Search Results

Creator:

Getz, Ilse, 1917-  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Date:

1928-1999

Summary:

The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.

Scope and Contents:

The papers of collage artist Ilse Getz measure 3.4 linear feet and date from 1928 through 1999, with the bulk of the papers dating from circa 1947-circa 1990. Her personal life is reflected through biographical material including a genealogy of the Bechhold family; marriage and death certificates; and writings that include journals, artist statement, poems and notes. The collection contains letters from friends, artists, collectors, and museum and art gallery representatives; exhibition files; and printed material relating to Getz's exhibitions. Also found are photographs, slides and transparencies of artwork.

Arrangement:

This collection is organized into 6 series.

Series 1: Biographical Material, circa 1934-1996 (Box 1, OV 5; 0.2 linear feet)

Series 2: Letters, circa 1950-1999 (Box 1; 0.5 linear feet)

Series 3: Exhibition Files, circa 1944-1990 (Box 1, 2, 4; 1.0 linear feet)

Series 4: Writings, circa 1928-1987 (Box 2, 4; 0.2 linear feet)

Series 5: Printed Material, circa 1956-1990 (Box 2, 3, 4, OV 5; 1.0 linear feet)

Series 6: Photographs, circa 1940-1985 (Box 3; 0.5 linear feet)

Biographical / Historical:

Ilse Getz (1917-1992) was born in Nuremberg, Germany and immigrated to the U.S. in 1933. She studied at the Art Students League with George Grosz and Morris Kantor and at the Ozenfant School. Getz was a collage and construction artist active from the 1950s through the 1980. She exhibited at several galleries in New York City including the Bertha Schaefer Gallery and Rosenberg Gallery.

During her childhood, Ilse Getz (nee Bechhold) had been uprooted both from home and country. She was first displaced in 1929, when she was sent to Hamburg to live with her sister after her father died by suicide. In 1933, Ilse and her sister left Nazi Germany, and traveled to Italy, Spain, Cuba, and Mexico. Ilse joined immediate family in New York. In 1937, Ilse married lawyer David Getz and settled in Allentown, Pennsylvania. Three years later she had a child and became a naturalized citizen of the United States.

In 1942, while visiting her sister in Mexico, Getz created her first oil painting. Upon returning to New York, Ilse continued her artistic exploration and studied with George Grosz and Morris Kantor at the Art Students League. By 1945, Getz had already held her first solo exhibition at the Norlyst Gallery in New York.

Getz traveled extensively throughout her life, incorporating the experiences in her work. During 1947-1948, she traveled and worked in Europe, visiting Switzerland, France, Spain and Portugal among other countries before retiring for four months in Guaruja, Brazil. She destroyed most of the artwork created during that period and returned to New York City.

During the summer of 1956, Getz taught and exhibited at the Positano Art Workshop in Italy along with Piero Dorazio. She repeated the experience two years later. In 1958, Getz married her second husband, artist Manoucher Yektai. The following year, Getz and Yektai went to Yaddo in Saratoga Springs, New York after having received fellowships to the artists' community.

In 1960, Getz was commissioned by Richard Barr to create the set for Eugene Ionesco's play, The Killer. The venue was the Seven Arts Theater in New York City and she completed the set in five days. Getz spent the next two years in Paris where she was represented by the Iris Clert Gallery; she exhibited in France, Germany and England. In 1962, Getz returned to New York City and maintained a studio on the Upper East Side. Getz married for the third time in 1964 to Gibson Danes who was then the Dean of Yale School of Art and Architecture. The couple lived in New York and Connecticut, and eventually settled in Newtown, Connecticut.

Getz participated in national and international exhibitions and in solo and group shows. Her collages and constructions incorporate items such as dolls, toys, birds, eggs, playing cards, and game boards. In 1978, retrospective exhibitions of Getz's work were held at the Neuberger Museum in Purchase, New York and in her native city at the Kunsthalle Nürnberg. Retrospective exhibitions were also held in 1980 at the Goethe House and Alex Rosenberg Gallery.

Later in life, Getz suffered from advanced Alzheimer's disease. In 1992, Gibson Danes, fearful that he would no longer be able to properly care for his wife, took both his life and that of Ilse Getz. They were found dead in their garage from acute carbon monoxide toxicity after breathing the fumes of their idling car.

Provenance:

The papers were donated in 2001 by Patricia Getz-Gentle, the daughter of Ilse Getz.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

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

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

Topic:

Women artists  Search this

Women painters  Search this

Genre/Form:

Diaries

Photographs

Citation:

Ilse Getz Papers, 1928-1999. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.getzilse

See more items in:

Ilse Getz papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eaa347d5-7fa5-4528-9c0e-cfbdfce62a96

EDAN-URL:

ead_collection:sova-aaa-getzilse

Creator:

Peri, Eve, 1897-1966  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

circa 1900-1996, bulk 1939-1966

Summary:

The papers of painter and embroiderer artist Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.

Scope and Contents:

The papers of painter and embroiderer Eve Peri measure 0.6 linear feet and date from circa 1900 to 1996 with the bulk of materials dating from 1939 to 1966. The papers are scattered and include biographical materials, travel documents, correspondence, financial records, printed material, designs for embroidered clothing, and photographs.

Arrangement:

The collection is arranged as one series.

Series 1: Eve Peri papers, circa 1900-1996 (0.6 linear feet; Box 1, OV2-3)

Biographical / Historical:

Eve Peri (1897-1966) was a collagist, embroiderer, and painter active in New York City, New York.

Eve Peri was born in Bangor, Maine in 1897. From her mother and aunts, Peri learned traditional quilting and embroidery techniques. A largely self-trained artist, she used her skills to design clothing, tapestry, and collages and also painted. She collaborated with her husband Alfonso Umana Mendez, a designer for Fred Leighton, designing women's embroidered clothing. After divorcing in 1939, she traveled around Europe and began to exhibit her works.

Peri moved to Philadelphia, Pennsylvania late in life and opened a gallery in New Hope to show her works. She died in 1966.

Provenance:

The Eve Peri papers were donated by Elizabeth Bullock and Judith Stein, executor and curator of the estate in 2001.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

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

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

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

Topic:

Fiberwork  Search this

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

Women artists  Search this

Women painters  Search this

Genre/Form:

Photographs

Citation:

Eve Peri papers, circa 1900-1996, bulk 1939-1966. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.perieve

See more items in:

Eve Peri papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f19e4d58-ffec-4651-af9b-ed91b638b3ec

EDAN-URL:

ead_collection:sova-aaa-perieve

Creator:

Dove, Arthur Garfield, 1880-1946  Search this

Names:

Phillips, Duncan, 1886-1966  Search this

Stieglitz, Alfred, 1864-1946  Search this

Torr, Helen, 1886-1967  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Audiotapes

Photographs

Diaries

Sketches

Date:

1905-1975

Summary:

The papers of artists Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.

Scope and Content Note:

The papers of Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.

Biographical Materials include a last will and testament, biographical narratives, and other official documents, as well as an audio recording of an interview with William Dove made around 1961 by George Wolfer. Correspondence includes letters from friends, clients, other artists, and Dove's patron Duncan Phillips. There is also correspondence with family members Helen Torr and Paul Dove. Drafts of outgoing letters from Dove to various correspondents including Phillips and Alfred Stieglitz are found.

Writings are extensive and include diaries, autobiographical essays, essays about art, artists, and other subjects, and poetry by Arthur Dove; as well as essays, reminiscences, and notes of Helen Torr. Printed Materials include exhibition catalogs for Dove's shows and the shows of other artists in the Stieglitz Circle, examples of Dove's early magazine illustration work, newspaper reviews of Dove's exhibitions, and various pamphlets related to modern art. Personal Business Records include an accounting ledger of the Doves' expenses, sales receipts, tax records, and an undated art inventory. Artwork consists of ten items, mostly sketches in pencil, watercolor, ink, and colored pencil. Photographs are undated and unidentified, but depict mostly family, homes, and coastal scenes.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1928-1937, circa 1961 (Box 1; 2 folders)

Series 2: Correspondence, circa 1920-1974 (Box 1; 0.8 linear feet)

Series 3: Writings, circa 1924-1945 (Boxes 1-3; 1.5 linear feet)

Series 4: Printed Materials, circa 1905-1975 (Box 3; 0.3 linear feet)

Series 5: Personal Business Records, circa 1921-1965 (Box 3; 0.3 linear feet)

Series 6: Artwork, undated (Box 3; 1 folder)

Series 7: Photographs, 1909, undated (Box 3; 4 folders)

Biographical Note:

Arthur Garfield Dove was an early twentieth-century painter, collagist, and illustrator who was one of the first American artists to embrace abstraction in art. He was a part of Alfred Stieglitz's Circle of modern American artists introduced at Stieglitz's 291 Gallery along with John Marin and Georgia O'Keeffe. Dove spent his career developing his own idiosyncratic style of formal abstraction in painting based on his ideas about nature, feeling, and pure form, and characterized by experimentation with color, composition, and materials.

Born in Canandiagua, NY in 1880, Dove grew up in the small, rural town of Geneva, NY. He was first exposed to art by a local farmer and painter named Newton Weatherly, who gave him canvas and paint, and who Dove himself cited as an early influence. Dove went to Cornell University to study law, but soon shifted to art and illustration. He graduated in 1903 and quickly became a success as a magazine illustrator, working for Collier's, McClure's, St. Nicholas, and The Illustrated Sporting News, among other publications. In 1904, he married Florence Dorsey, a Geneva woman, and they lived in New York City. Their son, William Dove, was born in 1910.

In 1908 the couple traveled to Paris to enable Dove to pursue his interest in painting. In Paris, he met Alfred Maurer, Jo Davidson, and other American artists living abroad. The influence of his European and expatriate contemporaries would prove to be a lasting one, exposing him to ideas about abstraction and experimentation that he would develop in his work for the rest of his life.

Soon after Dove's return to the United States, he met Alfred Stieglitz and began a lifelong friendship. Stieglitz ran the Little Galleries of the Photo-Secession, which came to be known as 291, in New York. His daring, avant-garde exhibitions of both European and American modern art at 291 provided a venue and gathering-place for progressive American artists that was unique for its time. Dove's first solo exhibition at 291 was held in 1912, and consisted of ten pastel drawings that have come to be known as the "Ten Commandments." The attention it received established Dove as a prominent abstract painter.

Around 1920, Dove met another Westport artist named Helen S. Torr, also known as Reds. A Philadelphia-born painter who had studied at the Pennsylvania Academy of Fine Art, Reds was married at the time to the cartoonist Clive Weed. Torr and Dove eventually left their unhappy marriages and began a life together, moving to a houseboat docked in Manhattan. In 1922, they moved to Halesite, Long Island, New York, where Dove's artwork once again flourished. By the mid-1920s, he was exhibiting regularly, paralleled by the rise of Stieglitz's new Intimate Gallery in 1925. His work continued to explore abstraction and organic forms, and, in addition to paintings, he produced assemblages made of found materials.

Although a building teardown brought the Intimate Gallery to a sudden end in 1929, the financial support of friends enabled Alfred Stieglitz to open An American Place soon thereafter. There Stieglitz would focus on the work of a few American artists, including Dove, John Marin, and Georgia O'Keeffe. Helen Torr was also exhibited at An American Place, in a group show with Arthur in 1933. It was also at this gallery that the art collector Duncan Phillips was introduced to Dove's artwork. Phillips' interest in Dove grew into an ongoing patronage of Dove that would see them through the Depression and periods of serious illness in the 1930s and 1940s. Their arrangement, whereby Phillips had first refusal on all of Dove's new artwork, enabled him to gradually assemble the largest collection of Dove's work held anywhere.

In 1938, while on a trip to New York to attend his exhibition, Dove became suddenly ill. Although he recovered somewhat that year, his health never entirely returned to normal, and he spent long periods during what remained of his life housebound and in a wheelchair. He and Reds bought a home in Centreport, on Long Island, where they would stay the rest of his life. In 1939 he was so ill that neither his family nor Stieglitz thought he would ever paint again. Despite his physical limitations, he continued to work, turning to the less physically strenuous media of drawing and watercolor, and produced new work for five solo exhibitions in the 1940s. His work of this period embraces pure abstraction more fully than ever, and is regarded by some to be a culmination or crystallization of his singular style and approach to abstract painting.

Arthur Dove suffered a stroke in 1946 and died that November, just four months after his lifelong friend and mentor Alfred Stieglitz died of a heart attack. Reds lived until 1967 in their Centreport home. Dove's importance to American art has since been recognized with more than a dozen retrospective exhibitions at major museums and galleries.

This biography relied heavily on the monograph Arthur Dove: Life and Work, with a Catalogue Raisonné (1984) by Ann Lee Morgan.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming. Reel 725 contains Arthur Dove's letters from Alfred Stieglitz (1918-1946) and Georgia O'Keeffe (1921-1948), and two letters from William Einstein (1937). The original letters were later donated to the Beinecke Library at Yale University, which holds the Stieglitz/O'Keeffe Archives. Reel 2803 contains photocopies of Arthur Dove's card catalog of paintings that were discarded after microfilming. This material is not described in the collection container inventory.

Provenance:

The papers of Arthur and Helen Torr Dove were loaned to the Archives of American Art by Arthur Dove's son, William Dove, for microfilming in several increments between 1970 and 1975. The papers were later donated to the Archives by William Dove via the Terry Distenfass Gallery of New York City in multiple accessions between 1982 and 1989, with two major exceptions: 177 letters from Alfred Stieglitz, sixteen letters from Georgia O'Keeffe, and two letters from William Einstein; and Arthur Dove's card catalog of paintings, a photocopy of which had been loaned for microfilming. The papers were digitized in 2006.

Restrictions:

The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.

Rights:

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

Occupation:

Painters -- New York (State)  Search this

Collagists -- New York (State)  Search this

Topic:

Works of art  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Audiotapes

Photographs

Diaries

Sketches

Citation:

Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.dovearth

See more items in:

Arthur and Helen Torr Dove papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw903513152-b2fa-4bc4-b0fb-de7d7f0728be

EDAN-URL:

ead_collection:sova-aaa-dovearth

Creator:

Archives of American Art  Search this

Type:

YouTube Videos

Uploaded:

2014-09-30T18:12:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

SmithsonianAAA

Data Source:

Archives of American Art

YouTube Channel:

SmithsonianAAA

EDAN-URL:

edanmdm:yt_2pHwnFfS7Wc

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D-p96np-Pw4

Painter:

Blythe, David Gilmour 1815-1865  Search this

Type:

Paintings

Owner/Location:

Duquesne Club Pittsburgh Pennsylvania

Topic:

Figure group  Search this

Dress--Accessory--Cane  Search this

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

Recreation--Leisure--Storytelling  Search this

Architecture exterior--Domestic  Search this

Control number:

IAP 70620044

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_130102

Creator:

Russell, Morgan, 1886-1953  Search this

Names:

Alvarez, Mabel, 1891-1985  Search this

Henri, Robert, 1865-1929  Search this

Huston, Walter, 1884-1950  Search this

Kikoïne, Michel, 1892-1968  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Stein, Leo, 1872-1947  Search this

Stravinsky, Igor, 1882-1971  Search this

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1977

Summary:

The Morgan Russell papers, 1891-1977, present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence, biographical material, transcripts of lectures given by Russell, illustrated notebooks and sketches, printed material and photographs.

Scope and Content Note:

The Morgan Russell papers present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence with many prominent individuals who played a role in Russell's artistic development; biographical material primarily documenting his activities in Europe; transcripts of lectures given by Russell; illustrated notebooks and sketches documenting his interest in, and development of, color theory, music and Synchromism; printed material such as exhibition announcements, catalogs and clippings; and photographs of Russell, his wife, friends and artwork.

Arrangement:

The collection is arranged as 7 series according to record type and reflecting the lender's arrangement. With the exception of Series 1: Correspondence, all series are arranged chronologically.

Missing Title

Series 1: Correspondence, 1909-1964 (Reels 4524-4527)

Series 2: Biographical Material, 1925-1941 (Reel 4527)

Series 3: Business Records, 1911-1946 (Reel 4527)

Series 4: Writings, 1931-1953 (Reel 4527)

Series 5: Unbound Notes and Sketches, 1891-1977 (Reels 4528-4538)

Series 6: Printed Material, 1908-1963 (Reels 4539-4541)

Series 7: Photographs, 1908-1948 (Reel 4542)

Biographical Note:

Painter and sculptor Morgan Russell was born in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS. He visited California in the early 1930s, teaching at the Chouinard School of Art in Los Angeles from 1931-1932, in addition to lecturing at museums in Los Angeles and San Francisco. Russell left France permanently in 1946 and died in Pennsylvania in 1953.

Provenance:

The Morgan Russell papers were lent to the Archives of American Art for microfilming by the Montclair Art Museum in 1991. The material was returned to the lender in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Topic:

Synchromism (Art)  Search this

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

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

Citation:

Morgan Russell papers, 1891-1977. Microfilm reels 4524-4542. Originals in the Montclair Art Museum.

Identifier:

AAA.russmorg

See more items in:

Microfilm of the Morgan Russell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978433968-7693-4610-a726-1f731d84a594

EDAN-URL:

ead_collection:sova-aaa-russmorg

Interviewee:

Andrade, Edna, 1917-2008  Search this

Interviewer:

Likos, Patricia  Search this

Names:

Barnes Foundation  Search this

Easthampton Gallery  Search this

Pennsylvania Academy of the Fine Arts  Search this

Andrade, C. Preston (Clarence Preston), 1912-1977  Search this

Garber, Daniel, 1880-  Search this

Harding, George, 1882-1959  Search this

Oakley, Violet, 1874-1961  Search this

Extent:

114 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1987 April 1-29

Scope and Contents:

An interview of Edna Andrade conducted 1987 April 1-29, by Patricia Likos, for the Archives of American Art.

Andrade speaks of her upbringing in Virginia, her education at the Pennsylvania Academy of the Fine Arts in the 1930s under Daniel Garber, Henry McCarter, and George Harding; visiting the Barnes Foundation; her travels in Europe and Egypt and living and working as a teacher and a graphic designer in New Orleans, Washington, and Philadelphia. She discusses the influence of the Bauhaus and Paul Klee on her work and teaching, her marriage to C. Preston Andrade, working in the training and education division of the Office of Strategic Services during World War II, the shift in her work from realism to abstraction, her associations with the Easthampton Gallery in New York and the Marian Locks Gallery in Philadelphia, and changes in the Philadelphia art scene. She recalls Violet Oakley.

Biographical / Historical:

Edna W. Andrade (1917-2008) was a painter from Philadelphia, Pennsylvania.

General:

Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 31 minutes.

Provenance:

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

Occupation:

Painters -- Pennsylvania -- Philadelphia  Search this

Educators -- Pennsylvania -- Philadelphia  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women educators  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.andrad87

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a1927de1-a025-414a-af38-77abe44e6683

EDAN-URL:

ead_collection:sova-aaa-andrad87

Creator:

Loper, Edward L., 1916-2011  Search this

Names:

Barnes Foundation  Search this

De Mazia, Violette, 1899-  Search this

Extent:

0.1 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1963-1964

Scope and Contents:

137 pages of notes covering 33 lectures given by Violette De Mazia at the Barnes Foundation on 19th and 20th century art. These unauthorized notes include the orientation lecture, reading assignements, and class discussions.

Biographical / Historical:

Painter, art instructor; Wilmington, Del. Loper studied at the Barnes Foundation.

Provenance:

Edward Loper was given a copy of short hand notes taken in De Mazia's class by an unidentified student. Loper then had one of his students, Janet Neville, type the notes. Neville, who later became Loper's wife, kept a copy of the notes, and they were microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project.

Restrictions:

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

Occupation:

Art teachers -- Pennsylvania -- Merion  Search this

Topic:

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

Art -- Study and teaching -- Pennsylvania -- Merion  Search this

Identifier:

AAA.lopeedwl

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dd7fe840-ee38-48f4-88e8-81fd89711215

EDAN-URL:

ead_collection:sova-aaa-lopeedwl

Interviewee:

Weidner, Roswell, 1911-1999  Search this

Interviewer:

Pacini, Marina  Search this

Names:

Barnes Foundation  Search this

Pennsylvania Academy of the Fine Arts  Search this

United States. National Youth Administration  Search this

United States. Work Projects Administration  Search this

United States. Works Progress Administration  Search this

Curran, Mary  Search this

De Mazia, Violette, 1899-  Search this

Garber, Daniel, 1880-  Search this

Harding, George, 1882-1959  Search this

Laessle, Albert, 1877-1954  Search this

McCarter, Henry, 1866-1942  Search this

Nuse, Roy Cleveland, b. 1885  Search this

Pierson, Joseph  Search this

Pinto, Angelo, 1908-1994  Search this

Speight, Francis, 1896-1989  Search this

Thrash, Dox, 1892-1965  Search this

Weidner, Marilyn Kemp, 1928-  Search this

Extent:

134 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1989 July 20-27

Scope and Contents:

An interview of Roswell Weidner conducted 1989 July 20-27, by Marina Pacini, for the Archives of American Art Philadelphia Project. Weidner discusses his early life, education, and art training at the Pennsylvania Academy of the Fine Arts, first at the school at Chester Springs, and later at the main school in Philadelphia. He discusses the programs at both schools, and recalls some of the faculty members, including Roy Nuse, Albert Laessle, George Harding, Joseph Pierson, Francis Speight, Daniel Garber, and Henry McCarter. He discusses the courses, exhibitions, and the competitions for traveling scholarships. He also discusses his study at the Barnes Foundation with Violette De Mazia and Angelo Pinto. After leaving the Academy, he joined the National Youth Administration and then transferred to the WPA with the Museum Extension, the Painting Project and the Print Project. He speaks of his work for each of these programs, their administration, and some of the individuals involved including Dox Thrash. He recalls Mary Curran and the efforts made by Albert Barnes to have her removed as head of the Painting Project. Weidner discusses his fifty years as a teacher at the Academy, beginning in 1939, and the changes in the institution since then, including the introduction of printmaking, the growth of abstraction, the hiring of women and black instructors, and other changes. He speaks of his wife, Marilyn Kemp Weidner, a paper conservator, and the development of her practice, as well as his own future work.

Biographical / Historical:

Roswell T. Weidner (1911-1999) was a painter and educator from Philadelphia, Pennsylvania.

General:

Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr.; 18 min.

Provenance:

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

Restrictions:

Transcript: Patrons must use microfilm copy.

Topic:

Art, American  Search this

Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this

Painters -- Pennsylvania -- Philadelphia -- Interviews  Search this

Educators -- Pennsylvania -- Philadelphia -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.weidne89

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d0c1ada8-2608-4b70-b8bd-f95469159f82

EDAN-URL:

ead_collection:sova-aaa-weidne89

Creator:

Pagon, Katherine W. Dunn, 1892-1988  Search this

Names:

Barnes Foundation  Search this

Philadelphia Museum of Art  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

Kimball, Fiske, 1888-1955  Search this

Extent:

0.4 Linear feet ((75 items))

Type:

Collection descriptions

Archival materials

Date:

[ca. 1938-1961]

Scope and Contents:

Letters, notes, writings and printed material collected by Pagon regarding the Barnes Foundation, Albert C. Barnes, and the Philadelphia Museum of Art.

Included are letters, 1948-1952, from Pagon to the editors of Philadelphia area newspapers regarding the Barnes Foundation, and several letters received, 1948-1953, including one from Barnes, 1950; Pagon's notes from a Barnes Foundation class taught by Angelo Pinto, 1946, and other notes; a file containing copies of correspondence between Barnes, Henry Clifford and Fiske Kimball regarding a 1948 Matisse exhibition at the Philadelphia Museum of Art; writings by Barnes, including pamphlets on art education and writings on Fiske Kimball, the Philadelphia Museum of Art, and the arts in Philadelphia, 1938-1948.

Printed material includes a pamphlet, 1938, by Harry Fuiman, "The Progressive Decay of the Pennsylvania Museum of Art," an article on Matisse, and pamphlets and clippings on Barnes and the Foundation, primarily focused on the lawsuit after Barnes' death to force the Foundation to open its gallery to the public, 1943-1961.

Biographical / Historical:

Painter, Philadelphia, Pa., and Baltimore, Md. Studied at the Pennsylvania Academy of the Fine Arts between 1910 and 1918, and later at the Barnes Foundation. Albert C. Barnes was a collector of modern art who acquired over 800 paintings, particularly French Impressionists and other modern painters such as Cezanne, Renoir, Matisse and Picasso. The collection is housed in the Barnes Foundation in Merion, Pa. Barnes directed in his will that the collection never be allowed to tour or be reproduced.

Provenance:

Donated by Pagon's granddaughter, Katherine Pagon Tawney and her husband, Lee Tawney, 1992.

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.

Topic:

Art, Modern -- 20th century -- Collectors and collecting  Search this

Art -- Collectors and collecting -- Pennsylvania  Search this

Identifier:

AAA.pagokath

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2b60957-e97e-487d-89c8-13305cc55287

EDAN-URL:

ead_collection:sova-aaa-pagokath

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Subject:

Bunker, John  Search this

Myers, Ella Price  Search this

Citation:

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

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8044

(DSI-AAA_SIRISBib)210215

AAA_collcode_myerfran

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210215

Interviewee:

Piper, Jane, 1916-1991  Search this

Interviewer:

Wolanin, Barbara A.  Search this

Subject:

Carles, Arthur B.  Search this

Hofmann, Hans  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Jane Piper, 1988 Jan. 16-17. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)13201

(DSI-AAA_SIRISBib)211979

AAA_collcode_piper88

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_211979

Creator:

Piper, Jane, 1916-1991  Search this

Extent:

0.2 Linear feet ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1943-1988

Scope and Contents:

Biographical information; class notes from a 2-dimensional painting class at the Philadelphia College of Art; a typescript from a lecture given by Piper; printed matter documenting her career; and photographs of her studio and of Piper with a painting.

Biographical / Historical:

Painter; Philadelphia, Pa. Died 1991.

Provenance:

Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project. Lent by Jane Piper.

Restrictions:

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

Occupation:

Painters -- Pennsylvania -- Philadelphia  Search this

Topic:

Painting, Modern -- 20th century -- History -- Pennsylvania -- Philadelphia  Search this

Women artists  Search this

Women painters  Search this

Identifier:

AAA.pipejane

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92328df60-678c-43a6-b80b-51c2425131d9

EDAN-URL:

ead_collection:sova-aaa-pipejane

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Names:

Bunker, John  Search this

Myers, Ella Price  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1976

bulk 1908-1960

Summary:

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

Scope and Contents:

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

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

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

Arrangement:

The collection is arranged as five series.

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

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

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

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

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

Biographical / Historical:

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

Separated Materials:

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

Provenance:

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

Restrictions:

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

Rights:

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

Occupation:

Educators -- Ohio -- Cincinnati  Search this

Landscape painters -- Ohio -- Cincinnati  Search this

Painters -- Ohio -- Cincinnati  Search this

Painters -- California -- Monterey  Search this

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Citation:

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

Sponsor:

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

Identifier:

AAA.myerfran

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

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

EDAN-URL:

ead_collection:sova-aaa-myerfran

Creator:

Baziotes, William, 1912-1963  Search this

Names:

Kootz Gallery (N.Y.)  Search this

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

Peter A. Juley & Son  Search this

Solomon R. Guggenheim Museum  Search this

Alloway, Lawrence, 1926-1990  Search this

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

Baziotes, Christos  Search this

Baziotes, Ethel  Search this

Baziotes, Harry  Search this

Bernshṭin, Meʼir, -1978  Search this

Blesh, Rudi, 1899-1985  Search this

Bodin, Paul, 1910-1994  Search this

Canaday, John, 1907-1985  Search this

Castano, Giovanni, 1896-1978  Search this

Greenberg, Clement, 1909-1994  Search this

Guggenheim, Peggy, 1898-1979  Search this

Halper, Nathan  Search this

Hare, David, 1917-1992  Search this

Hélion, Jean, 1904-1987  Search this

Janis, Harriet Grossman  Search this

Kamrowski, Gerome  Search this

Kootz, Samuel Melvin, 1898-1982  Search this

Lee, Francis P.  Search this

Licht, Michel, 1893-1953  Search this

Matta, 1912-2002  Search this

Motherwell, Maria  Search this

Motherwell, Robert  Search this

Namuth, Hans  Search this

Onslow-Ford, Gordon  Search this

Paneth, Donald  Search this

Peterson, Charles  Search this

Picasso, Pablo, 1881-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Ricci, F.  Search this

Ruiz-Picasso, Maya  Search this

Schumm, Gertrud  Search this

Schwabacher, Ethel, 1903-1984  Search this

Sievan, Maurice  Search this

Still, Clyfford, 1904-1980  Search this

Vazakas, Byron  Search this

Zulieta, Orlando  Search this

Extent:

6.3 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Photographs

Sketchbooks

Date:

circa 1900-1992

bulk 1935-1980

Summary:

The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.

Scope and Contents:

The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.

Biographical material on William Baziotes consists of a bibliography, teaching files, a sound recording of an interview, membership cards, sales records, a sketchbook, and other miscellaneous material. There is one folder regarding Ethel Baziotes containing a few certificates and her college diploma.

Correspondence consists of letters to William and Ethel Baziotes. Notable correspondents include Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Maria and Robert Motherwell, Jackson Pollock, and others. There are also letters from the Samuel M. Kootz Gallery regarding the sales of William Baziotes's artwork and letters written by William Baziotes to his brother Christos. Letters to Ethel Baziotes include condolence letters as well as letters from museum and galleries regarding exhibitions of her husband's work.

Writings include William Baziotes's notes on various subjects, a list of book titles, and a transcript for a speech. Writings by others include essays about William Baziotes and other subjects.

Printed materials consist of clippings, announcements, magazines, and many exhibition catalogs, mostly on group exhibitions which included artwork by William Baziotes.

Photographs are of William Baziotes, Ethel Baziotes, family and friends, their residence, and his artwork. There are a also photographs of Meir Bernstein, Samuel Kootz, Paul Bodin, Maria Motherwell, Pablo and Maya Picasso, Rudi Blesh, Nathan Halper, Ethel Schwabacher, Clyfford Still, and others.

Arrangement:

The collection is arranged as 5 series.

Series 1: Biographical Material, 1933-1982 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1936-1988 (Boxes 1-2; 1 linear feet)

Series 3: Writings, circa 1950-1992 (Box 2; 0.2 linear feet)

Series 4: Printed Material, 1944-1992 (Boxes 2-7, 9; 4.1 linear feet)

Series 5: Photographs, circa 1900-1979, bulk 1940-circa 1963 (Boxes 7-9; 0.7 linear feet)

Biographical / Historical:

William Baziotes (1912-1963) was an abstract expressionist painter in New York City. Born in Pittsburgh, Pennsylvania, Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940.

In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. The Samuel M. Kootz Gallery, Inc. held a solo show for Baziotes in 1946 and continued to exhibit his works until 1958.

Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School and New York University, 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Baziotes died in 1963.

Provenance:

The William and Ethel Baziotes papers were donated by Ethel Baziotes, widow of William Baziotes, in several installments from 1969 to 1993.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Topic:

Abstract expressionism  Search this

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

Art, Abstract  Search this

Genre/Form:

Sound recordings

Interviews

Photographs

Sketchbooks

Citation:

William and Ethel Baziotes papers, circa 1900-1992, bulk 1935-1980. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.baziwill

See more items in:

William and Ethel Baziotes papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d6f7f943-90c5-4dd7-b527-e69d86772014

EDAN-URL:

ead_collection:sova-aaa-baziwill

Creator:

Tatti, Benedict, 1917-1993  Search this

Names:

American Medallic Sculpture Association  Search this

American Numismatic Association  Search this

Anthology Film Archives  Search this

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

Galerie Claude Bernard  Search this

Mercer Arts Center (Organization: New York, N.Y.)  Search this

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

Canfield, Jane  Search this

Goodrich, Lloyd, 1897-1987  Search this

Noguchi, Isamu, 1904-1988  Search this

Slobodkin, Louis, 1903-  Search this

Zorach, William, 1887-1966  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Notes

Awards

Lists

Christmas cards

Photographs

Designs

Sketches

Date:

1936-2011

bulk 1945-1993

Summary:

The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.

Scope and Contents note:

The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.

Biographical materials include curriculum vitae, Who's Who in American Art, memberships, and awards. Correspondence is primarily from colleagues, dealers, collectors, and representatives of museums, galleries, and arts organizations. There are a few outgoing letters from Benedict Tatti, including a handmade holiday card. Among the notable correspondents are Jane Canfield, Lloyd Goodrich, Louis Slobodkin, and William Zorach. Also found is a small portion of Adele Tatti's correspondence relating to her late husband's artwork.

Project files contain Tatti's commissions for Eutectic-Castolin Institute, Staten Island Community College, Statue of Liberty Restoration, and the Usdan Center for the Creative and Performing Arts; application proposals to Creative Artists Public Service program (CAPS); and the artist's invention of the rewind reel adapter. Subject files include Tatti's memberships and activities in professional associations, e.g., American Medallic Sculpture Association, American Numismatic Society, and Audubon Artists; Tatti's Artist-in-Residence proposals for the Television Lab, WNET 13; and his involvement in educational video presentations. Exhibition files consist of scattered materials on Tatti's shows at the Anthology Film Archives; Burr Galleries; Galerie Claude Bernard; The Kitchen, Mercer Arts Gallery; Northeast Harbor Gallery; and Roko Gallery.

Writings, notes, and lists include writings by Benedict Tatti; writings about Benedict Tatti, including a statement on the artist by Isamu Noguchi; and lists compiled by Adele Tatti relating to her late husband's work. Artwork contains Tatti's sketch of a sculpture for the Northeast Harbor Museum and sketches of medal designs. Printed material consists of announcements, brochures, invitations, exhibition catalogues and checklists, clippings, periodicals, newsletters, reproductions, other printed matter, and monographs. Photographs include black and white prints of portrait shots of Benedict Tatti, Tatti in his studio and with others, video equipment and Tatti's video art; also found are color photographs of Tatti's sculptures and design maquettes.

Arrangement note:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1936-1993 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1945-2008 (Box 1; 0.1 linear feet)

Series 3: Project Files, 1966-2005 (Box 1; 0.1 linear feet)

Series 4: Subject Files, circa 1950s-2008 (Box 1; 0.1 linear feet)

Series 5: Exhibition Files, 1945-1992 (Box 1; 0.1 linear feet)

Series 6: Writings, Notes, and Lists, circa 1940s-2009 (Box 1; 4 folders)

Series 7: Artwork, 1970-circa 1990s (Box 1; 3 folders)

Series 8: Printed Material, 1937-1976 (Boxes 1-2; 0.8 linear feet)

Series 9: Photographs (circa 1936-1970s), circa 1964-2010 (Box 3; 0.4 linear feet)

Biographical/Historical note:

Benedict Tatti (1917-1993) worked in New York as a sculptor, painter, educator, and video artist.

Born in New York in 1917, Tatti began his art education at Haaren High School. He continued his studies at the Roerich Museum with Louis Slobodkin, the Art Students League with William Zorach and Ossip Zadkine, and the Leonardo da Vinci School of Art under Attillio Piccirelli. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City.

Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage sculptures, using bronze metal and other industrial materials. During this period, Tatti spent summers on Monhegan Island in Maine, where he developed his water coloring techniques. In 1963, Tatti was hired to teach sculpture at the High School of Art and Design in New York, a position that he held for fifteen years.

In the 1970s, Tatti, with no previous background in video work developed technology for video imaging. He became an associate member of the Kitchen at the Mercer Arts Center exhibiting his video sculptures along with other early innovators of this new art form. In 1975, he invented a rewind reel adapter device. Despite health problems, Tatti continued to work and exhibit into the 1980s. He assisted his brother, Alexander Tatti and his nephew, Steven Tatti on the restoration of the Statue of Liberty on Ellis Island, which was completed in 1985.

Benedict Tatti received solo and group exhibitions at museums and galleries in the United States and abroad, including the Burr Gallery, Claude Bernard Galleries, Metropolitan Museum of Art, under the Artists for Victory Program, Museum of Modern Art, National Gallery of Art, Northeast Gallery, Pennsylvania Academy of the Fine Arts, and the Roko Gallery. Also, Tatti's work was regularly featured in annual exhibitions of several arts organizations: American Society of Contemporary Artists, Annual Avant Garde Festival, Audubon Artists, Brooklyn Society of Artists, and Painters and Sculptors Society of New Jersey. His awards included the National Soldier Art Competition at the National Gallery of Art (1945); Artist-in-Residence, National Center of Experiments TV, San Francisco, California, (1969); and the Creative Artists Public Service (CAPS), (1972). Tatti's artwork is in the permanent collections of the American Numismatic Society, Art Students League, Dumbarton Oaks, Monhegan Museum, Smithsonian Institution, and the Usdan Center for the Creative and Performing Arts.

Benedict Tatti died on July 30, 1993.

Provenance:

The Benedict Tatti papers were donated by Adele Tatti, widow of Benedict Tatti, in 2010.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

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

Topic:

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

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

Genre/Form:

Notes

Awards

Lists

Christmas cards

Photographs

Designs

Sketches

Citation:

Benedict Tatti, 1936-2011, bulk 1945-1993. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.tattbene

See more items in:

Benedict Tatti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b58b3ec4-c37d-49b9-8159-5cff7c512cf1

EDAN-URL:

ead_collection:sova-aaa-tattbene

Interviewee:

Piper, Jane, 1916-1991  Search this

Interviewer:

Wolanin, Barbara A. (Barbara Ann)  Search this

Names:

Carles, Arthur B., 1882-1952  Search this

Hofmann, Hans, 1880-1966  Search this

Extent:

43 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1988 Jan. 16-17

Scope and Contents:

An interview of Jane Piper conducted 1988 Jan. 16-17, by Barbara Wolanin, for the Archives of American Art. Piper speaks of her training at the Pennsylvania Academy of the Fine Arts, her studies with Arthur B. Carles and Hans Hofmann and of Carles' influence on her. Piper describes Carles' classes, his teaching methods, as well as Carles' stroke and his final unsuccessful attempt to exhibit at Princeton before his death. Piper speaks about her career as a teacher and as an artist, her exhibition history, her working methods and the development of her painting, particularly the importance of color and the move between abstraction and representational painting.

Biographical / Historical:

Jane Piper (1916-1991) was a painter from Philadelphia, Pa.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 2 min.

Provenance:

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

Occupation:

Painters -- Interviews  Search this

Topic:

Women artists  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.piper88

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw915e9aaf9-7a40-4e1d-957d-98f86f4d2458

EDAN-URL:

ead_collection:sova-aaa-piper88

Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

131 Linear feet (29 architectural drawings)

Type:

Collection descriptions

Archival materials

Diaries

Financial records

Correspondence

Photographs

Place:

China

Syria

Egypt

India

London (England)

Japan

Boston (Mass.)

Detroit (Mich.)

Washington (D.C.)

Kandy (Sri Lanka)

Sri Lanka

Anuradhapura (Sri Lanka)

Date:

1876-1931

Summary:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.

Scope Content:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.

Organization of the Papers:

This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs

Biographical Note:

1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Korin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.

Index:

Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company

Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts

Related Material:

The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.

Provenance:

Gift of the Estate of Charles Lang Freer.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, American -- Collectors and collecting  Search this

Art, Asian -- Collectors and collecting  Search this

Art -- Collectors and collecting  Search this

Architecture -- Asia  Search this

Genre/Form:

Diaries

Financial records

Correspondence

Photographs

Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:

FSA.A.01

See more items in:

Charles Lang Freer Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3f1a0e3e0-630c-48d4-ba28-485946b1d615

EDAN-URL:

ead_collection:sova-fsa-a-01

Creator:

Pollock, Charles C.  Search this

Names:

Pollock, Jackson, 1912-1956  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketches

Cartoons (humorous images)

Date:

1875-1994

Summary:

The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.

Scope and Contents:

The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Materials, 1945-1988 (7 folders; Box 1)

Series 2: Correspondence, 1927-1994 (1 linear foot; Boxes 1-2)

Series 3: Subject Files, 1931-1988 (0.8 linear feet; Box 2)

Series 4: Writings, 1935-1965 (2 folders; Box 2)

Series 5: Printed Material, 1930-1990 (4 folders; Box 2)

Series 6: Artwork, 1925-1949 (0.7 linear feet; Box 3, OV 5-8)

Series 7: Photographic Materials, 1875-1987 (0.4 linear feet; Boxes 3-4)

Biographical / Historical:

Painter, muralist, and educator Charles Pollock (1902-1988) lived and worked in East Lansing, Michigan, New York City, Detroit, and Paris, France and painted in a social realist style early in his career before transitioning to abstract works in the 1940s. He is also the eldest brother of the abstract expressionist Jackson Pollock.

Born in Denver, Colorado to Stella McClure and LeRoy Pollock, Pollock received his early art training at the Otis Institute in Los Angeles, California. In 1926, he moved to New York City to attend the Art Students League where he studied under Thomas Hart Benton, with whom Jackson also studied after joining Charles in New York in 1930. In New York, he met and married his first wife, Elizabeth Feinberg Pollock, in 1931.

Pollock moved to Washington, D.C. in 1935 to work for the Resettlement Administration, and after two years, accepted a position as the political illustrator for the United Automobile Workers' newspaper in Detroit. After a short stint as the illustrator and layout editor for the paper, Pollock served as the supervisor of the Michigan WPA Mural Painting and Graphic Arts division from 1938 to 1942.

Upon completion of a three panel mural for Michigan State University in 1942, Pollock was invited to join the faculty of the art department, where he taught lettering, printmaking, typography, and design. During his twenty-five year tenure at the University, he also served as a book designer for the University's Press and continued to develop his abstract painting style. He met and married his second wife, Sylvia Winter Pollock, in 1957. Pollock served as the University of Pennsylvania's artist in residence in 1965 and 1967, and was the recipient of a National Foundation of Arts Grant (1967) and a Guggenheim Grant (1967-1968). The Pollocks moved to Paris in 1970, where Charles died of complications from a stroke in 1988.

Related Materials:

Also found in the Archives of American Art are the Elizabeth Feinberg Pollock memoirs and the Jackson Pollock and Lee Krasner papers.

Separated Materials:

Nine works of art included in the 1975 gift from Elizabeth Pollock were transferred to the Smithsonian American Art Museum, formerly the National Collection of Fine Arts, in 1976.

Provenance:

The papers were donated in 1975 by Pollock's first wife, Elizabeth Feinberg Pollock, with assistance from Charles Pollock on the selection of items. Additional materials were donated in 1988 by his second wife, Sylvia Winter Pollock. From 1991 to 1994, Elizabeth Pollock gifted additional correspondence and photographs to the Archives.

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.

Rights:

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

Occupation:

Art teachers -- France  Search this

Muralists -- France -- Paris  Search this

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

Art teachers -- Michigan  Search this

Muralists -- Michigan  Search this

Painters -- Michigan  Search this

Topic:

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

Painters -- France -- Paris  Search this

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

Expatriate painters -- France -- Paris  Search this

Genre/Form:

Photographs

Sketches

Cartoons (humorous images)

Citation:

Charles Pollock papers, 1875-1994. 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.pollchar

See more items in:

Charles Pollock papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e0a28c09-daf6-4919-b503-d625e833fcef

EDAN-URL:

ead_collection:sova-aaa-pollchar