Search Results

Creator:

Brooks, James, 1906-1992  Search this

Subject:

Gottlieb, Adolph  Search this

Bolotowsky, Ilya  Search this

Park, Charlotte  Search this

King, William  Search this

Guston, Philip  Search this

New York University  Search this

Southern Methodist University  Search this

United States. Army  Search this

Kootz Gallery (N.Y.)  Search this

Type:

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Citation:

James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.

Topic:

World War, 1939-1945  Search this

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

Abstract expressionism  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8955

(DSI-AAA_SIRISBib)211142

AAA_collcode_broojame

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211142

Creator:

Jenkins, Paul, 1923-2012  Search this

Subject:

De Kooning, Willem  Search this

Jenkins, Esther Ebenhoe  Search this

Bluhm, Norman  Search this

Krasner, Lee  Search this

Baber, Alice  Search this

Erma, Thomas  Search this

Prantl, Karl  Search this

Dusanne, Zoe  Search this

Prince, Frank  Search this

Guggenheim, Peggy  Search this

Gilot, Francoise  Search this

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

New York University  Search this

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

Martha Jackson Gallery  Search this

Type:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- description and travel

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

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

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13668

(DSI-AAA_SIRISBib)274646

AAA_collcode_jenkpaul2

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_274646

Creator:

Pearlstein, Philip, 1924-  Search this

Names:

WBAI Radio (New York, N.Y.)  Search this

WRFM (Radio station : New York, N.Y.)  Search this

Barnet, Will, 1911-2012  Search this

Blaine, Michael  Search this

Cantor, Dorothy  Search this

Close, Chuck, 1940-  Search this

Downes, Rackstraw  Search this

Dückers, Alexander, 1939-  Search this

Field, Richard  Search this

Haas, Richard, 1936-  Search this

Hampleman, Jean  Search this

Kelly, W. J.  Search this

Levine, Jack, 1915-2010  Search this

McCarthy, David, 1960-  Search this

Shaman, Sanford Sivitz  Search this

Storr, Robert  Search this

Tamburini, Fernando  Search this

Tsao, Vivian, 1950-  Search this

Updike, John  Search this

Viola, Jerome  Search this

Wallin, Leland  Search this

Ward, John  Search this

Warhol, Andy, 1928- -- Photographs  Search this

Witkin, Jerome  Search this

Yezzi, David  Search this

Extent:

31.8 Linear feet

16.68 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Date:

circa 1940-2008

Summary:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Scope and Contents:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)

Biographical / Historical:

Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.

Provenance:

The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Occupation:

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

Topic:

Architecture -- Egypt  Search this

Architecture, Roman  Search this

Art -- Study and teaching  Search this

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

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

Genre/Form:

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.pearphil

See more items in:

Philip Pearlstein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe

EDAN-URL:

ead_collection:sova-aaa-pearphil

Creator:

Liberman, Alexander, 1912-1999  Search this

Names:

André Emmerich Gallery  Search this

Bennington College  Search this

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

Solomon R. Guggenheim Museum  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Cartier-Bresson, Henri, 1908-  Search this

Chernow, Burt  Search this

Dalí, Salvador, 1904-1989  Search this

De Kooning, Willem, 1904-1997  Search this

Dietrich, Marlene  Search this

Emmerich, André  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hopps, Walter  Search this

Klein, William  Search this

Kline, Franz, 1910-1962  Search this

Leibovitz, Annie, 1949-  Search this

Motherwell, Robert  Search this

Mulas, Ugo  Search this

Namuth, Hans  Search this

Newman, Barnett, 1905-1970  Search this

Newton, Helmut, 1920-  Search this

Parks, Gordon, 1912-2006  Search this

Parsons, Betty  Search this

Penn, Irving  Search this

Picasso, Pablo, 1881-1973  Search this

Ritts, Herb  Search this

Snowdon, Antony Armstrong-Jones, Earl of, 1930-  Search this

Steichen, Edward, 1879-1973  Search this

Vogel, Lucien  Search this

Vreeland, Diana  Search this

Extent:

59 Linear feet

Type:

Collection descriptions

Archival materials

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Date:

circa 1912-2003

Summary:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Scope and Contents:

The papers of sculptor, painter, and publishing executive Alexander Semeonovitch Liberman date from circa 1913-2003 and measure 59 linear feet. Found within the papers are biographical materials; correspondence with family, galleries, museums, and many artists; numerous recorded interviews and transcripts with and by Liberman, including one of Walter Hopps; writings and writing project files; extensive subject files maintained by Liberman; exhibition files; printed materials; scattered drawings; and extensive photographs of Liberman's artwork, exhibitions, Liberman, and of Liberman with notable artists, dealers, collectors, and critics. Many of the photographs were taken by noted photograhers. Also found within the papers are unidentified sound and video recordings. Additional sound and video recordings have been integrated into other series.

Biographical materials include awards, biographies and chronologies, family history materials, membership cards, writings by Liberman's mother, and a scrapbook about his father.

Correspondence is extensive and concerns both personal and professional affairs. It is with artists and photographers, art magazines, organizations and museums, art collectors, businesses, and family. Notable correspondents include Cecil Beaton, Henri Cartier-Bresson, Burt Chernow, Salvador Dali, Robert Motherwell, Helen Frankenthaler, Barnett and Annalee Newman, Additional correspondence is found within the subject files compiled and organized by Liberman (series 6).

There are sound and video recordings and transcripts of interviews with and by Liberman, most completed for broadcast television and radio shows. Of particular interest are sound cassettes, a sound tape reel, and a transcript of an interview with Walter Hopps by Liberman.

Writings by Liberman include essays, short stories, and a play entitled 2+1. Writing project files were organized by Liberman for writing projects for which he was the author, collaborator, or subject. There are numerous files concerning Barbara Rose's book about Liberman Alexander Liberman that also include recorded interviews with Liberman and transcripts. Other books for which there are files include The Art and Technique of Color Photography, The Artist in His Studio, Vogue: The First 100 Years, Vogue History of Fashion Photography, and others.

Subject files were organized by Liberman for a wide variety of work projects, activities, topics, and entities of interest. Files cover commissions, the filming and distribution of the 1981 documentary film Alexander Liberman: A Lifetime Burning, Liberman's personal collection of art, gifts of artwork, and his relationship with galleries and dealers, particularly André Emmerich Gallery.

Exhibition files document exhibitions of Liberman's artwork, and include those held at André Emmerich Gallery, Bennington College, the Guggenheim, Museum of Modern Art, among other venues. Files contain correspondence, contracts, photographs, plans and drawings, notes, etc. Also found are inventory records of Liberman's artwork in the form of lists, index cards, bound registers, and notes.

Ten linear feet of printed materials include exhibition announcements and catalogs, books and book flyers, brochures, calendars, clippings, postcards, posters, press releases, and other materials.

There are scattered drawings and sketches found within the papers, some of which are sketches of sculpture pieces.

Nearly one-half of the collection is comprised of photographs of Liberman and his artwork, and of artists and colleagues, many of which were taken by noted photographers, including Cecil Beaton, Henri Cartier-Bresson, William Klein, Henri Lartique, Annie Leibowitz, Inge Morath, Ugo Mulas, Hans Namuth, Helmut Newton, Gordon Parks, Irving Penn, Herb Ritts, and Lord Snowden, among others. Subjects of note found in the photographs include Alfred Barr, Salvador Dali, Marlene Dietrich, Willem de Kooning, Andre Emmerich, Helen Frankenthaler, Clement Greenberg, Franz Kline, Robert Motherwell, Barnett Newman, Betty Parsons, Pablo Piccaso, Edward Steichen, Lucien Vogel, and Diana Vreeland, among many others.

Arrangement:

The collection is arranged into twelve series. Photographs retain Liberman's original numerical and alpha schemas and the corresponding indexes are found in the Inventory Records in Series 8.

Missing Title

Series 1: Biographical Materials, circa 1930s-1999 (1 linear foot; Box 1, 56)

Series 2: Correspondence, 1944-1997 (4 linear feet; Boxes 1-5, 56, OV 65)

Series 3: Interviews, 1946-1996 (1.4 linear feet; Boxes 5-7, 56)

Series 4: Writings, 1948-1995 (0.9 linear feet; Boxes 7-8)

Series 5: Writing Project Files, 1951-1997 (1.8 linear feet; Boxes 8-9, 56)

Series 6: Subject Files, 1946-2000 (6 linear feet; Boxes 9-15, 56, OV 66-67)

Series 7: Exhibition Files, 1954-1991 (0.7 linear feet; Boxes 15-16, 56, OV 68)

Series 8: Inventory Records, 1938-1998 (6 linear feet; Boxes 16-22)

Series 9: Printed Materials, 1932-2003 (10 linear feet; Boxes 22-31, 56-57, OV 69)

Series 10: Artwork, circa 1940s-1990s (0.4 linear feet; Boxes 32, 57, OV 70)

Series 11: Photographic Materials, circa 1912-1999 (26 linear feet; Boxes 32-55, 57-64, OVs 71-77)

Series 12: Unidentified Sound and Video Recordings, circa 1941-1999 (0.8 linear feet; Boxes 55, 64)

Biographical / Historical:

Alexander S. Liberman (1912-1999) was a sculptor, painter, photographer, graphic designer, writer, and publishing executive who worked primarily in New York City. He held senior positions at Condé Nast Publications for 32 years.

Alexander Semeonovitch Liberman was born in 1912 in Kiev Russia. He was educated in London and the École des Beaux Art in Paris. He began his journalistic career in Paris at VU magazine owned by Lucien Vogel and there he befriended photographers Henri Cartier-Bresson, Brassai, Robert Capa, and André Kértesz. He served in the French army for a short time in 1940, but he and his family fled Paris in 1941 to New York City. Condé Nast hired Liberman in 1941 as an assistant to the art director of Vogue magazine. Liberman became art director in 1943 and editorial director of Condé Nast Publications in 1962, a position he held until his retirement in 1994.

Liberman was also a photographer whose subjects included Georges Braque, Alexander Calder, Alberto Giacometti, Henri Matisse, Pablo Picasso, and Marlene Dietrich, among others, many represented in his 1960 book entitled The Artist in his Studio and Marlene: An Intimate Photographic Memoir (1992). He was also the subject of the work of noted photographers Cecil Beaton, Irving Penn, Henri Cartier-Bresson, Gordon Parks, Lord Snowden, Jill Krementz, Henri Lartique, Annie Leibovitz, and Hans Namuth.

Liberman took up painting and sculpting in the 1950s. Although his first exhibition was at the Betty Parsons Gallery, he was primarily associated with the André Emmerich Gallery in New York City. His monumental sculptures were mostly assembled from industrial parts and painted and can be seen in museums and public sites worldwide.

Liberman was briefly married to Hildegarde Sturm. He married his second wife Tatiana Yacovleff du Plessix in 1942. Before their marriage, they fled occupied France together. She was a noted hat designer, working for Henri Bendel and Saks, where she became known as Tatiania of Saks. She died in 1991 and, in 1992, Liberman married Melinda Pechangco, a nurse who had earlier cared for Tatiania. Alexander Liberman died in 1999 in Miami, Florida.

Related Materials:

Related collections found at the Archives of American Art include the Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman and numerous collections of gallery records.

Provenance:

The Alexander Liberman papers were donated to the Archives of American Art by Liberman Art Partners in 2010 via Dodie Kazanjian.

Restrictions:

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

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:

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

Graphic designers  Search this

Topic:

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

Photography  Search this

Sculptors -- France -- Paris  Search this

Fashion photography  Search this

Painters -- France -- Paris  Search this

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

Photographers -- France -- Paris  Search this

Genre/Form:

Drafts (documents)

Drawings

Scrapbooks

Interviews

Photographs

Sketches

Sound recordings

Transcripts

Video recordings

Citation:

Alexander Liberman Papers, circa 1912-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.

Identifier:

AAA.libealex

See more items in:

Alexander Liberman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw942e7024f-773e-4db8-b545-31138550580a

EDAN-URL:

ead_collection:sova-aaa-libealex

Creator:

Jenkins, Paul, 1923-2012  Search this

Names:

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

Martha Jackson Gallery  Search this

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

New York University  Search this

Baber, Alice  Search this

Bluhm, Norman, 1921-1999  Search this

De Kooning, Willem, 1904-1997  Search this

Dusanne, Zoe, -1977  Search this

Erma, Thomas, 1939-1964  Search this

Gilot, Francoise, 1921-  Search this

Guggenheim, Peggy, 1898-1979  Search this

Jenkins, Esther Ebenhoe  Search this

Krasner, Lee, 1908-1984  Search this

Prantl, Karl  Search this

Prince, Frank  Search this

Extent:

11.1 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Place:

China -- Description and Travel

Date:

circa 1915-2010

Summary:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Scope and Contents:

The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Biographical material and family papers consist of awards and certificates, calendars, marriage, divorce, and estate papers, and military service records. Also included are family papers and a scrapbook belonging to Jenkins's aunt, Louise Jenkins.

Correspondence, which makes up the bulk of the collection, is with family, friends, and fellow artists, including Alice Baber, Norman Bluhm, Willem de Kooning, and Lee Krasner Pollock, as well as art organizations, schools, museums, galleries, and gallery owners, such as the Art Students League of New York, New York University, Museum of Modern Art, Martha Jackson Gallery, Zoe Dusanne, and Peggy Guggenheim.

Writings includes scattered writings by Paul Jenkins, two of his travel diaries, and the guest book for an exhibition in Tokyo. Also found are a copy of Lili Krahmer Verame's China travel diary and the writings and research materials of others.

Personal business records consist of financial records, lease documents, price lists, travel documents, and papers regarding Jenkins's rental property. Also included are a file on the New York University medal designed by Jenkins and a file concerning a Karl Prantl statue.

Printed material consists of event programs, newsletters, bulletins, member reports, press releases, art exhibition announcements and catalogs, concert and theater announcements and programs, news and magazine clippings, and obituaries and memorial announcements.

Artwork contains miscellaneous sketches and collages by Paul Jenkins. Additional artworks include sketches, watercolors, and prints by other artists, as well as 8 oversize mixed media sketches by Frank Prince of Jenkins's Meditation Mandala Sundial sculptures.

Photographs of Paul Jenkins depict him in his studio, with family and friends, and at events. Photographs of family and friends include Esther Ebenhoe Jenkins, Alice Baber Jenkins, Norman Bluhm, Thomas Erma, Françoise Gilot, Matsumi "Mike," Carole, and Bunshi Paul Kanemitsu, and Frank Prince.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1915-1997 (Box 1; 9 folders)

Series 2: Correspondence, circa 1930-2010 (Box 1-9, 13; 9 linear feet)

Series 3: Writings, circa 1950-2003 (Box 9-10; 0.5 linear feet)

Series 4: Personal Business Records, circa 1944-1990 (Box 10; 0.3 linear feet)

Series 5: Printed Material, circa 1952-2010 (Box 10-11; 0.6 linear feet)

Aeries 6: Artwork, circa 1935-2007 (Box 11-12, OV 14; 0.2 linear feet)

Series 7: Photography, circa 1940-1998 (Box 12; 0.4 linear feet)

Biographical / Historical:

Paul Jenkins (1923-2012) was an abstract expressionist painter and playwright in New York, New York, and Paris, France. Jenkins was born in Kansas City, Missouri in 1923, and moved to Youngstown, Ohio as a teenager. After serving in the U.S. Maritime Service and the U.S. Naval Air Corps, Jenkins studied playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University). In 1948, he moved to New York City, where he studied with Yasuo Kuniyoshi at the Art Students League of New York.

Over the course of his career, Jenkins experimented with multiple techniques, including oil on primed canvas, flowing paints, acrylics, watercolor, and mixed media collages. After traveling extensively and meeting many artists, Jenkins ultimately became associated with the Abstract Expressionists. His work gained the attention of other members of the art world and he held solo exhibitions at venues such as the Zoe Dusanne Gallery in Seattle and the Martha Jackson Gallery in New York. Jenkins' paintings were purchased by both museums and private collectors, including the Museum of Modern Art, the Whitney Museum of American Art, and Peggy Guggenheim.

In addition to his painting, Jenkins continued to explore other creative endeavors. He experimented with sculpture, producing works for events and permanent displays, including the Sculptors' Symposium at the Cooper-Hewitt Museum and the Sculpture Garden of the Hofstra Museum. His plays, such as Strike the Puma, were published and performed off Broadway in New York City. Jenkins's art served as the backdrop for multiple stage productions, and in 1978, his paintings were featured in the Academy Award nominated movie An Unmarried Woman. Jenkins also collaborated on a number of book projects, including Anatomy of a Cloud, a collection of autobiographical collages and texts.

Throughout his adult life, Jenkins split most of his time between New York and Paris. He continued to create and exhibit new works until his death in New York in 2012.

Related Materials:

Also found at the Archives of American Art are an interview of Paul Jenkins, August 1969, conducted by Albert Elsen, and an oral history interview, 1968, conducted by Colette Roberts.

Provenance:

The papers were donated 2007-2009 and in 2012 by Paul and Suzanne Jenkins.

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.

The donor has retained all intellectual property rights, including copyright, that they may own.

Occupation:

Dramatists -- France -- Paris  Search this

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

Topic:

Abstract expressionism  Search this

Artists' studios -- Photographs  Search this

Medals -- Design  Search this

Painters -- France -- Paris  Search this

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

Genre/Form:

Travel diaries

Manuscripts

Sketches

Watercolors

Prints

Collages

Visitors' books

Photographs

Scrapbooks

Citation:

Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.jenkpaul2

See more items in:

Paul Jenkins papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a17d1c1-3b35-4e96-b562-6daf3559775e

EDAN-URL:

ead_collection:sova-aaa-jenkpaul2

Creator:

Brooks, James, 1906-1992  Search this

Names:

Kootz Gallery (N.Y.)  Search this

New York University -- Students  Search this

Southern Methodist University -- Students  Search this

United States. Army  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Gottlieb, Adolph, 1903-1974  Search this

Guston, Philip, 1913-1980  Search this

King, William, 1925-2015  Search this

Park, Charlotte  Search this

Extent:

20.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Date:

1909-2010

bulk 1930-2010

Summary:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Scope and Contents:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Biographical materials include biographical notes and documents such as copies of birth and death certificates, curricula vitae, family history. Educational records are from Southern Methodist University and documentation of flight training courses at New York University. Brooks' military service in World War II is well documented by United States Army records with related correspondence. Also found is extensive documentation of his death and funeral.

Professional and personal correspondence is addressed to Brooks, the couple, and to Charlotte Park during the later years of Brooks' life when she managed his affairs. A significant amount of correspondence is categorized as art, autograph requests, personal, and teaching; also include is general correspondence that overlaps all categories. Art correspondence with museums, galleries, collectors, artists, and friends concerns exhibitions, Brooks' work, and invitations to exhibit, speak, or serve as a juror. Of note is the correspondence with Samuel M. Kootz Gallery. The personal correspondence is mainly social, and teaching correspondence consists largely of requests that he teach in summer programs, serve as a visiting artist/critic.

Six interviews with James Brooks are in the form of published and unpublished transcripts; a seventh is a sound recording with no known transcript. Charlotte Park participates in one interview.

Writings by Brooks are statements about his work and a tribute to Ilya Bolotowsky. Among the writings by others about Brooks are a catalog essay, academic papers, and lecture; also found are a few short pieces on miscellaneous topics. Three diaries include brief entries regarding his work, exhibitions, and activities.

Subject files maintained by Brooks concerning organizations, exhibitions, mural projects, a commission and teaching document his professional activities, relationships and interests. Personal business records concern appraisals, conservation, gifts, insurance, loans, sales, shipping, and storage of artwork. Gallery records include agreements, consignments, lists, and receipts. Also, there are accounts for lettering work and personal income tax returns.

Printed material is mostly exhibition announcements, invitations, catalogs, and checklists, as well as articles and reviews. The majority are about/mention Brooks or include reproductions of his work; some concern artist friends, former students, and others.

Artwork by Brooks consists of pencil and ink drawings, two sketchbooks, and "telephone doodles." Other artists include Adolph Gottlieb (ink drawing of sculpture), Philip Guston (three pencil drawings of Brooks), and William King (two silhouettes of Brooks).

Photographic materials (photographs, digital prints, negatives, slides, and color transparencies) provide extensive documentation of Brooks' artwork and, to a lesser extent, exhibitions.There are pictures of Brooks as a very young boy, though the most views of him date from the 1930s through 1980s, and with friends. Places include Brooks' homes and studios in Montauk, New York and the Springs, East Hampton, New York; travel to Maine, Oregon and California. Views of the Middle East from World War II show Brooks with colleagues, local people engaged in daily activities, and scenery. Also of note are a copy print of "The Irascibles" by Nina Leen, and attendees at the dedication of Flight dining in view of Brook's LaGuardia Ariport mural.

Charlotte Park papers document the professional career and personal life of the Abstract Expressionist painter, art teacher, and wife of James Brooks through correspondence, personal business records, exhibition records, printed material, and photographs. In addition, this series documents artwork in the estate of James Brooks and posthumous exhibitions. Twelve years younger than her husband, Park began handling business matters for him as he aged and developed Alzheimer's disease. She also served as his executor. In the 1990s, a curator assumed management of the artwork and loans for exhibitions. After the James Brooks and Charlotte Park Brooks Foundation was established in 2000, its director handled most business activities. Some copies of Foundation minutes and correspondence are found among Park's papers.

Arrangement:

The collection is arranged in 11 series:

Missing Title

Series 1: Biographical Materials, 1924-1995 (Box 1, OV 19; 0.6 linear feet)

Series 2: Correspondence, 1928-1995 (Boxes 1-3; 1.7 linear feet)

Series 3: Interviews, 1965-1990 (Box 3; 0.2 linear feet)

Series 4: Writings, 1952-1999 (Box 3; 0.4 linear feet)

Series 5: Diaries, 1975-1984 (Box 3; 0.1 linear feet)

Series 6: Subject Files, 1926-2001 (Boxes 3-5, OV 20; 2.0 linear feet)

Series 7: Personal Business Records, 1932-1992 (Boxes 5-6; 1.0 linear feet)

Series 8: Printed Material, 1928-1992 (Boxes 6-11, OV 21-OV 22; 4.8 linear feet)

Series 9: Artwork, 1930s-1992 (Box 11; 0.2 linear feet)

Series 10: Photographic Materials, 1909-2000s (Boxes 11-15; 4.1 linear feet)

Series 11: Charlotte Park papers, 1930s-2010 (Boxes 15-18, OV 23; 3.6 linear feet)

Series 12: Unprocessed Additition, circa 1930-2010 (Boxes 25-26; 1.4 linear feet)

Biographical / Historical:

James Brooks (1906-1992) and Charlotte Park (1919-2010) were Abstract Expressionist painters in East Hampton, N.Y. A native of St. Louis, Missouri, Brooks spent his childhood in Colorado, Oklahoma, Illinois, and Texas. He begn drawing as a young boy, finding inspiration in magazine illustrations and comic strips. Before moving to New York City in 1926, he studied at Southern Methodist University (1923-1924) and at the Dallas Art Institute.

In New York, Brooks studied illustration at the Grand Central Art School. After exposure to museums led him to differentiate between illustration and fine art, Brooks enrolled at Art Students League. During this period he supported himself by doing lettering for magazine advertisements. From 1936-1942 he participated in the WPA Federal Art Project, executing murals at Woodside Library, Queens, New York (destroyed); the Post Office, Little Falls, New Jersey; and his famous Flight at LaGuardia Airport's Marine Air Terminal (painted over in the 1950s and restored in 1980).

During World War II Brooks served in the United States Army as an art correspondent in Cairo. When at the Office of Special Services, Washington, DC, he met Charlotte Park who worked there as a graphic artist and later became his wife. The couple moved to New York City in 1945 and married in 1947. Brooks resumed friendships with artists he knew from the WPA including Philip Guston, Bradley Walker Tomlin, and Jackson Pollock. Brooks and Park were especially close with Pollock and Lee Krasner; after they moved to Long Island, Brooks and Park, soon followed, first to Montauk and later to the Springs, East Hampton, New York.

By the late 1940s, Brooks had turned away from figural painting in the social realist style and moved toward abstraction. In the early 1950s, he was experimenting with enamel, gouache, and diluted oil paints, staining various grounds in ways that produced interesting shapes, adding spontaneous splashes of color over which he painted more deliberately. In the 1960s he switched to acrylics, leading to wider use of color and broader strokes.

Peridot Gallery presented Brooks' first solo exhibition in 1949. He helped organize and participated in the famous Ninth Street Show of 1951, earning critical acclaim. This assured him a place in two of the Museum of Modern Art's most important exhibitions of the period, Twelve Americans (1956) and New American Painting (1958). He showed at the Stable Gallery, Kootz Gallery, Martha Jackson Gallery and others. During his lifetime Brooks enjoyed five traveling retrospective exhibitions.

Prizes and awards included Carnegie Institute's Pittsburgh International Exhibition 5th prize for painting (1952), The Art Institue of Chicago's 62nd American Exhibition Logan Medal and Prize for Painting (1957) and 64th American Exhibition Harris Prize (1961), The National Arts Club Medal (1985), and a citation of appreciation for Flight from The North Beach Club Marine Air Terminal, LaGuardia Airport (1986).

Brooks taught for nearly three decades: drawing at Columbia University (1947-1948) and lettering at Pratt Institute (1948-1955); was a visiting critic, Yale University (1955-1960), University of Pennsylvania (1971-1972), and Cooper Union (1975); and served on the Queens College faculty (1966-1969). In addition, he was an artist-in-residence at The American Academy in Rome (1963), the recipient of a Guggenheim Fellowship (1969), and a National Endowment for the Humanities Grant (1973).

Brooks developed Alzheimer's disease around 1985 and died in East Hampton, New York in 1992.

Charlotte Park graduated from the Yale School of Fine Art (1939) and during World War II, when working in Washington, D.C., she met James Brooks. They moved to New York City in 1945, where she studied with Australian artist Wallace Harrison. Park taught children's art classes at several private schools in the early 1950s and at the Museum of Modern Art, 1955-1967.

Park's approach to Abstract Expressionism featured curved or linear shapes with vibrant colors and dynamic brushstrokes. Tanager Gallery presented her first solo show in 1957 and her work was included in numerous group exhibitions from the 1950s through 2000s, mainly in New York City and Long Island. After Park's second solo exhibition, held in 1973 at Elaine Benson Gallery, Bridgehampton, New York, interest in her work revived; other one-person shows followed at Guild Hall (1979), Ingber Gallery (1980), and paired with James Brooks at Louise Himelfarb Gallery. The National Institute of Arts and Letters honored Park with its Art Award in 1974. Her work is in the permanent collections of the Parrish Art Museum, Guild Hall Museum, Telfair Museum of Art, and in many private collections.

Charlotte Park died in 2010.

Related Materials:

Also among the Archives of American Art's holdings are letters from James Brooks and Sean Scully, 1980-1989 addressed to Theodora ["Teddy"] S. Greenbaum, and an oral history interview with James Brooks conducted by Dorothy Seckler, 1965 June 10 and June 12.

Separated Materials:

Correspondence, interview transcripts, photographs, and printed material were loaned by James Brooks for microfilming in 1969 (reel N69-132). With the exception of an address book, a scrapbook, and a few photographs, Brooks donated almost all of the loan in 1979.

Provenance:

The majority of the collection was donated in 2013 by the James Brooks and Charlotte Brooks Foundation and an additional 1.4 linear feet donated 2017 by the Foundation. In 1979 James Brooks donated most of the material lent for microfilming in 1969.

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.

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.

Topic:

World War, 1939-1945  Search this

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

Abstract expressionism  Search this

Genre/Form:

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Citation:

James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.broojame

See more items in:

James Brooks and Charlotte Park papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw948fd3af3-1ae9-4a9a-af05-4ef35e505b4a

EDAN-URL:

ead_collection:sova-aaa-broojame

Creator:

Blaine, Nell, 1922-1996  Search this

Names:

Griffin, Howard, 1915-1975  Search this

Harris, Carolyn, 1937-  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1879

1940-1985

Summary:

The papers of New York painter, illustrator, and printmaker Nell Blaine measure 2.7 linear feet and date from 1879 (a single publication), and 1940-1985. The collection provides scattered documentation of Blaine's life and career through biographical material, correspondence, writings, business records, printed material, scattered artwork, and photographs. Also included in the collection are papers relating to the estate of Blaine's friend, Howard Griffin.

Scope and Contents:

The papers of New York painter, illustrator, and printmaker Nell Blaine measure 2.7 linear feet and date from 1879 (a single publication), and 1940-1985. The collection provides scattered documentation of Blaine's life, career, and relationships within the art world through biographical material, correspondence, writings, business records, printed material, scattered artwork, and photographs depicting Blaine's exhibitions, friends, homes, studios, and artwork. Also included in the collection are papers relating to the estate of Blaine's friend, Howard Griffin. A large proportion of the collection consists of photocopies of original papers and is annotated with Blaine's notes explaining the context and significance of many of the papers.

Arrangement:

The collection is arranged as 7 series.

Series 1: Biographical Material, 1950s-1985 (0.3 linear feet; Box 1)

Series 2: Correspondence, 1879, 1940-1985 (0.9 linear feet; Boxes 1-2)

Series 3: Writings and Notes, 1940s-1980s (0.1; Box 2)

Series 4: Personal Business Records, 1949-1983 (0.4 linear feet; Box 2)

Series 5: Printed Material, 1940s-1980s (0.5 linear feet; Boxes 2-3, OV 5)

Series 6: Artwork, circa 1950s-1984 (0.1 Linear feet; Box 3, OV 5)

Series 7: Photographs, 1940s-1980s (0.4 Linear feet; Boxes 3-4)

Biographical / Historical:

Nell Blaine (1922-1996) was a painter, printmaker, and illustrator from Richmond, Virginia, who was active in New York City, New York, and Gloucester Massachusetts. Blaine's early work was abstract, and later evolved to figurative and landscape painting.

Blaine was born in 1922 with severe visual impairments. She received corrective surgery as a child and quickly found a desire to draw and paint what she was finally able to see. Her art education began at the Richmond School of Art and later moved to New York City where she studied under Hans Hofmann. By 1943 Blaine had joined the American Abstract Artists group as the group's youngest member at the age of 21. This association led to her first solo exhibition at Jane Street Gallery, an early artists' cooperative, in 1945. Blaine was a founding member of the Greenwich Village gallery, and her circle of friends included New York artists and poets such as John Ashbery, Leland Bell, Rudy Burckhardt, Willem de Kooning, Robert De Niro Sr., Jane Freilicher, Kenneth Koch, Lee Krasner, Frank O'Hara, and Louisa Matthiasdottir. From 1943-1949 Blaine was married to musician Bob Bass. Blaine exhibited solo at the Tibor de Nagy Gallery in 1953 and was represented by the Poindexter Gallery and the Fischbach Gallery.

In the 1950s, Blaine moved to Paris where she lived with friends including Larry Rivers. She was also a close friend of poet and art writer Howard Griffin, and illustrated a limited edition of his Four Poems and served as executrix of his estate.

In 1959, Blaine contracted polio while traveling in Greece. She used a wheelchair for the rest of her life but was able to resume painting after intense rehabilitation to regain the use of her hands.

By the mid-1970s Blaine had moved to Gloucester, Massachusetts where she maintained a summer home for the rest of her life, while also sharing an apartment and studio in New York with artist Carolyn Harris, who was her partner for over thirty years.

Nell Blaine died in 1996 in New York City.

Related Materials:

Also found in the Archives of American Art are an interview of Nell Blaine conducted 1967 June 15, by Dorothy Seckler, and the Nell Blaine letters to Robert A. Wilson, 1963-1995.

Additional papers of Nell Blaine are also held by Harvard University.

Separated Materials:

The Archives of American Art also holds microfilm of scrapbooks loaned for microfilming on reel D311. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Nell Blaine loaned a portion of her papers for microfilming on reel D311. She later donated her papers to the Archives of American Art in 1980 and 1985. The Howard Griffin papers included in the collection were received by Blaine as executrix of Griffin's estate.

Restrictions:

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

Rights:

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

Occupation:

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

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

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

Painters -- Massachusetts -- Gloucester  Search this

Printmakers -- Massachusetts -- Gloucester  Search this

Illustrators -- Massachusetts -- Gloucester  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Scrapbooks  Search this

Citation:

Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.blainell

See more items in:

Nell Blaine papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93f378bff-2465-43a6-a48b-3458d786cce4

EDAN-URL:

ead_collection:sova-aaa-blainell

Creator:

Tworkov, Jack, 1900-1982  Search this

Subject:

Forge, Andrew  Search this

Dickinson, Edwin Walter  Search this

Demarco, Ricky  Search this

Knaths, Karl  Search this

Katz, Paul  Search this

Herzbrun, Helene  Search this

Hartigan, Grace  Search this

Bartlett, Jennifer  Search this

Ashton, Dore  Search this

Ashbury, John  Search this

Cézanne, Paul  Search this

Cavallon, Giorgio  Search this

Calfee, William H. (William Howard)  Search this

Blinken, Donald M.  Search this

Ponsold, Renate  Search this

Praeger, David A.  Search this

Westenberger, Theo  Search this

Summerford, Joe  Search this

Thorne, Joan  Search this

Matter, Herbert  Search this

Lindeberg, Linda  Search this

Osborn, Robert Chesley  Search this

Newman, Arnold  Search this

Newman, Michael  Search this

Wise, Howard  Search this

Wheeler, Dennis  Search this

Yunkers, Adja  Search this

Rothko, Mark  Search this

Egan Gallery  Search this

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

Nancy Hoffman Gallery  Search this

Leo Castelli Gallery  Search this

Poindexter Gallery  Search this

Zabriskie Gallery  Search this

Type:

Photographs

Sketchbooks

Video recordings

Interviews

Motion pictures (visual works)

Sound recordings

Sketches

Diaries

Citation:

Jack Tworkov papers, 1926-1993. Archives of American Art, Smithsonian Institution.

Topic:

Painting -- New York (State)  Search this

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

Artists' studios -- Photographs  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)13402

(DSI-AAA_SIRISBib)211452

AAA_collcode_tworjack2

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211452

Interviewee:

Baber, Alice, 1928-1982  Search this

Interviewer:

Cummings, Paul  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Alice Baber, 1973 May 24. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)12443

(DSI-AAA_SIRISBib)212519

AAA_collcode_baber73

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212519

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:

Dehner, Dorothy, 1901-1994  Search this

Names:

Philadelphia Art Alliance  Search this

Willard Gallery  Search this

Graham, John, 1887-1961  Search this

Matulka, Jan, 1890-1972  Search this

Smith, David, 1906-1965  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Sketchbooks

Date:

1920-1987

bulk 1951-1987

Summary:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Scope and Content Note:

The papers of sculptor Dorothy Dehner measure 4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents Dehner's life, work, and professional and personal relationships, with particular focus on her mid-to-late career. Papers include extensive correspondence, business and financial papers, sound recordings and transcripts of interviews, writings by Dehner and others, printed material documenting Dehner's career, scattered photographs, two etchings, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are personal papers such as notes on Dehner's biography and career, a list of things taken from Bolton Landing, and material relating to David Smith including a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research on David Smith, herself, and other artists of her era, and her many other creative activities, including her various writing efforts.

Interviews include sound recordings of four interviews with Dehner, and a recording of an interview conducted with her for a documentary on David Smith. Also found is a transcription of an interview for which there is no recording.

Writings shed light on other aspects of Dehner's creativity and concerns. Dehner's writings include poems, such as one dated from high school and drafts of poems published in Tracks); and various pieces on John Graham. These include versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art, and as an article in Leonardo). Also found are writings on David Smith, including articles recalling Dehner's first meeting with him, and on Smith's 1940 work "Medals for Dishonor;" lectures and speeches; and various writings on art and other topics. Writings by others include essays on Dehner by Joan Marter and Judith McCandless.

Dehner's business and financial records document transactions with various galleries and art organizations and include records of loans, exhibitions, and sales through files for the Parsons-Dreyfuss Gallery, Philadelphia Art Alliance, Willard Gallery, and others. The series also includes scattered records relating to personal business matters and finances, such as Dehner's lists of artwork loaned, exhibited, and sold, receipts, tax records, and exhibition visitor books.

Printed material includes exhibition catalogs and announcements for Dehner's group and solo shows, and clippings on Dehner and a few other artists including David Smith. Artwork consists of two etchings, and photographs include photographs of Dehner, her second husband Ferdinand Mann, John Graham, and various works of art. Also found is an abstract photograph by David Smith, dating from circa 1934.

Arrangement:

The Dorothy Dehner papers are arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1935-1982 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1927-1987 (Boxes 1-3; 2.2 linear feet)

Series 3: Interviews and Transcripts, 1963-1981 (Boxes 3-4; 0.5 linear feet)

Series 4: Writings, 1920-1987 (Box 3; 0.25 linear feet)

Series 5: Business and Financial Records, 1940-1987 (Box 3; 0.25 linear feet)

Series 6: Printed Material, 1940-1987 (Boxes 3, 5; OV 6; 0.5 linear feet)

Series 7: Art Work, circa 1930s-circa 1960s (Box 5, OV 6; 0.05 linear feet)

Series 8: Photographs, 1930s-1986 (Box 5; 0.15 linear feet)

Biographical Note:

Dorothy Dehner was an abstract sculptor of the New York school who was also an accomplished painter, printmaker, author, and educator.

Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and had a profound influence on Dehner and Smith and their work. Other young artists they befriended at this time included Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing, and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery in 1952, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and printmaking. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957. Dehner continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups exhibitions at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. Two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties, and passed away in 1994.

Related Material:

Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Loaned materials were returned to the lender after filming and are not described in the collection Container Listing.

Provenance:

The Dorothy Dehner papers were donated from 1967-1987 in increments by Dorothy Dehner. Dehner also loaned material for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.

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:

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

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

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

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

Topic:

Women artists  Search this

Women sculptors  Search this

Women printmakers  Search this

Women authors  Search this

Genre/Form:

Sound recordings

Interviews

Sketchbooks

Citation:

Dorothy Dehner papers, 1920-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.dehndoro

See more items in:

Dorothy Dehner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94755f855-b54f-4a52-a95c-a8c0d6e92ba7

EDAN-URL:

ead_collection:sova-aaa-dehndoro

Creator:

Camins, Jacques Joseph, 1904-1988  Search this

Names:

Botkin, Henry, 1896-1983  Search this

Brigadier, Anne, 1908-1998  Search this

Greenwood, Marion, 1909-1970  Search this

Kaplan, Joseph, 1900-1980  Search this

Marantz, Irving, 1912-1972  Search this

Moy, Seong  Search this

Refregier, Anton, 1905-  Search this

Teichman, Sabina  Search this

Wilson, Sol  Search this

Extent:

0.5 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Motion pictures

Sound recordings

Video recordings

Date:

circa 1965

Summary:

The Jacques Joseph Camins films and posters measure 0.5 linear feet and date to circa 1965. The collection is comprised of ten 16 mm motion picture films by Camins, including artists and scenes from Provincetown, Rockport, and Gloucester, Massachusetts, and other unidentified locations. Nine of the reels were compiled into a single reel to transfer to video, including eight color, silent reels containing footage of the Art Students League Summer School in Woodstock, N.Y., Arnold Blanch and his students, Anton Refregier, Marion Greenwood, Howard Mandel, Julio de Diego, N. Dirk, Hans Hofmann, Morris Davidson, George Yeter, Seong Moy, and Karl Knaths. The ninth reel transferred to video contains black and white, silent home movies with family and beach scenes. A tenth reel, not transferred, is an edited film of Provincetown artists with music and narration, with footage of artists Seong Moy, Karl Knaths, Lily Harmon, Anne Brigadier, Sabina Teichman, Umberto Romano, Yeffe Kimball, Bruce McKain, Philip Malcoat, and others. Although it is an edited work, the film lacks a formal title. Also included are two original posters by Seong Moy and Anne Brigadier done for a screening of Camins's film on Provincetown; a sound tape reel (7") of an interview with Henry Botkin, Umberto Romano, Joseph Kaplan, Irving Marantz, Sol Wilson, Anne Brigadier, and Sabina Teichman, and a sound tape reel (7") of an interview of Karl Knaths, both conducted by Camins and untranscribed.

Scope and Contents:

The Jacques Joseph Camins films and posters measure 0.5 linear feet and date to circa 1965. The collection is comprised of ten 16 mm motion picture films by Camins, including artists and scenes from Provincetown, Rockport, Gloucester, Mass, and other unidentified locations. Nine of the reels were compiled into a single reel to transfer to video, including eight color, silent reels containing footage of the Art Students League Summer School in Woodstock, N.Y., Arnold Blanch and his students, Anton Refregier, Marion Greenwood, Howard Mandel, Julio de Diego, N. Dirk, Hans Hofmann, Morris Davidson, George Yeter, Seong Moy, and Karl Knaths. The ninth reel transferred to video contains black and white, silent home movies with family and beach scenes. A tenth reel, not transferred, is an edited film of Provincetown artists with music and narration, with footage of artists Seong Moy, Karl Knaths, Lily Harmon, Anne Brigadier, Sabina Teichman, Umberto Romano, Yeffe Kimball, Bruce McKain, Philip Malcoat, and others. Although it is an edited work, the film lacks a formal title. Also included are two original posters by Seong Moy and Anne Brigadier done for a screening of Camins's film on Provincetown, Mass; a sound tape reel (7") of an interview with Henry Botkin, Umberto Romano, Joseph Kaplan, Irving Marantz, Sol Wilson, Anne Brigadier, and Sabina Teichman, and a sound tape reel (7") of an interview of Karl Knaths, both conducted by Camins and untranscribed.

Arrangement:

The collection is arranged as one series.

Biographical / Historical:

Jacques Joseph Camins (1904-1988) was a Russian-born american painter and printmaker who primarily lived and worked in the New York, New York area. He studied art in Paris and at the Art Students League.

Provenance:

The collection was donated to the archives in installments between 1975 and 1980 by Joseph Camins.

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:

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

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

Topic:

Painting, Modern -- 20th century -- History -- United States  Search this

Art, American -- Massachusetts -- Provincetown  Search this

Genre/Form:

Interviews

Motion pictures

Sound recordings

Video recordings

Citation:

Jacques Joseph Camins films and posters, circa 1965. 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.camijacq

See more items in:

Jacques Joseph Camins films and posters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9900f0b7f-fbe3-472b-a9f1-d18cd4d3a0a2

EDAN-URL:

ead_collection:sova-aaa-camijacq

Creator:

Browne, Byron, 1907-1961  Search this

Names:

United States. Works Progress Administration  Search this

Bengelsdorf, Rosalind, 1916-1979  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures

Sound recordings

Interviews

Date:

1920-1979

Summary:

The Byron Browne papers measure 2.1 linear feet and date from 1920-1979 and document the life and work of Byron Browne through biographical materials, correspondence, personal business records, printed materials, photographic materials, and artwork.

Scope and Contents:

The Byron Browne papers measure 2.1 linear feet and date from 1920-1979. Biographical materials include documents regarding tributes to Browne after his death and his career, a self-portrait, and film with recorded audio. Correspondence is with friends, artists, and family members and consists mainly of holiday and sympathy cards addressed to Rosalind, the majority dating after Browne's death. Correspondence regarding art donations by Rosalind and other professional activities as well as documents regarding Browne's time spent teaching for the Art Students League of New York and New York University are included. Other financial documents relating to his art expenses and newspaper and magazine clippings are present. Various exhibition announcements are present, as are photographs of both Browne and his artwork.

Arrangement:

This collection is arranged in 6 series:

Series 1: Biographical Materials, Biographical Materials, 1960-1973 (0.4 Linear feet: Box 1, OV 4, FC03, FC04)

Series 2: Correspondence,1952-1979 (0.7 Linear feet: Box 1)

Series 3: Personal Business Records, 1930-1977 (0.3 Linear feet: Box 1)

Series 4: Printed Materials, 1920-1979 (0.3 Linear feet: Box 2, OV 6)

Series 5: Photographic Materials, 1920-1979 (0.2 Linear feet: Boxes 2-3)

Series 6: Artwork, 1930-1969 (0.2 Linear feet: Box 3, OV 5)

Biographical / Historical:

Byron Browne (1907-1961) was born in Yonkers, New York on June 26, 1907, as George Byron Browne and was a painter, sculptor, and educator in New York City. He helped found the American Abstract Artists, an organization centered in New York that was devoted to exhibiting abstract art, with his wife Rosalind Bengelsdorf and Balcomb Greene in 1935. Browne specialized in still life in the Synthetic Cubism style and was influenced by his friends John Graham, Arshile Gorky, and Willem de Kooning. By the 1950s Browne migrated to creating more romantic imagery. Browne started his early career as an academic artist and won numerous awards at the National Academy including the Third Hallgarten Prize for still-life composition. His career consisted of creating murals under the Works Progress Administration for the Chronic Disease Hospital and the 1939 New York World's Fair. He also taught painting at the Art Students League of New York from 1948 to 1959 and went on to then teach at New York University. A survivor of the Great Depression, Browne would continue to struggle to sell art beyond the 1930s, when his most notable work was created. Browne's work is represented at over eighty permanent art museum collections. Browne died on December 25, 1961, in New York City at age 54.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Rosalind Bengelsdorf conducted by Irving Sandler in 1968 and the Rosalind Bengelsdorf Browne papers.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 97 and NBB 1-NBB 2) including correspondence, clippings, receipts, contracts, sketches and descriptions related to mural commissions. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Papers were lent for microfilming in 1963 and 1978 by Rosalind Bengelsdorf Browne.

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:

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

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

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

Topic:

Art, Abstract  Search this

Cubism  Search this

Genre/Form:

Motion pictures

Sound recordings

Interviews

Citation:

Byron Browne papers, circa 1920-1979. 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.browbyro

See more items in:

Byron Browne papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9505e8963-abd6-4570-ad8f-62360d2ffbb0

EDAN-URL:

ead_collection:sova-aaa-browbyro

Creator:

Gellert, Hugo, 1892-1985  Search this

Subject:

Gropper, William  Search this

Lie, Jonas  Search this

Kent, Rockwell  Search this

Refregier, Anton  Search this

Gellert, Ernest  Search this

Sequenzia, Sofia  Search this

Gottlieb, Harry  Search this

Reisman, Philip  Search this

Gellert, Lawrence  Search this

Evergood, Philip  Search this

Derkovits, Gyula  Search this

Fiene, Ernest  Search this

Fast, Howard  Search this

American Artists' Congress  Search this

Art of Today Gallery (New York, N.Y.)  Search this

Artist's Committee of Action (New York, N.Y.)  Search this

Hungarian Word, Inc.  Search this

National Society of Mural Painters (New York, N.Y.)  Search this

Artists Council  Search this

Artists Coordination Committee (New York, N.Y.)  Search this

Committee to Defend V.J. Jerome  Search this

Artists for Victory, Inc.  Search this

Type:

Interviews

Photographs

Citation:

Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.

Topic:

Artists' writings  Search this

Politics in art  Search this

Works of art  Search this

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

Graphic artists -- New York (State) -- New York  Search this

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

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7845

(DSI-AAA_SIRISBib)210012

AAA_collcode_gellhugo

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210012

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H. (Elayne Hanley), 1913-1987  Search this

Subject:

Acconci, Vito  Search this

Glimcher, Arnold B.  Search this

Benglis, Lynda  Search this

Anderson, David K.  Search this

Bochner, Mel  Search this

Benyon, Margaret  Search this

Janis, Sidney  Search this

Castelli, Leo  Search this

Brooks, James  Search this

Jackson, Martha Kellogg  Search this

Hollander, Irwin  Search this

Insley, Will  Search this

Gottlieb, Adolph  Search this

Graham, Dan  Search this

Smith, Tony  Search this

Siegelaub, Seth  Search this

Richter, Hans  Search this

Parsons, Betty  Search this

O'Doherty, Brian  Search this

Nauman, Bruce  Search this

Kirby, Michael  Search this

Chase, Doris  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L.  Search this

Wise, Howard  Search this

Weiner, Sam  Search this

Sonfist, Alan  Search this

Mazur, Michael  Search this

Meyer, Ursula  Search this

Lichtenstein, Roy  Search this

Levine, Les  Search this

Type:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975, bulk 1964-1975. Archives of American Art, Smithsonian Institution.

Topic:

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

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

Gallery directors  Search this

Gallery owners  Search this

Theme:

Art Gallery Records  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)8114

(DSI-AAA_SIRISBib)210285

AAA_collcode_finccoll

Theme:

Art Gallery Records

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210285

Creator:

Alexander, John White, 1856-1915  Search this

Subject:

Abbey, Edwin Austin  Search this

Alexander, Elizabeth A.  Search this

Carnegie, Andrew  Search this

Chase, William Merritt  Search this

La Farge, John  Search this

James, Henry  Search this

Levy, Florence N. (Florence Nightingale)  Search this

Remington, Frederic  Search this

Millet, Francis Davis  Search this

Stevenson, Robert Louis  Search this

Whistler, James McNeill  Search this

Gibson, Charles Dana  Search this

MacDowell Club of New York  Search this

Type:

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Citation:

John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.

Topic:

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

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

Works of art  Search this

Portrait painting -- 20th century  Search this

Portrait painting -- 19th century  Search this

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

Portrait painting, American  Search this

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8637

(DSI-AAA_SIRISBib)210817

AAA_collcode_alexjohn

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210817

Creator:

Bouché, Louis, 1896-1969  Search this

Subject:

Pène du Bois, William  Search this

Bacon, Peggy  Search this

Bouché, Henri L.  Search this

Bouché, Ernest  Search this

Bouché, Jane  Search this

Bouché, Marian Wright  Search this

Davidson, Jo  Search this

Marsh, Reginald  Search this

Schmidt, Katherine  Search this

Brook, Alexander  Search this

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

Wanamaker Gallery  Search this

Type:

Photographs

Sketches

Scrapbooks

Travel diaries

Drawings

Citation:

Louis Bouché papers, 1880-2007. Archives of American Art, Smithsonian Institution.

Topic:

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

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

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9572

(DSI-AAA_SIRISBib)211773

AAA_collcode_boucloui

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211773

Interviewee:

Klement, Vera, 1929-  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Artemisia Gallery  Search this

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

University of Chicago -- Faculty  Search this

Adrian, Dennis, 1937-  Search this

Ashton, Dore  Search this

Deson, Marianne  Search this

Ippolito, Angelo  Search this

Ito, Miyoko, 1918-1983  Search this

Kind, Phyllis, 1933-2018  Search this

Rosenberg, Harold, 1906-1978  Search this

Shapey, Ralph, 1921-2002  Search this

Stamos, Theodoros, 1922-1997  Search this

Extent:

3 Items (Sound recording: 3 sound files (3 hr., 24 min.), digital, wav)

140 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 June 12 and 14

Scope and Contents:

An interview with Vera Klement conducted 2015 June 12 and 14, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Klement's home and studio in Chicago, Illinois.

Klement speaks of her early childhood in Danzig (now, Gdansk, Poland) on the eve of World War II; her family's immigration to New York; her early experiences with music and art; her decision to become a painter; her interactions within New York's art community of the 1950s; the change in New York's art scene after the emergence of Pop art; her move to Chicago and subsequent difficulties in showing her work; her involvement within the Chicago art community; the founding of the women's artist cooperative, Artemisia; her involvement with the women's movement in the 1970s; teaching at the University of Chicago; her conception of her artwork as representational and apolitical; her literary influences; and her distaste for the contemporary art world. Klement also recalls Dennis Adrian, Dore Ashton, Marianne Deson, Angelo Ippolito, Miyoko Ito, Phyllis Kind, Harold Rosenberg, Ralph Shapey, Theodoros Stamos, and others.

Biographical / Historical:

Vera Klement (1929-2023) was an Expressionist painter in Chicago, Illinois.

Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

General:

Originally recorded as 3 sound files. Duration is 3 hr., 24 min.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Painters -- Illinois -- Chicago  Search this

Topic:

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

Art, American -- Illinois -- Chicago  Search this

Women artists  Search this

Women's rights  Search this

Women painters  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.klemen15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ebbec79-bfdc-4b94-8f4c-e6782bd05599

EDAN-URL:

ead_collection:sova-aaa-klemen15

Interviewee:

Klement, Vera, 1929-2023  Search this

Interviewer:

Silverman, Lanny  Search this

Subject:

Adrian, Dennis  Search this

Ashton, Dore  Search this

Deson, Marianne  Search this

Ippolito, Angelo  Search this

Ito, Miyoko  Search this

Kind, Phyllis  Search this

Rosenberg, Harold  Search this

Shapey, Ralph  Search this

Stamos, Theodoros  Search this

Artemisia Gallery  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Chicago Art and Artists: Oral History Project  Search this

University of Chicago  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Vera Klement, 2015 June 12 and 14. Archives of American Art, Smithsonian Institution.

Topic:

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

Art, American -- Illinois -- Chicago  Search this

Women artists  Search this

Women's rights  Search this

Women painters  Search this

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Record number:

(DSI-AAA_CollID)16266

(DSI-AAA_SIRISBib)371137

AAA_collcode_klemen15

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_371137

Creator:

Kootz Gallery  Search this

Names:

Baziotes, William, 1912-1963 -- Photographs  Search this

Braque, Georges, 1882-1963  Search this

Hare, David, 1917-1992  Search this

Hofmann, Hans, 1880-1966 -- Photographs  Search this

Kootz, Samuel M., 1898-1982  Search this

Marca-Relli, Conrad, 1913-2000 -- Photographs  Search this

Mathieu, Georges, 1921- -- Photographs  Search this

Picasso, Pablo, 1881-1973 -- Photographs  Search this

Pierre Soulages, 1919- -- Photographs  Search this

Ronald, William, 1926- -- Photographs  Search this

Sugai, Kumi, 1919 -- Photographs  Search this

Extent:

7.1 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Signatures (names)

Notes

Date:

1923-1966

Summary:

The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks; photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.

Scope and Contents note:

The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks, photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.

There are two folders of scattered routine incoming letters. Three folders of exhibition files contain limited documentation of the 1952 Kootz Gallery exhibition "To South America," and printed material related to the 1951 exhibition "Art for a Synagogue" held at the Synagogue of Congregation B'nai Israel in Millburn, New Jersey.

Artists' Photograph Files contain mostly photographs of 52 artists, their artwork, and their exhibitions. In addition to photographs, there is one folder of artists' autographs. Pablo Picasso and Hans Hofmann's close friendship with Kootz is reflected in this series, as numerous informal personal photos are found in their respective files. A few folders also contain documents, such as transcript notes for a lecture and other writings by Hans Hofmann and a brief review of the work of Georges Braque and David Hare.

Printed Material consists of exhibition announcements and catalogs, advertisements, and newspaper and magazine clippings on the gallery and artists associated with the gallery. There are catalogs for Kootz Gallery exhibitions, including "The Intrasubjectives" show of 1949.

Twenty-three scrapbooks date from 1931 through 1966 and include exhibition announcements, catalogs, photographs, clippings, and miscellaneous printed material. Scrapbook 1, 1947-1948, focuses on Pablo Picasso. Scrapbooks 2-21 document approximately one year of Kootz Gallery events and press coverage from 1945 to 1966, and Scrapbooks 22-23, 1950-1958, focus on architectural models and exhibitions.

Photographic material includes photographs, transparencies, and slides of Kootz Gallery New York and Kootz Gallery Provincetown; interior design photographs showcasing Kootz Gallery artwork hanging in office and residential spaces; group and unidentified exhibitions; group and unidentified artists/artwork; and informal photographs of Samuel Kootz and of his wife, Jane.

Samuel Kootz Personal Papers consist of a cocktail party invitation and a copy of the 1923 Phi Epsilon Pi Quarterly, Vol. 6, No. 1.

Arrangement note:

The collection is arranged as 7 series:

Missing Title

Series 1: Correspondence, 1950-1962 (Box 1; 2 folders)

Series 2: Exhibition Files, circa 1944-1966 (Box 1; 3 folders)

Series 3: Artists Photographs Files, 1936-1966 (Boxes 1-2, 5; 1.5 linear feet)

Series 4: Printed Material, circa 1944-1966 (Boxes 2, 5; 0.5 linear feet)

Series 5: Scrapbooks, 1931-1966 (Box 3, BV 6-23; 4 linear feet)

Series 6: Photographic Material, circa 1944-1966 (Boxes 4-5; 11 folders)

Series 7: Samuel Kootz Personal Papers, circa 1923-1957 (Box 4; 2 folders)

Biographical/Historical note:

Samuel M. Kootz officially opened the Kootz Gallery in 1945 in New York City. In 1953, he opened a satellite gallery in Provincetown, Massachusetts that closed one year later.

Samuel M. Kootz (1898-1982) received his law degree from the University of Virginia in 1921 and practiced law briefly before moving to New York City to accept a job as an advertising account executive. While still in law school, he began visiting New York art galleries and was particularly drawn to works by modern artists that were showing at the Stieglitz Gallery and the Charles Daniel Gallery. In 1930, he independently published his first book, Modern American Painters and began to regularly contribute articles on painting and photography to various periodicals, including The Times. In 1942, he curated an abstract expressionist showcase for Macy's and published New Frontiers in American Painting one year later. Kootz's second book was one of the first to examine the emerging abstract expressionist movement and marked the beginning of his full transition into the art world.

In 1944, Kootz resigned from his advertising job to represent Robert Motherwell and William Baziotes as a professional art dealer. He officially opened the Kootz Gallery opened in 1945 and showcased the work of both American and European abstract expressionists, including Hans Hofmann and Adolph Gottlieb. In 1946, during the Kootz Gallery's preparation for Pablo Picasso's first one man exhibition in America, Picasso became quite friendly with Kootz and his wife Jane. Upon the artist's suggestion, Kootz agreed to close his gallery and represent Picasso and his other artists as a private dealer. Although this was a successful venture, Kootz missed the structure of an office and decided to reopen his gallery on Madison Avenue in 1949. The gallery's first show at the new location was "The Intrasubjectives," a term Kootz had coined for abstract expressionists. The exhibition included four artists from his stable, William Baziotes, Robert Motherwell, Adolph Gottlieb, and Hans Hofmann, along with Jackson Pollock, Arshile Gorky, Willem de Kooning, Mark Rothko, Ad Reinhardt, Morris Graves, Mark Tobey, and Bradley Walker Tomlin.

In 1953, Kootz opened a satellite gallery in Provincetown, Massachusetts that was managed and operated by gallerist Nathan Halper. In 1954, they mutually agreed to dissolve their partnership and Kootz focused his energies on his New York gallery, which grew to include Herbert Ferber, David Hare, Philippe Hosiasson, Ibram Lassaw, Conrad Marca-Relli, Georges Mathieu, Raymond Parker, William Ronald, Gerard Schneider, Emil Schumacher, and Pierre Soulages.

A number of factors, including competition from new galleries, commoditization of art by investment collectors, and the public's interest in emerging pop art, influenced Kootz's decision to close his gallery in 1966.

Related Archival Materials note:

Also found among the holdings of the Archives of American Art are oral history interviews with Samuel M. Kootz by John Morse on March 2, 1960 and by Dorothy Seckler on April 13, 1964. Records of Kootz Gallery are also interspersed among the records of Nathan Halper's galleries.

Separated Materials note:

Records loaned for microfilming in 1965 included eight articles from the publication Modern Artists in America (1951) which were not included in the later donation and are now available on microfilm reel NY65-1.

Provenance:

Samuel M. Kootz donated the gallery records in two increments in 1971. Nearly all of the same records had been loaned in 1965 for microfilming.

Restrictions:

This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference Services for more information.

Rights:

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

Topic:

Artists -- United States -- Exhibitions  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Photographs

Signatures (names)

Notes

Citation:

Kootz Gallery records, 1923-1966. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.kootgall

See more items in:

Kootz Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91262a00c-472d-46e1-8583-68bf078f849f

EDAN-URL:

ead_collection:sova-aaa-kootgall