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Oral history interview with Agnes Abbot, 1981 August 25-1982 January 15

Interviewee:
Abbot, Agnes Anne, 1897-1992  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Hibbard, A. T. (Aldro Thompson) (1886-1972)  Search this
Woodbury, Charles H. (Charles Herbert)  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Modern -- 20th century -- Massachusetts  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)12915
(DSI-AAA_SIRISBib)211916
AAA_collcode_abbot81
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211916
Online Media:

Oral history interview with Agnes Abbot

Interviewee:
Abbot, Agnes Anne, 1897-1992  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Hibbard, A. T. (Aldro Thompson) (1886-1972)  Search this
Woodbury, Charles H. (Charles Herbert), 1864-1940  Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 August 25-1982 January 15
Scope and Contents:
An interview of Agnes Abbot conducted 1981 August 25-1982 January 15, by Robert Brown, for the Archives of American Art.
Abbot speaks of her early education in Berlin; training at the Child-Walker School in Boston under Aldro T. Hibbard and Charles H. Woodbury; and her early years as a studio art instructor at Wellesley College.
Biographical / Historical:
Agnes A. Abbot (1897-1992) was a painter and watercolorist from Wellesley, Massachusetts.
General:
Originally recorded on 2 sound cassettes and 2 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 4 hrs., 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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Interviews  Search this
Art teachers -- Interviews  Search this
Topic:
Painting, Modern -- 20th century -- Massachusetts  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.abbot81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-abbot81

Jack Levine papers

Creator:
Levine, Jack, 1915-2010  Search this
Names:
American Academy and Institute of Arts and Letters  Search this
Jewish Museum (New York, N.Y.)  Search this
Arms, John Taylor, 1887-1953  Search this
Barnet, Will, 1911-2012  Search this
Bloom, Hyman, 1913-  Search this
Bocour, Leonard, 1910-1993  Search this
Cadmus, Paul, 1904-1999  Search this
Close, Chuck, 1940-  Search this
Coen, Eleanor, 1916-  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Dobkin, Alexander, 1908-  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Friedan, Betty  Search this
Gikow, Ruth, 1915-1982  Search this
Goodrich, Lloyd, 1897-1987  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hirsch, Joseph, 1910-1981  Search this
Lasansky, Mauricio, 1914-  Search this
Lawrence, Jacob, 1917-2000  Search this
Lee, Gypsy Rose, 1914-1970  Search this
Levine, David, 1926-2009  Search this
Paul VI, Pope, 1897-1978  Search this
Peterdi, Gabor  Search this
Probst, Joachim  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Simon, Sidney, 1917-  Search this
Sorini, Emiliano  Search this
Soyer, Raphael, 1899-1987  Search this
Terkel, Studs, 1912-2008  Search this
Tooker, George, 1920-2011  Search this
Updike, John  Search this
Weber, Max, 1881-1961  Search this
Yevtushenko, Yevgeny Aleksandrovich, 1933-  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Student drawings
Photographs
Scrapbooks
Drawings
Date:
1923-1999
Summary:
The papers of New York social realist painter and printmaker Jack Levine date from 1923-1999, and measure 3.2 linear feet. Levine's career is documented through biographical material, scattered letters, notes and a speech, writings, student drawings, three scrapbooks, printed material and nearly one linear foot of photographs of Levine, his family, and his colleagues.
Scope and Contents:
The papers of New York social realist painter and printmaker Jack Levine date from 1923-1999, and measure 3.2 linear feet. Levine's career is documented through biographical material, scattered letters, notes and a speech, writings, student drawings, three scrapbooks, printed material and nearly one linear foot of photographs of Levine, his family, and his colleagues.

Found within the papers are two driver's licenses and several biographical accounts, and scattered letters from colleagues including one each from John Taylor Arms, Hyman Bloom, Leonard Bocour, René d'Harnoncourt, Lloyd Goodrich, Jacob Lawrence, and Homer Saint-Gaudens discussing various art-related events. There is only one carbon copy of a letter written by Levine. The correspondence includes oversized photographs of the members of the American Academy of Arts and Letters. Additional photographs of the members are found in the Photograph series.

Notes and writings are primarily typescripts about Jack Levine written by others. There is also a transcript of one speech, "Jack Levine Speaks Regarding the Donation of 108 of his Drawings to the Archives" delivered by Levine at the Fogg Art Museum.

Artwork consists entirely of Levine's student drawings including anatomical studies, neighborhood genre scenes, copies of Old Masters, and a series of images of symphony musicians. Some of the drawings display themes that are reflected in his later paintings.

Three scrapbooks contain clippings that document Levine's career and reflect his political interests. Additional printed material consists of a comprehensive collection of clippings and exhibition announcements and catalogs. There is also an announcement for a lecture by Levine, press releases, calendars of events, reproductions of artwork, programs, brochures including one for Facing East, a portfolio of Levine's prints, and three books.

Photographs include numerous photographs of Levine throughout his artistic career, including images of his wife, painter Ruth Gikow, their daughter Susanna, and colleagues including Hyman Bloom, Leonard Bocour, Alexander Dobkin, Joachim Probst, and Russian poet Yevgeny Yevtushenko. Especially notable is a series of photographs of Levine printmaking with Emiliano Sorini and Ruth Gikow.

There are photographs of Levine serving on art juries and panels with Eleanor Coen, Joseph Hirsch, Gabor Peterdi, Studs Terkel, and Max Weber, and attending events with Lawrence Fleischman, Betty Friedan, Edith Halpert, Mauricio Lasansky, Gypsy Rose Lee, Pope Paul VI, and Raphael Soyer. A small album contains photographs of Levine and various buildings in Boston. There are also photographs of miscellaneous exhibition installations including Levine's retrospective at the Jewish Museum, and of artwork by Levine and others.

Group photographs of the members of the American Academy of Arts and Letters are found here, and include Will Barnet, Paul Cadmus, Chuck Close, David Levine, George Tooker, and John Updike. Additional group photographs of the members that were originally enclosed with letters are found in the correspondence series.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, 1953-1955 (Box 1; 1 folder)

Series 2: Letters, 1946-1996 (Boxes 1, 5; 12 folders)

Series 3: Notes and Writings, 1961-1974 (Box 1; 6 folders)

Series 4: Artwork, 1923-1931 (Boxes 1, 5, OV 6; 11 folders)

Series 5: Scrapbooks, 1936-1962 (Boxes 1, 5; 16 folders)

Series 6: Printed Material, 1938-1999 (Boxes 1-3, 5, OV 6; 1.9 linear feet)

Series 7: Photographs, 1940-1998 (Boxes 3-5, OV 6; 52 folders)
Biographical / Historical:
Jack Levine (1915-2010) was born in Boston, Massachusetts and worked as painter and printmaker primarily in New York City. Levine was one of the leading painters and advocates of the Social Realism School of the late 1930s.

Jack Levine was the youngest of the eight children of Lithuanian Jewish parents, Mary Grinker and Samuel Levine. After the family moved from the South End of Boston to Roxbury in 1923, Levine began to study drawing under Harold Zimmerman at the School of the Boston Museum of Fine Arts. By 1929, Levine was studying painting under Denman Ross of the Fogg Art Museum.

From 1935-1940, Levine received U.S. government support from the federal Works Progress Administration. His first exhibition of paintings in New York City was at the Museum of Modern Art. In 1937, he painted The Feast of Pure Reason, a satire of Boston political power. Together with Ben Shahn, Levine became a leading exponent of the Social Realism School of the late 1930s. His first one-man show was held at the Downtown Gallery in New York City in 1938.

After serving in the U.S. Army during World War II, Levine was awarded a Guggenheim Fellowship in 1945, and a grant from the American Academy of Arts and Letters the following year. Also in 1946, Levine married painter Ruth Gikow and moved to New York City. Between 1950 and 1951, he was a Fulbright Fellow working in Rome where he was inspired by Old Master paintings. In the 1960s Levine's interest in printmaking intensified and he was instructed in creating intaglio prints by Emiliano Sorini, and was introduced to Abe Lublin who was associated with the New York Graphic Society.

Levine taught at the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts, the American Art School in New York, and the Skowhegan School of Painting and Sculpture. His work is in the collections of the Metropolitan Museum, the Museum of Modern Art, the Whitney Museum of American Art, Boston Museum of Fine Arts, and the Fogg Art Museum. He was a member of the American Academy of Arts and Letters from 1956 on.

The D.C. Moore Gallery in New York City currently represents the Estate of Jack Levine.
Provenance:
Jack Levine donated his papers to the Archives in 1962, 1978, and 1999.
Restrictions:
Use of original papers requires an appointment and limited to the Washington, D.C. Reference Center.
Rights:
The Jack Levine papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, American  Search this
Social realism  Search this
Painters -- Massachusetts -- Boston  Search this
Jewish artists  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- United States  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Student drawings
Photographs
Scrapbooks
Drawings
Citation:
Jack Levine papers, 1923-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.levijack
See more items in:
Jack Levine papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-levijack
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:
The Hans Hofmann papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Authotization to quote or reproduce, for purposes of publication, the 1998 May 27 interview of Max Spoerri by Tina Dickey requires written permission from Max Spoerri.
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:

John Wilson papers, circa 1939-1993

Creator:
Wilson, John Woodrow, 1922-  Search this
Subject:
Trachtenberg, Alan  Search this
Type:
Drawings
Interviews
Scrapbooks
Sound recordings
Topic:
Painting, Modern -- 20th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
African American artists  Search this
Record number:
(DSI-AAA_CollID)6395
(DSI-AAA_SIRISBib)215365
AAA_collcode_wilsjohn
Theme:
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215365

John Wilson papers

Creator:
Wilson, John, 1922-2015  Search this
Interviewer:
Trachtenberg, Alan  Search this
Extent:
5 Microfilm reels
1 Cassette (Sound recording, analog)
Type:
Collection descriptions
Archival materials
Microfilm reels
Cassettes
Drawings
Interviews
Scrapbooks
Sound recordings
Date:
circa 1939-1993
Scope and Contents:
This microfilm collection of the papers of African American painter, sculptor, illustrator, printmaker, and educator John Woodrow Wilson contains biographical material such as autobiographical notes, school records, personal documents, and a bibliography; personal and business correspondence, undated and 1938-1993; files on the New York City Board of Education, 1959-1965, regarding his teaching; and project files, including Wilson's submission for the competition for a Frederick Douglass statue, Eternal Presence, Father and Child Reading, and Wilson's monuments and bust of Martin Luther King, Jr. Correspondents represented include the Albany Institute of History and Art, Atlanta University, Carnegie Institute, Ebony, David Porter of the G Place Gallery, the Institute of Moder Art, Alain Locke, Gloria May, the Museum of Modern Art, Frederick G. Rice, and Hale Woodruff.

Also included in the collection are files on exhibitions; notebooks, 1958-1960; lesson plans, 1959, 1963; notes, writings, and lectures, circa 1945-1993; transcripts of interviews of Wilson and related correspondence, 1978-1987; legal material, 1978; financial records 1944-1991, including a notebook of sales and expenses 1945-1950; photographs, 1940-1990, of Wilson, his work, sculpture, and exhibition installations; a scrapbook, 1939-1967; artwork, including sketchbooks, 1970-1992, life studies completed as a student, 1939-1947, and miscellaneous art work, 1939-1992; and printed material, 1939-1993, including exhibition catalogs, illustrated books and book jackets, and ephemera. The collection also includes a copy of a sound recording of an interview of Wilson conducted by Alan Trachtenberg, circa 1979 (untranscribed).
Biographical / Historical:
John Woodrow Wilson (1922-2015) was an African American painter, sculptor, illustrator, printmaker, and educator in Boston, Massachusetts. Wilson studied at the School of the Museum of Fine Arts, Boston under Ture Bengtz and Karl Zerbe, graduating in 1945. He lived in Paris through the MFA fellowship and studied with modern artist Fernand Leger. He then attended Tufts University, graduating in 1947. Wilson received a John Hay Whitney fellowship and lived in Mexico for five years with his wife, Julie Kowtich. After his return from Mexico in 1956, Wilson made artwork for Chicago labor unions and taught in New York City before returning to teach at Boston University in 1964. During his career, Wilson won competitions to execute statues of Martin Luther King, Jr. for the city of Buffalo, New York and for the Capitol Rotunda in Washington, D.C.
Provenance:
Lent for microfilming 1993 by John W. Wilson, except for the 1979 sound recording which he lent for copying.
Restrictions:
Microfilm portion must be consulted on microfilm. Use of untranscribed interview requires an appointment.
Occupation:
Painters -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
African American artists  Search this
Genre/Form:
Drawings
Interviews
Scrapbooks
Sound recordings
Identifier:
AAA.wilsjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilsjohn

Oral history interview with Lawrence Kupferman, 1965 Nov. 12

Interviewee:
Kupferman, Lawrence Edward, 1909-1982  Search this
Interviewer:
Swift, Geoffrey  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Painting, Modern -- 20th century -- History -- Massachusetts -- Boston  Search this
Federal aid to the arts  Search this
Printmakers -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12332
(DSI-AAA_SIRISBib)212863
AAA_collcode_kupfer65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212863

Oral history interview with Lawrence Kupferman, 1971 June 10

Interviewee:
Kupferman, Lawrence Edward, 1909-1982  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Painting, Modern -- 20th century -- History -- Massachusetts -- Boston  Search this
Printmakers -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12450
(DSI-AAA_SIRISBib)212864
AAA_collcode_kupfer71
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212864

Gerrit A. Beneker papers

Creator:
Beneker, Gerrit A. (Gerrit Albertus), 1882-1934  Search this
Extent:
7 Linear feet ((partially microfilmed on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1869-1972
Scope and Contents:
Correspondence, sketchbooks, printed material, financial material, and photograhs.
REEL 876: Sketchbooks; clippings; biographical material; correspondence; sketches; an extremely detailed gross income, an expense ledger; exhibition material; publications containing Beneker's work; and photographs of Beneker, his work, and others.
UNMICROFILMED: Correspondence; sketchbooks and sketches; illustrations; editorials; posters; calendars; drafts of writings; notes; clippings; scrapbooks; bills and receipts; catalogs; writings of Brison van Vranken Beneker; and sketches by Beneker's father, Bart Beneker.
Biographical / Historical:
Painter, draftsman, and illustrator; Massachusetts.
Provenance:
Material on Reel 876 lent for microfilming in 1975 by Beneker's daughter Katharine Beneker Murphy. Unmicrofilmed material donated 1976 by the Estate of Gerrit A. Beneker via his daughter, Katharine Beneker Murphy.
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.
Occupation:
Illustrators -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Topic:
Art, American -- Massachusetts  Search this
Painting, Modern -- 20th century  Search this
Identifier:
AAA.benegerr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benegerr

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:

Oral history interview with Josephine Marie Caruso Castano relating to Giovanni (John) Castano, 1991 May 17

Interviewee:
Castano, Josephine Marie Caruso, 1901-  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Castano, Giovanni  Search this
Denhausen, Franz H.  Search this
Castano Galleries  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Conservation and restoration  Search this
Painting, Modern -- 20th century  Search this
Art dealers -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12733
(DSI-AAA_SIRISBib)214655
AAA_collcode_castan91
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214655
Online Media:

Alvin Ross papers, 1940-1975

Creator:
Ross, Alvin, 1920-1975  Search this
Topic:
Artists as teachers -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Realism in art -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)9218
(DSI-AAA_SIRISBib)211413
AAA_collcode_rossalvi
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211413

Richard E. Filipowski papers, circa 1940-1998

Creator:
Filipowski, Richard E., 1923-2008  Search this
Subject:
Agoos, Herbert M.  Search this
Anderson, Lawrence B. (Lawrence Bernhart)  Search this
Belluschi, Pietro  Search this
Davis, Stuart  Search this
Kepes, Gyorgy  Search this
Moholy-Nagy, László  Search this
Gropius, Walter  Search this
Kepes, Gyorgy  Search this
Eckbo, Garrett  Search this
Bauhaus  Search this
Harvard University  Search this
Institute of Design  Search this
Massachusetts Institute of Technology  Search this
Boston Arts Festival  Search this
Type:
Christmas cards
Photographs
Sketchbooks
Sketches
Slides (photographs)
Sound recordings
Topic:
Art -- Study and teaching  Search this
Art and industry  Search this
Art commissions  Search this
Art festivals  Search this
Design, Industrial  Search this
Educators -- Massachusetts  Search this
Industrial designers  Search this
Painting, Modern -- 20th century  Search this
Record number:
(DSI-AAA_CollID)9644
(DSI-AAA_SIRISBib)211852
AAA_collcode_filirich
Theme:
Sketches & Sketchbooks
Art Materials, Techniques, and Studio Art Education
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211852
Online Media:

Hans Hofmann papers, circa 1904-2011

Creator:
Hofmann, Hans, 1880-1966  Search this
Subject:
Dickey, Tina  Search this
Amgott, Madeline  Search this
Mauer, Alfred  Search this
Hawthorne, Charles Webster  Search this
Hofmann, Maria  Search this
Hofmann, Renate Schmitz  Search this
Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this
Hans Hofmann School of Fine Arts  Search this
Type:
Video recordings
Sound recordings
Scrapbooks
Transcripts
Interviews
Photographs
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
Record number:
(DSI-AAA_CollID)5966
(DSI-AAA_SIRISBib)227882
AAA_collcode_hofmhans
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_227882
Online Media:

Elizabeth Hamilton Thayer Huntington papers

Creator:
Huntington, Elizabeth Hamilton Thayer, 1878-1963  Search this
Extent:
1 Item (partial microfilm reel)
Type:
Collection descriptions
Archival materials
Date:
[ca. 1903-1961]
Scope and Contents:
Letters; notes; a typescript of an unpublished autobiography (1942); sketches; a scrapbook containing letters, catalogs, and clippings; and photographs of Huntington, her house and her work.
Biographical / Historical:
Painter; Wellesley Hills, Mass.
Provenance:
Lent for microfilming 1991 by Samuel Robbins, a collector who purchased the materials.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Landscape painters -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Still-life painters -- Massachusetts  Search this
Watercolorists -- Massachusetts  Search this
Topic:
Painting, American  Search this
Women painters -- Massachusetts  Search this
Painting, Modern -- 20th century -- Massachusetts  Search this
Identifier:
AAA.hunteliz
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hunteliz

Tina Prentiss papers

Creator:
Prentiss, Tina, 1905-  Search this
Names:
Boston Public Schools. Art Dept  Search this
Boston Visual Artists Union  Search this
Women Exhibiting in Boston, Inc.  Search this
Extent:
3 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Video recordings
Date:
1942-1976
Scope and Contents:
Correspondence; scrapbooks; writings and notes; photographs and slides; art works; videotapes; sketches; awards and certificates; exhibition material; and printed material.
REEL 876: A 1974 portfolio containing 3 sketches and 19 photographs of "Sculpture in New Materials" (plastics), and an 8 page curriculum vitae and statement prepared by Prentiss for the Archives on the development of her art.
UNMICROFILMED: Correspondence; writings and notes; awards and certificates; clippings, bulletins, and newsletters; catalogs, announcements, and other exhibition material; and photographs and slides of exhibitions and of Prentiss's work; correspondence, clippings, a publicity file, notes, reports, photographs and miscellany relating to exhibitions of the Boston Visual Artists Union, 1974-1976; a scrapbook of photographs, clippings, catalogs, reports, letters, relating to Women Exhibiting in Boston, Inc., 1973-1975; and a scrapbook about an art workshop held for Boston Public School teachers, 1961-1962, containing photographs of people involved and art work displayed, and ideas for school art projects.
Scrapbooks, 1954-1974, 11 v. containing correspondence, exhibition notices, catalogs, guest books, clippings, press releases, curricula vita, other printed matter, sketches, notes about her work and impressions of her shows, diary Sept.-Nov. 1972 (notes of daily progress for a one-man show), stencils, and photographs of her friends and works; two videotapes, "Tina Prentiss Show," September 30, 1975, and "Ten Talents at Tufts," October 10, 1975; a script, probably for the "Tina Prentiss Show"; and a taperecording, Tufts University Radio Women's Program, October 28, 1975; eight "symbolic portraits" in oil, including portraits of Admiral Richard Byrd, Albert Schweitzer, and Bradford Washburn, among others; and a painting, "Symbolic Portrait of James Michael Curley." 1956.
Biographical / Historical:
Painter, sculptor; Boston, Massachusetts.
Provenance:
Material on reel 876 lent for microfilming 1974 by Tina Prentiss; unmicrofilmed material donated 1974-1976 by Tina Prentiss. Painting of Curley donated 1978 by Earle Lawrence Prentiss, son of Tina Prentiss.
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 -- Massachusetts  Search this
Sculptors -- Massachusetts  Search this
Topic:
Women painters -- Massachusetts -- Boston  Search this
Women sculptors -- Massachusetts -- Boston  Search this
Painting, Modern -- 20th century  Search this
Sculpture, Modern -- 20th century  Search this
Genre/Form:
Video recordings
Identifier:
AAA.prentina
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-prentina

Alvin Ross papers

Creator:
Ross, Alvin, 1920-1975  Search this
Extent:
0.4 Linear feet (ca. 1065 items (partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Date:
1940-1975
Scope and Contents:
Correspondence, printed material, photographs, a diary, financial papers, and writings.
UNMICROFILMED: Correspondence, mainly from Ross to his parents; a travel diary; photographs and slides of Ross at work and of his art work; a list of exhibitions; and exhibition catalogs and announcements.
REELS 1280-1284: Letters concerning Ross' teaching at Pratt and the New School, gallery correspondence, and invitations to lecture or write; recommendations, fellowships and awards; pocket diaries, 1948-1974, listing dinners and appointments; files on exhibitions and courses Ross taught; writings, notes and speeches; catalogs; and financial papers.
Biographical / Historical:
Painter, printmaker, teacher, lecturer; New York, N.Y. and Provincetown, Massachusetts Born Vineland, New Jersey. Faculty member, Department of Art, Pratt Institute; lecturer, history of art and architecture, New School of Social Research and New York School of Interior Design. Painted in oil in the realistic style.
Provenance:
Material on reels 1280-1284 lent for microfilming by Lenore Ross, Alvin's sister, 1977. Unmicrofilmed material was donated by Alvin and Lenore Ross, 1975-1980.
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 -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Artists as teachers -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Realism in art -- New York (State) -- New York  Search this
Identifier:
AAA.rossalvi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rossalvi

Umberto Romano papers

Creator:
Romano, Umberto, 1905-1982  Search this
Names:
Roosevelt, Sara Delano, 1854-1941  Search this
Extent:
0.8 Items (Linear ft. (partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
[ca. 1935-1979]
Scope and Contents:
Correspondence, printed material, sketchbooks, photographs, and business material.
REEL 701: 17 letters from E.A. Jewell, Nelson Rockefeller, J. Carter Brown and Helen Gerardia; exhibition catalogs and announcements; 23 photographs of Romano and his paintings; clippings and brochures on the Umberto Romano School of Art; BEST OF ART by Emily Genauer with an article on Romano's painting "Ecce Homo" and a copy of THE DIVINE COMEDY illustrated by Romano.
UNMICROFILMED: Personal letters and xeroxed correspondence from the White House regarding a commission for the portrait of Sara Delano Roosevelt; 2 contracts with the National Academy of Design; 2 sketchbooks; photographs of mural paintings in Springfield, Massachusetts and the Century Club, New York City; clippings, exhibition catalogs and announcements.
Biographical / Historical:
Painter, sculptor and teacher; New York (N.Y.) Born in Naples, Italy. Illustrated Dante's THE DIVINE COMEDY in 1947. Instructor of painting and sculpture at Worcester Art Museum School and privately in New York City. Member: National Society of Mural Painters, National Academy of Design, Audubon Artists and the Century Association.
Provenance:
Donated in 1971 and 1979 by Romano.
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:
Portrait painters  Search this
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Mural painting and decoration -- 20th century -- Massachusetts -- Springfield -- Photographs  Search this
Mural painting and decoration -- 20th century -- New York (State) -- New York -- Photographs  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.romaumbe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-romaumbe

Josef Presser and Agnes Hart papers

Creator:
Presser, Josef, 1906-1967  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Artists Equity Association  Search this
Central Cown Art Center  Search this
Dalton School (New York, N.Y.)  Search this
New York University -- Faculty  Search this
Parnassus Square  Search this
Port of New York Authority  Search this
Prospect Hill School (New Haven, Conn.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Ames, Elizabeth  Search this
Blanch, Lucile, 1895-1981  Search this
Fraser, Vera  Search this
Hart, Agnes, 1912-1979  Search this
Hopkinson, Charles, 1869-1962  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Smedley, Agnes, 1892-1950  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Sketchbooks
Photographs
Date:
1913-1980
Summary:
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
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 Josef Presser and Agnes Hart papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Postcards
Sketchbooks
Photographs
Citation:
Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.presjose
See more items in:
Josef Presser and Agnes Hart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-presjose
Online Media:

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

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