Westmann's photographs of Taos Pueblo, and Jackson's photographs of Crow, Shoshoni, Pawnee, and Nez Perce Tribes and related sites. Most of the photographs were made circa 1860s-1870s.

The albums were probably by Jackson while working under Ferdinand V. Hayden for the United States Geological Survey of the Territories. The reason for their creation is uncertain, though it may have been a project set up by Hayden or a continuation of William Henry Blackmore's tradition of publishing albums. Some of the albums include captions pasted from Jackson's Descriptive Catalogue of Photographs of North American Indians (1877) while others have handwritten captions.

Biographical/Historical note:

William Henry Jackson (1843-1942) was an American painter, photographer and explorer. Born in New York, he sold drawings and retouched photographs from an early age. After serving in the Civil War, he opened a photography studio in Omaha, Nebraska, with his brother Edward. As photographer for the US Geological and Geographical Surveys (1870-1878), he documented the American west and published the first photographs of Yellowstone. When the surveys lost funding in 1879, Jackson opened a studio in Denver, Colorado, and also worked for various railroad companies. Many of Jackson's photographs were displayed at the World's Columbian Exhibition in Chicago (1893), for which he was the official photographer.

Local Call Number(s):

NAA Photo Lot 4420

Location of Other Archival Materials:

Original negatives for many of the photographs in this collection can be found in the National Anthropological Archives in the BAE historical negatives.

The National Museum of the American Indian Archives holds William Henry Jackson photographs and negatives.

Additional Jackson photographs held in National Anthropological Archives Photo Lot 4605, MS 4801, Photo Lot 14, Photo Lot 24, Photo Lot 29, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo lot 143, Photo Lot 87-2P, Photo Lot 87-20, and Photo Lot 90-1.

Correspondence from Jackson held in the National Anthropological Archives in MS 4517, MS 4881, MS 4821, and collections of personal papers.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Indians of North America -- Northeast  Search this

Pueblos  Search this

Indians of North America -- Southern states  Search this

Genre/Form:

Photographs

Citation:

Photo Lot 4420, William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.4420

See more items in:

William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3579a455e-5931-4e6e-9659-42bb7718b6fd

EDAN-URL:

ead_collection:sova-naa-photolot-4420

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

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.

Occupation:

Gallery owners -- New York (State) -- New York  Search this

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

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

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

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. 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 and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Creator:

Shuster, Will, 1893-1969  Search this

Subject:

Henri, Robert  Search this

La Farge, Oliver  Search this

Scott, Winfield Townley  Search this

Sheridan, John E.  Search this

Wheelock, Warren  Search this

Nash, Willard Ayer  Search this

Karig, Walter  Search this

Sloan, John  Search this

Public Works of Art Project  Search this

Place:

United States -- Social conditions -- 1933-1945 -- New Mexico

Citation:

Will Shuster papers, [undated] and 1914-1970. Archives of American Art, Smithsonian Institution.

Topic:

Art, American -- New Mexico -- Santa Fe  Search this

New Deal, 1933-1939 -- New Mexico  Search this

Art and state -- New Mexico  Search this

Federal aid to the arts -- New Mexico  Search this

Mural painting and decoration -- 20th century -- New Mexico  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13458

(DSI-AAA_SIRISBib)211861

AAA_collcode_shuswill

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211861

Creator:

Shuster, Will  Search this

Names:

Public Works of Art Project  Search this

Henri, Robert, 1865-1929  Search this

Karig, Walter, 1898-  Search this

La Farge, Oliver, 1901-1963  Search this

Nash, Willard Ayer, 1898-1943  Search this

Scott, Winfield Townley, 1910-1968  Search this

Sheridan, John E., 1880-1948  Search this

Sloan, John, 1871-1951  Search this

Wheelock, Warren, 1880-1960  Search this

Extent:

12 Reels (ca. 3000 items (on 12 microfilm reels))

Type:

Collection descriptions

Archival materials

Reels

Place:

United States -- Social conditions -- 1933-1945 -- New Mexico

Date:

[undated] and 1914-1970

Scope and Contents:

Correspondence with John Sloan and others, writings, poems, original art works, scrapbooks, photographs, and Shuster's own descriptions of his work.

Reel NDA 3: Instructions, releases, speeches, manuscripts notes, photographs of Shuster's PWAP murals in New Mexico; and a typescript of a comedy written by Shuster.

Reels 169-177: 400 letters, 1917-1968, including correspondence with Robert Henri, Edgar Varese, John S. Velie, Walter Karig, and family members. Other materials consist of diaries, 1918, 1928, 1933-1934, 1937-1962, and 1964-1969; photographs of Shuster, family, and friends, and his work; original drawings, watercolors, oils and etchings; sketchbooks; poems, lectures, and stories by Shuster; a record of his works; scrapbooks, 1920-1928, 1923-1935, and 1935-1963; and material relating to John Sloan, who was Shuster's close friend and his teacher in 1920.

Reel 277: Materials relating to John Sloan, including letters from him 1922-1951; notes by Winifield Townley Scott recording conversations with Helen Shuster and Mrs. Sloan after Sloan's death and commenting on Sloan's work, tributes by Oliver LaFarge and others, and clippings. Additional correspondents are John Sheridan, Robert Henri, Warren Wheelock, Willard Nash, and the Veterans Administration, concerning Shuster's medical disability after having his lungs damaged by poisoned gas during the World War, 1914-1918. Also included are poems by Shuster, 1925-1939, and other Santa Fe residents, including Scott; and correspondence and printed material relating to Shuster's participation in various Santa Fe festivals.

Reel 4283: Five letters from Sloan to Shuster. Three letters are illustrated and contain detailed instructions and advice on etching technique. A fourth letter, dated Jan 2, 1922, includes a recipe for gesso preparation and an offer from Sloan to pay Shuster's entry fee to "show in the Independents." Sloan in his two page letter, dated January 3, 1947, comments on the pace of his work; his participation in a "Mr. & Mrs. Exhibition" at the Laurel Gallery; a production of Eugene O'Neill's "The Ice Man Cometh"; and the Whitney Annual.

Arrangement:

Letters arranged chronologically.

Biographical / Historical:

Painter, printmaker, and writer active in Santa Fe, N.M.; b. 1893; d. 1969

Provenance:

The material borrowed from Will Shuster in October 1964 (reel NDA 3) was part of a project of AAA to document New Deal art projects throughout the U.S. The bulk of the Will Shuster papers (reels 169-177, 277) were lent by his widow, Selma Dingee Shuster. Five letters from John Sloan (Reel 4283) were lent in 1989 by her estate.

Restrictions:

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

Occupation:

Painters  Search this

Printmakers  Search this

Topic:

Art, American -- New Mexico -- Santa Fe  Search this

New Deal, 1933-1939 -- New Mexico  Search this

Art and state -- New Mexico  Search this

Federal aid to the arts -- New Mexico  Search this

Mural painting and decoration -- 20th century -- New Mexico  Search this

Function:

Art festivals

Identifier:

AAA.shuswill

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8741298-fe2f-4be8-a772-3ae7d5f5f034

EDAN-URL:

ead_collection:sova-aaa-shuswill

Creator:

Blumenschein, Ernest Leonard, 1874-1960  Search this

Names:

Committee on Public Information  Search this

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

Salmagundi Club  Search this

Taos Society of Artists  Search this

Blumenschein, Helen G. (Helen Greene)  Search this

Blumenschein, Mary Greene  Search this

Gilbert, Cass, 1859-1934  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Meem, John Gaw, 1894-1983  Search this

Sharp, Joseph Henry, 1859-1953  Search this

Tarkington, Booth, 1869-1946  Search this

Ufer, Walter, 1876-1936  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Writings

Photographs

Date:

1873-1964

Summary:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Scope and Content Note:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.

Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.

Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.

Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.

Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.

Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.

Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.

Some images and language in these manuscripts may be offensive to viewers. It is presented as it exists in the original documents for the benefit of research. This material in no way reflects the views of the Archives of American Art or the Smithsonian Institution.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)

Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)

Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)

Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)

Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)

Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)

Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)

Biographical Note:

Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.

In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.

Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.

While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.

Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.

Related Material:

Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.

Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.

Provenance:

The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.

Restrictions:

Use of the 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:

Painters -- New Mexico -- Taos  Search this

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

Genre/Form:

Writings

Photographs

Citation:

Ernest Blumenschein papers, 1873-1964. 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.

Identifier:

AAA.blumerne

See more items in:

Ernest Blumenschein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be57a409-a4fd-450c-a1e2-bfe0a6b923aa

EDAN-URL:

ead_collection:sova-aaa-blumerne

Creator:

Lisle, Laurie  Search this

Names:

Nevelson, Louise, 1899-1988  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

1902-1990

Summary:

The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).

Scope and Contents:

The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).

Arrangement:

Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)

Biographical / Historical:

Laurie Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.

Related Materials:

The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.

Provenance:

This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.

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:

Art historians -- Connecticut  Search this

Authors -- Connnecticut  Search this

Topic:

Women art historians  Search this

Women authors  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Sound recordings

Interviews

Citation:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.lisllaur

See more items in:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e8f2773f-cdd3-4d29-9ecb-ab2f66faef8f

EDAN-URL:

ead_collection:sova-aaa-lisllaur

Collection Creator:

Lisle, Laurie  Search this

Container:

Box 1, Folder 17

Type:

Archival materials

Date:

1942

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson / Series 1: Research Files on Georgia O'Keeffe / 1.2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw976a9fed0-c583-490d-b178-c516c7f262da

EDAN-URL:

ead_component:sova-aaa-lisllaur-ref19

Collection Creator:

Lisle, Laurie  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1976, 1981

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson / Series 1: Research Files on Georgia O'Keeffe / 1.1: Biographical Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw953954e5b-7abe-468c-a260-6b1423ce1b4d

EDAN-URL:

ead_component:sova-aaa-lisllaur-ref8

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 60, Folder 46

Type:

Archival materials

Date:

1976-1980

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fdc3e51b-5ab5-4ca8-9fe4-8d73d56efb0a

EDAN-URL:

ead_component:sova-aaa-andremmg-ref3006

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Container:

Box 5, Folder 28

Type:

Archival materials

Date:

1965-1989, undated

Scope and Contents note:

(catalogs; exhibition announcements; clippings; artist biography; photocopy of "Art of the Southwest...Art on the Border" [booklet?])

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/mw950a9cdb9-528d-4fd8-af13-d3e4ffb897a7

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref345