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Oral history interview with Robert S. Neuman

Interviewee:
Neuman, Robert S.  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
106 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1991 May 1-June 19
Scope and Contents:
An interview of Robert S. Neuman conducted 1991 May 1-1991 June 19, by Robert Brown, for the Archives of American Art.
Neuman discusses his childhood in Idaho; art training in Idaho and San Francisco; California artists Clyfford Still, Richard Diebenkorn, Hassel Smith, and Nathan Oliveira; WWII service; the School of the Pacific vs. Euro-centric New York; studying in Germany on a Fulbright scholarship; the influence of work by Willi Baumeister and Wolfgang Wols; moving to Boston and the art community there in the 1950s and 1960s; studying in Barcelona on a Guggenheim fellowship; the evolution of his painting in overlapping phases; and his preference for being outside the mainstream art world.
Biographical / Historical:
Robert S. Neuman (1926- ) is an abstract painter and art instructor from San Francisco, Germany, Spain, and Boston.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 6 hrs., 41 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 administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art teachers -- Massachusetts -- Interviews  Search this
Topic:
Painting, Abstract -- Massachusetts  Search this
Painting, Modern -- 20th century  Search this
Painters -- Massachusetts -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.neuman91
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neuman91

Oral history interview with Irving Norman

Creator:
Norman, Irving, 1906-1989  Search this
Bay Area Video Coalition (San Francisco, Calif.)  Search this
Interviewer:
Bell, Michael S., 1946-  Search this
Names:
Bay Area Video Coalition (San Francisco, Calif.)  Search this
Extent:
6 Videocassettes (U-matic) ((circa 112 min.), sd., col., 3/4 in.)
Type:
Collection descriptions
Archival materials
Videocassettes (u-matic)
Video recordings
Date:
1988 Mar. 5
1988 Mar. 5
Scope and Contents:
An interview with Irving Norman conducted 1988 Mar. 5, by Michael Bell, for the Archives of American Art in conjunction with the Bay Area Video Coalition, at the artist's home and studio in Half Moon Bay, Calif.
Norman discusses his life and his artwork, including the many different places he has lived and other artists who influenced him. Footage includes Norman's works (some silent and some with Norman's commentary) and detailed footage of his studio.
General:
Originally recorded on 6 U-matic video cassettes. Duration is circa 112 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:
For information on how to access this interview contact Reference Services.
Topic:
Painters -- California -- Interviews  Search this
Painting, Modern -- 20th century -- United States  Search this
Genre/Form:
Video recordings
Identifier:
AAA.norman88
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-norman88

Oral History interview with James Chan Leong

Interviewee:
Leong, James Chan, 1929-  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
85 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1972 Oct. 17
Scope and Contents:
An interview of James Chan Leong conducted 1972 Oct. 17, by Paul Cummings, for the Archives of American Art. Leong discusses difficulties being a Chinese-American during school years in San Francisco; his army service and subsequent enrollment in the California College of Arts and Crafts on the G.I. Bill; further study in California and abroad; his art work and teaching; living and working in Rome, Italy; and other topics.
Leong would like it known that he has not heard the interview or read the transcript, and that he has requested additional interview time to make additions and ammendments.
Biographical / Historical:
James Chan Leong (1929-2011) was a Chinese American painter based in Rome, Italy.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hrs., 46 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Interviews  Search this
Topic:
Painting, Modern -- 20th century  Search this
Art students -- California -- Interviews  Search this
Asian American artists -- Interviews  Search this
Chinese American artists -- Interviews  Search this
Asian American art  Search this
Chinese American art  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.leong72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-leong72

Oral history interview with Clifford Amyx

Interviewee:
Amyx, Clifford, 1909-1997  Search this
Interviewer:
Pennington, Estill Curtis  Search this
Extent:
1 Item (sound file Sound recording, digital, wav file)
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 December 28
Scope and Contents:
An interview of Clifford Amyx conducted 1982 December 28, by Buck Pennington, for the Archives of American Art.
Amyx speaks of moving around during his childhood due to his father's career; moving from Kentucky to Hollywood during the Depression to work on a sound stage for Warner Brothers but when he arrives the job is no longer available, so he enrolls in the San Francisco Art Institute; working in a coal yard Berkeley, California, where he met Joseph Danysh from the Federal Art Project; working as a graphic artist for the Federal Art Project as part of the Works Progress Administration in the Bay Area.
Biographical / Historical:
Clifford Amyx (1909-1997) was a painter and educator from Lexington, Kentucky.
General:
Originally recorded as 1 cassette. Reformatted in 2010 as 1 digital wav file. Duration is 48 minutes.
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 others.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Painters -- Kentucky -- Lexington -- Interviews  Search this
Topic:
Painting, Modern -- 20th century -- Kentucky  Search this
Educators -- Kentucky -- Lexington -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.amyx82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-amyx82

Oral history interview with Gordon Onslow-Ford

Interviewee:
Onslow-Ford, Gordon  Search this
Interviewer:
Lindberg, E. Theodore  Search this
Names:
Breton, André, 1896-1966  Search this
Léger, Fernand, 1881-1955  Search this
Matta, 1912-2002  Search this
Extent:
51 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1984 Mar. 26
Scope and Contents:
An interview of Gordon Onslow-Ford conducted 1984 Mar. 26, by Ted Lindberg, for the Archives of American Art.
Onslow-Ford speaks of his family background and early years in England; his education; going to Paris and studying art there; his studies with Fernand Leger; his discovery of cubism and futurism; meeting Andre Breton; his work in surrealism; coming to New York and later to San Francisco; the development of his interest in calligraphy and black and white painting; his feelings about ecology. He recalls Roberto Matta Echuarren.
Biographical / Historical:
Gordon Onslow-Ford (1912-2003) was a painter in Inverness, Calif.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 54 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 others.
Topic:
Cubism  Search this
Surrealism  Search this
Painting, Modern -- 20th century -- California  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.onslow84
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-onslow84

Clay Spohn papers

Creator:
Spohn, Clay Edgar, 1898-1977  Search this
Names:
School of Visual Arts (New York, N.Y.)  Search this
University of California, San Francisco. School of Fine Arts  Search this
Calder, Alexander, 1898-1976  Search this
Corbett, Edward, 1919-  Search this
Corbett, Rosamond Walling Tirana, 1910-1999  Search this
Fryworth, Teressa, 1906-1981  Search this
McChesney, Mary Fuller  Search this
Neininger, Urban  Search this
Reynal, Jeanne, 1903-  Search this
Ribak, Louis, 1902-1979  Search this
Rothko, Mark, 1903-1970  Search this
Sievan, Maurice  Search this
Sihvonen, Oli, 1921-  Search this
Still, Clyfford, 1904-  Search this
Extent:
20.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Account books
Ambrotypes
Photographs
Date:
circa 1862-1985
bulk 1890-1985
Summary:
The Clay Spohn papers measure 20.4 linear feet and date from circa 1862 to 1985 with the bulk of the material dating from 1890 to 1985. The collection consists of biographical material, correspondence, business records, notes and writings, art work, printed material, and photographs which reflect the life and career of painter and educator Clay Spohn.
Scope and Content Note:
The Clay Spohn papers measure 20.4 linear feet and date from circa 1862 to 1985 with the bulk of the material dating from 1890 to 1985. The collection consists of biographical material, correspondence, business records, notes and writings, artwork, printed material, and photographs reflecting the life and career of painter and educator Clay Spohn.

Part 1 includes sketchbooks with annotated drawings by Spohn, writings including reminiscensces by Spohn, letters, clippings, and photographs of Spohn's artwork.

Part 2 includes biographical material; correspondence between Spohn and his colleagues; business records such as Spohn's general accounting records; Spohn's notes and writings on a variety of subjects; drawings and sketchbooks; printed material such as exhibition announcements and catalogs; and photographs of subjects such as Spohn, his family and colleagues, his house, and his artwork.
Arrangement:
The collection is arranged into three parts. Part 1 was lent to the Archives of American Art in 1964 by Clay Spohn, and was microfilmed and returned to Spohn. Part 2 was donated to the Archives of American Art by Urban Neininger in 1978 and was partially microfilmed. Because material from part 2 was not processed until over three decades after filming Part 1, the overall organization is inconsistent. In general, material within folders is arranged chronologically.

Part 1: Clay Spohn Papers, 1926-1963

Part 2: Clay Spohn Papers, circa 1862-1985 (boxes 1-22, OV 23, 19.9 linear ft.)

Part 3: Addition to the Clay Spohn Papers, 1958-1977 (box 24; 0.4 linear ft.)
Biographical Note:
Clay Edgar Spohn was born November 24, 1898, in San Francisco, to Lena (Schaefer) and John Henry Spohn. From 1919 to 1921, Spohn studied at the University of California at Berkeley, and from 1922 to 1924, he studied at the Art Students League in New York under Kenneth Hayes Miller, Boardman Robinson, George Luks and Guy Pene Du Bois. He also became acquainted with Alexander Calder at the Art Students League. In 1924, Spohn was employed as an assitant designer to muralist Ezra Winter. From 1926 to 1927 he studied in Paris at the Academie Modern, a school run by Fernand Leger and Orthon Fireze.

Returning to San Francisco in 1927, Spohn became an active member in the Bay Area art scene. The Treasury Department commissioned him, in 1938, to execute a mural for the Montebello, California post office, and in 1939, he completed another mural under the sponsorship of the WPA for Los Gatos Union High School in Los Gatos, California.

In 1942, the San Francisco Museum of Art mounted Spohn's solo exhibition "Fantastic War Machines and Guerragraphs", consisting of a series of drawings inspired by dreams of World War II. From 1945 until his resignation in 1950, Spohn was employed as instructor of drawing and painting at the California School of Fine Arts, where he befriended Clyfford Still and Mark Rothko. In 1949, at the California School, he organized a group exhibition entitled "The Museum of Unknown and Little Known Objects", in which Spohn's extraordinarily-constructed objects were a focal point.

Spohn moved to Taos, New Mexico in 1952, and participated in several national exhibitions. He was Visiting Lecturer at Mount Holyoke College, Massachusetts, in 1958, after which he moved to New York City where he executed a series of paintings under the sponsorship of the collector J. Patrick Lannan. From 1964 to 1969, he taught at the School of Visual Arts in New York.

After a two year move to Taos, Spohn returned to New York in 1971. In 1974, the Oakland Museum sponsored a retrospective of Spohn's work.

Clay Spohn died in New York City on December 19, 1977.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (D169) including sketchbooks, writings, correspondence, and related material. Lent materials were returned to the lender and are described in the first series of the finding aid.
Provenance:
The material on reel D169 was lent for filming by Clay Spohn in 1964. The material on reel 5461-5474 was donated by Spohn's friend and the executor of his estate, Urban Neininger, in 1978. An additional 0.4 linear feet of papers were donated by Spohn's biographer, David Beasley, in 2008.
Restrictions:
The collection is open for research. Use of unfilmed material 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.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painting, Abstract -- France -- Paris  Search this
Genre/Form:
Drawings
Sketchbooks
Account books
Ambrotypes
Photographs
Citation:
Clay Spohn Papers, circa 1862-1985, bulk 1890-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.spohclay
See more items in:
Clay Spohn papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-spohclay

Oral History interview with James Chan Leong, 1972 Oct. 17

Interviewee:
Leong, James Chan, 1929-  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Modern -- 20th century  Search this
Art students -- California -- Interviews  Search this
Asian American artists -- Interviews  Search this
Chinese American artists -- Interviews  Search this
Asian American art  Search this
Chinese American art  Search this
Record number:
(DSI-AAA_CollID)13173
(DSI-AAA_SIRISBib)212839
AAA_collcode_leong72
Theme:
Asian American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212839

Clay Spohn papers, circa 1862-1985, bulk 1890-1985

Creator:
Spohn, Clay Edgar, 1898-1977  Search this
Subject:
Rothko, Mark  Search this
Corbett, Rosamond Walling Tirana  Search this
Fryworth, Teressa  Search this
Corbett, Edward  Search this
Calder, Alexander  Search this
Sievan, Maurice  Search this
Sihvonen, Oli  Search this
Reynal, Jeanne  Search this
Ribak, Louis  Search this
McChesney, Mary Fuller  Search this
Neininger, Urban  Search this
Still, Clyfford  Search this
University of California, San Francisco. School of Fine Arts  Search this
School of Visual Arts (New York, N.Y.)  Search this
Type:
Drawings
Sketchbooks
Account books
Ambrotypes
Photographs
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painting, Abstract -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9468
(DSI-AAA_SIRISBib)211666
AAA_collcode_spohclay
Theme:
Diaries
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211666
Online Media:

Irving and Hela Norman papers, circa 1920-2010

Creator:
Norman, Irving, 1906-1989  Search this
Norman, Hela, 1927-  Search this
Type:
Photographs
Interviews
Video recordings
Sound recordings
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Record number:
(DSI-AAA_CollID)10212
(DSI-AAA_SIRISBib)213287
AAA_collcode_normirvi
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213287
Online Media:

Erle Loran papers, 1912-1999

Creator:
Loran, Erle, 1905-1999  Search this
Subject:
Bearden, Romare  Search this
Cézanne, Paul  Search this
Dasburg, Andrew  Search this
Greenberg, Clement  Search this
Haley, John  Search this
Hartley, Marsden  Search this
Hatfield, Dalzell  Search this
Hofmann, Hans  Search this
Levinson, Harry  Search this
Still, Clyfford  Search this
Schaefer, Bertha  Search this
Sabean, Samuel  Search this
Wilke, Ulfert  Search this
Fine Arts Museums of San Francisco  Search this
University of California, Berkeley  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
Type:
Watercolors
Sketches
Photographs
Writings
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Record number:
(DSI-AAA_CollID)9167
(DSI-AAA_SIRISBib)211362
AAA_collcode_loraerle
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211362
Online Media:

Irving and Hela Norman papers

Creator:
Norman, Irving, 1906-1989  Search this
Norman, Hela  Search this
Extent:
10 Linear feet
142.32 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Video recordings
Sound recordings
Date:
circa 1920-2010
Summary:
The papers of Irving and Hela Norman measure 10.0 linear feet and 142.32 GB and date from circa 1920 to 2010. The papers document the career of painter Irving Norman through biographical material; correspondence with family, friends, curators, art galleries, and museums; writings, exhibition records, personal business records, printed material, personal photographs, and photographs of his artwork. Also found are numerous audio and video interviews of Irving and Hela Norman. Some of the materials, interviews and photographs are digital.
Scope and Contents:
The papers of Irving and Hela Norman measure 10.0 linear feet and 142.32 GB and date from circa 1920 to 2010. The papers document the career of painter Irving Norman through biographical material; correspondence with family, friends, curators, art galleries, and museums; writings, exhibition records, personal business records, printed material, personal photographs, and photographs of his artwork. Also found are numerous audio and video interviews of Irving and Hela Norman. Some of the materials, interviews and photographs are digital.

Researchers should note that the collection primarily documents Irving Norman's late career and Hela Norman's work to manage the exhibition and sale of Irving's work after his death. Almost all of the Norman's drawings and personal records were lost in a house and studio fire in December 1988.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1929-2010 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1951-2010 (3 linear feet; Box 1-4)

Series 3: Interviews, circa 1974-2008 (3 linear feet; Box 4-7, 45.17 GB; ER01-ER18)

Series 4: Writings, circa 1974-2010 (5 folders; Box 7, 0.002 GB; ER19)

Series 5: Exhibition Records, 1980-2008 (1 linear foot; Box 7-8)

Series 6: Personal Business Records, 1974-2010 (0.8 linear feet; Box 8-9, 2.52 GB; ER20-21)

Series 7: Printed Material, 1940s-2000s (0.3 linear feet; Box 9)

Series 8: Photographs, circa 1920-2010 (1.4 linear feet; Box 9-10, 94.63 GB; ER22-ER34)
Biographical / Historical:
Irving Norman (1906-1989) was a social surrealist painter in San Francisco, Calif. He married Hela Bohlen (1927-2010) in 1955.

Norman was born Irving Noachowitz in Vilna, Russia in 1906. He emigrated to the United States in 1923 and worked in a barber shop in Monticello, New York. In 1934 he moved to Los Angeles and opened his own barber shop in Laguna Beach. A few years later he volunteered for service in the Abraham Lincoln battalion in Spain, and upon returning to California , he joined a life drawing group. He attended the California School of Fine Arts in San Francisco in 1940, studying with William Gaw and Spencer Macky, and in 1945 had his first major solo exhibition. At this time he also won the San Francisco Art Association's Albert Bender Memorial Prize. In 1946 he studied at the Art Students' League in New York and traveled to Mexico. He received much press when one of his paintings was removed from an exhibition at the M. H. de Young Memorial Museum for obscenity in 1950. Despite this setback, he continued to regularly exhibition his work over the next decade.

A renewed interest in Irving Norman's work occurred in the mid-1970s, at which time he exhibited many new paintings. During the 1980s he continued to exhibit his work and participated in several video interviews. In 1988 a storm caused a fire which destroyed his house and studio, including drawings and most personal papers. Irving Norman passed away at home in July 1989 and a memorial retrospective of his work was held at San Jose State University the following year. Hela Norman continued to manage the sale and exhibition of Irving's artwork until her death in 2010.
Related Materials:
Also in the Archives of American Art is a videorecording of an interview with Irving Norman, produced by Bay Area Video Coalition, Zeke Richardson and Larry Andrews, in cooperation with the Archives of American Art. The interview was conducted by Michael S. Bell, March 5, 1988.
Separated Materials:
Also in the Archives of American Art is material lent for microfilming (reel 4705) including slides, photographs of artwork, and letters. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Irving and Hela Norman first donated a small amount of papers in 1988-1989. Hela Norman loaned additional material for microfilming in 1990. The rest of the collection was gifted in 2011 by Hela Norman via Tom Von Tersch, Trustee.
Restrictions:
Use of original papers requires an appointment. 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:
Painters -- California -- San Francisco  Search this
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Genre/Form:
Photographs
Interviews
Video recordings
Sound recordings
Citation:
Irving and Hela Norman papers, circa 1920-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.normirvi
See more items in:
Irving and Hela Norman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-normirvi

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

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

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

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

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

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

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

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

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

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

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

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

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

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

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

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

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

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

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

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Carl Holty papers

Creator:
Holty, Carl, 1900-1973  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Byrne, Charles B.  Search this
Hiler, Hilaire, 1898-1966  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Photograph albums
Date:
circa 1860s-1972
bulk 1940-1967
Summary:
The Carl Holty papers are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and contain correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.
Scope and Content Note:
The papers of Carl Holty are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and consist of correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.

Correspondence with Romare Bearden, Charles Byrne and Hilaire Hiler concerns art, exhibitions and reviews, education, and news of mutual friends. Holty's writings include articles, autobiographical writings, unpublished manuscripts of a monograph, Art In America, and an untitled novel. Also found among his writings is a journal which contains his reminiscences of artist friends and acquaintances, and reflections on art, art history, and his life, personal plans and aspirations.

Printed material consists mainly of clippings about or mentioning Holty, and reviews and publicity relating to The Painter's Mind, a book Holty wrote with Romare Bearden. Miscellaneous records consist of a transcript of an interview with Carl Holty and an identification card issued to his father.

Photographs are of artwork, people and places. Also included are 6 photograph albums of Holty's artwork, and a small number of negatives. The people pictured are mainly Holty, friends and family. There is also a group photograph that includes Joan Miró.
Arrangement note:
The collection is arranged as 5 series:

Series 1: Correspondence, 1940-1972 (Box 1; 5 folders)

Series 2: Writings, 1944-1967 (Box 1; 0.6 linear ft.)

Series 3: Printed Material, 1931-1972 (Box 1; 5 folders)

Series 4: Miscellaneous Records, 1900, 1966 (Box 1; 2 folders)

Series 5: Photographs, circa 1860s-1972 (Boxes 1-3; 0.9 linear ft.)
Biographical/Historical note:
Carl Holty was born in 1900 to American parents in Freiburg, Germany, where his father was studying medicine. Carl was still an infant when the family returned to Milwaukee, Wisconsin, where they lived with his grandparents in a traditional German neighborhood. It was Carl's grandfather who first introduced him to art through visits to a small local commercial gallery.

After showing an interest in being an artist at around age 12, Holty began taking lessons with a local painter. As a teenager he began drawing cartoons and soon set his sights on becoming a poster artist. With that in mind, Holty enrolled at the Art Institute of Chicago in 1919. He soon headed to New York and took courses at the Parsons School of Design and then at the National Academy of Design. In 1923 he returned to Milwaukee and opened a portrait painting studio.

Holty married in 1925 and took his bride to Europe, remaining abroad for the next decade. He entered Hans Hofmann's school in Munich in 1926, and exposure to Hofmann's ideas about color, space, and form greatly influenced and transformed his work. In 1927, the Holtys relocated to Switzerland in search of treatment for Mrs. Holty's tuberculosis. Holty and Hofmann remained in touch, and while in Switzerland, Holty increasingly incorporated Hofmann's teachings into his paintings as they grew more abstract in style.

After his wife's death in 1930, Holty moved to Paris for five years where he participated in several exhibitions and his work was well-received. Robert Delaunay invited him to join Abstration-Création, and the group published some of Holty's work in its magazine.

Upon returning to the United States in 1935, Holty settled in New York City where he eventually remarried and had a daughter. He renewed friendships with Hans Hofmann, Vaclav Vytlacil, and Stuart Davis, whom he had known in Paris. A figure in vanguard art circles, Holty was involved in meetings that resulted in the formation of the American Abstract Artists, and in 1938 he served as the group's chairman.

Holty taught drawing and paining at Brooklyn College from 1950 until his retirement in 1970, when he was designated Professor Emeritus. His years at Brooklyn College were punctuated by brief stints as a visiting instructor at the Art Students League, Washington University (St. Louis), and University of Louisville; he served as artist-in-residence at the universities of Georgia, Florida, California (Berkeley), and Wisconsin, and the Corcoran School of Art.

He exhibited widely at major museums throughout the United States including: the San Francisco Art Museum, Seattle Art Museum, Whitney Museum of American Art, Carnegie Institute, Metropolitan Museum of Art, Museum of Modern Art, and the Solomon R. Guggenheim Museum. Holty's work was shown at major New York galleries such as J. B. Neumann, Samuel Kootz Gallery, and Graham Gallery, and is in the permanent collections of many museums including: Addison Gallery of American Art, Brooklyn Museum, Butler Institute of Art, Carnegie Institute, Smithsonian American Art Museum, and the Solomon R. Guggenheim Museum.

Carl Holty died March 22, 1973 in New York City, after a short illness.
Related Archival Materials note:
Six interviews with Carl Holty (in addition to the one described in this finding aid) are available at the Archives of American Art. Three are oral histories conducted by the Archives of American Art, 1964-1968. The others are parts of interview collections accessioned by the Archives: Interviews relating to American Abstract Artists (Ruth Bowman), Anne Bowen Parsons collection of Interviews on Art, and Collette Roberts Interviews with Artists.

In addition, substantial correspondence with Carl Holty is included among the Hilaire Hiler papers and Romare Bearden papers owned by the Archives of American Art.
Separated Materials note:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N68-93 and N68-105), much of which was subsequently donated. Loaned material that was not later donated includes Holty's letters to his wife, Elizabeth, and daughter, Antonia, letters to Zoe Dusanne, letters from Ulfert Wilkie and Erwin Breithaupt, a small amount of general correspondence, and a typescript copy of Holty's journal. This material remains with the lender and is not described in the collection container inventory.
Provenance:
The Carl Holty papers were donated in increments between 1972 and 2006. The bulk of the papers were originally loaned in 1968, and later donated by Holty in 1972. Charles Byrne, a friend of Holty, donated a small amount of correspondence, printed material, and photographs in 1976-1977; family photographs were given by Holty's biographer, Virginia Liles, in 2006.
Restrictions:
The collection is open for research. Use 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.
Topic:
Painting -- 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:
Photographs
Interviews
Photograph albums
Citation:
Carl Holty papers, circa 1860s-1972 (bulk 1940-1967). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.holtcarl
See more items in:
Carl Holty papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-holtcarl
Online Media:

Hans Hofmann papers

Creator:
Hofmann, Hans, 1880-1966  Search this
Names:
Hans Hofmann School of Fine Arts  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Amgott, Madeline  Search this
Dickey, Tina, 1954-  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Hofmann, Maria, 1885-1963  Search this
Hofmann, Renate Schmitz, 1930-1992  Search this
Mauer, Alfred  Search this
Extent:
29.92 Linear feet
5 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Date:
circa 1904-2011
Summary:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.
Scope and Content Note:
The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital materials, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hoffman wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources. Some material is in digital format.
Arrangement:
The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44, 5.00 GB; ER01-ER04)
Biographical Note:
German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.
Related Material:
The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/
Separated Materials:
Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.
Provenance:
Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters  Search this
Art teachers  Search this
Topic:
Motion pictures (visual works)  Search this
Art -- Study and teaching  Search this
Art -- Philosophy  Search this
Authors -- New York (State) -- New York  Search this
Authors -- Massachusetts  Search this
Art schools -- New York (State) -- New York  Search this
Abstract expressionism  Search this
Art schools -- Massachusetts -- Provincetown  Search this
Painting, Modern -- 20th century -- Study and teaching  Search this
Art students -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
Citation:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hofmhans
See more items in:
Hans Hofmann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hofmhans
Online Media:

Mel Ramos papers, 1959-1984

Creator:
Ramos, Mel, 1935-2018  Search this
Subject:
Lichtenstein, Roy  Search this
Alloway, Lawrence  Search this
Wesselmann, Tom  Search this
Thiebaud, Wayne  Search this
Type:
Works of art
Interviews
Topic:
Painting, Modern -- 20th century -- California  Search this
Pop art  Search this
Hispanic American artists  Search this
Record number:
(DSI-AAA_CollID)13505
(DSI-AAA_SIRISBib)208776
AAA_collcode_ramomel
Theme:
Lives of American Artists
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208776

Fred Reichman papers

Creator:
Reichman, Fred, 1925-  Search this
Names:
Dasburg, Andrew, 1887-1979  Search this
Nevelson, Louise, 1899-1988  Search this
Shapiro, Dan  Search this
Still, Clyfford, 1904-1980  Search this
Tobey, Mark  Search this
Weber, Max, 1881-1961  Search this
Extent:
0.4 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1952-1996
bulk 1952-1959
Scope and Contents:
Biographical material, correspondence, a poem by Reichman, printed material, and photographs of Reichman with friends, family, and his works of art. Correspondents include Max Weber, Clyfford Still, Andrew Dasburg, Mark Tobey, Louise Nevelson, Dan Shapiro, and others.
Biographical / Historical:
Painter; San Francisco, Calif.
Provenance:
Material on reel 912 was lent for microfilming by Reichman, 1975 and subsequently donated in 2007 with additional material by Reichman's daughter, Alexandra Reichman. Material on Reel 3470 donated by Reichman in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- California -- San Francisco  Search this
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Identifier:
AAA.reicfred
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-reicfred

Oral history interview with Robert S. Neuman, 1991 May 1-June 19

Interviewee:
Neuman, Robert S. (Robert Sterling), 1926-  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Abstract -- Massachusetts  Search this
Painting, Modern -- 20th century  Search this
Painters -- Massachusetts -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13195
(DSI-AAA_SIRISBib)214658
AAA_collcode_neuman91
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214658
Online Media:

Otis Oldfield letters and photograph

Creator:
Oldfield, Otis, 1890-1969  Search this
Names:
San Francisco Museum of Art  Search this
Extent:
6 Items ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1913, 1925-1926
Scope and Contents:
Five letters, 1925-1926, to "Odette" (Mrs. Helena Marguerita Da Rosa). Oldfield describes his work at the San Francisco Museum of Fine Arts and daily activities as an artist. Also included is a photograph of Oldfield, 1913.
Biographical / Historical:
Otis Oldfield (1890-1969) was a painter and teacher from San Francisco, Calif.
Provenance:
Donated 1982 by Mrs. Betty Chidlaw.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art teachers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Art -- Study and teaching -- California -- San Francisco  Search this
Identifier:
AAA.oldfotis
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-oldfotis

David Park papers

Creator:
Park, David, 1911-1960  Search this
Names:
Bruno, Phillip A.  Search this
Mills, Paul Chadbourne, 1924-  Search this
Staempfli, George W.  Search this
Extent:
0.6 Linear feet ((microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1917-1973
Scope and Contents:
Correspondence; artwork; sketchbooks; photographs and slides; list of works and receipts; a master's thesis; and a calendar.
REEL 849: Lists of works and receipts; master's thesis by Paul Mills, "David Park and the New Figurative Painting," 1962; drawings and sketches; photographs of Park's works.
REELS 3001-3002: Correspondence of David and Lydia Park, 1959-1966, with George W. Staempfli and Phillip A. Bruno of Staempfli Gallery, and with the Park's attorney concerning the estate; 55 original works, in oil, pastel, ink, pencil and watercolor; 3 undated sketchbooks of figure and landscape studies; 51 photographs and slides of paintings by Park; a November 1971 calendar from Santa Barbara Museum of Art announcing the acquisition of Park's THREE NUDES; and miscellany.
Biographical / Historical:
Painter, teacher; California. Park taught at the California School of Fine Arts from 1943-1952. Worked in Bay Area figurative painting style.
Provenance:
Material on reel 849 lent for microfilming 1974 and material on reels 3001-3002 donated 1974 by Lydia Park Moore, widow of Park.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- California  Search this
Art teachers -- California  Search this
Topic:
Painting, Modern -- 20th century -- California  Search this
Art -- Study and teaching -- California  Search this
Art, Modern -- 20th century -- California -- San Francisco Bay Area  Search this
Identifier:
AAA.parkdavi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parkdavi

Otis Oldfield papers

Creator:
Oldfield, Otis, 1890-1969  Search this
Names:
Chittenden, Alice Brown, 1859 or 60-1944  Search this
Cuneo, Rinaldo, 1877-1939  Search this
Dixon, Maynard, 1875-1946  Search this
Gee, Yun, 1906-  Search this
Groninger, Homer  Search this
Labaudt, Lucien, 1880-1943  Search this
Oldfield, Helen, 1902-1981  Search this
Roche, Marcel  Search this
Ryan, Beatrice Judd  Search this
Stackpole, Ralph, 1885-1973  Search this
Taylor, Mildred  Search this
Extent:
62 Items ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1910-1975
Scope and Contents:
Business correspondence; manuscript material; 2 financial log books kept by Oldfield and his widow, 1927-1974; 3 photo albums, one with photos of Oldfield, Ralph Stackpole and Homer Groninger, and 2 albums of works, 1924-1948; loose photos of works, of Oldfield, Yun Gee, Ralph Stackpole, Rinaldo Cuneo, Helen Oldfield, Marcel Roche and others, 1921-1957; 3 scrapbooks, 1910-1940, including catalogs and announcements, manuscript and printed material, clippings, and correspondence with Beatrice Judd Ryan, Mildred Taylor, Alice Chittenden, Lucien Labaudt and Maynard Dixon; clippings; and miscellany.
Biographical / Historical:
Painter, teacher; San Francisco, California. Oldfield went to Paris in 1909 where he studied briefly at the Academie Julian. He remained in France until 1924, serving in the French army during World War I, and after the war was exhibiting at the Salon des Independents and the Salon d' Automne. He taught at the California School of Fine Arts, 1925-1942, and became known for his talents as a bookbinder as well as painter. He taught at the California College of Arts and Crafts, 1945-1951 and privately until his death.
Provenance:
Material lent for microfilming 1975 by Helen Oldfield, widow of Oldfield.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Topic:
Painting, Modern -- 20th century -- California -- San Francisco  Search this
Art -- Study and teaching -- California -- San Francisco  Search this
Identifier:
AAA.oldfotip
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-oldfotip

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