Search Results

Creator:

Vidor, King, 1894-1982  Search this

Names:

Associated American Artists  Search this

Big parade (Motion picture)  Search this

Metaphor: King Vidor meets with Andrew Wyeth (motion picture)  Search this

Benton, Thomas Hart, 1889-1975  Search this

Rivera, Diego, 1886-1957  Search this

Sheets, Millard, 1907-1989  Search this

Wood, Grant, 1891-1942  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Motion pictures (visual works)

Video recordings

Typescripts

Date:

1936-1982

Summary:

The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.

Scope and Contents:

The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.

Correspondence is mainly between Vidor and multiple galleries and artists whose artworks Vidor collected, and includes single letters from artists Grant Wood, Thomas Hart Benton, and Andrew Wyeth. Lengthy correspondence with Associated American Artists is found among other correspondence with galleries. Loan requests from museums borrowing from Vidor's painting collection, and image requests for reproduction rights for paintings owned by Vidor from various publishers are also found, as well as a few sheets of notes related to valuation of paintings.

Printed material includes exhibition catalogs for Millard Sheets and Diego Rivera, clippings on a variety of subjects, including a long article about his film project Metaphor published in the Los Angeles Herald Examiner, and periodicals with articles about the artist Grant Wood.

Scattered slides are mostly of unidentified artwork.

Material related to Metaphor, Vidor's film project with Andrew Wyeth include photographs of Wyeth and Vidor in Pennsylvania, stills from Vidor's 1925 film The Big Parade, and a still from Metaphor. Production notes include detailed footage and edit notes as well as typescripts of draft narration. Some production notes are arranged as a group, and others are arranged with documentation of the original film containers in which they were found. Motion picture film found in the collection includes a print of the final version of the film, edit master film material (A and B rolls), outtakes, and trims.

Arrangement:

The collection is arranged as 4 series. Digital photographs of original film containers are filed in Series 4.

Series 1: Correspondence, 1941-1982 (Box 1, 1 folder)

Series 2: Printed Material, 1936-1980 (Box 1, 3 folders)

Series 3: Slides, 1964 (1 folder; Box 1)

Series 4: -- Metaphor: King Vidor Meets Andrew Wyeth -- (1980), 1976-1980 (1.9 linear feet; Box 1, FC 1-17)

Biographical / Historical:

King Vidor was an American film director whose prolific career began in 1913, during the silent era, and continued through 1959 when he stopped directing large scale film projects. In addition to his prolific film career, Vidor was an avid collector of American Art who owned works by Thomas Hart Benton and Grant Wood, among others.

Vidor's final film, Metaphor: King Vidor Meets Andrew Wyeth (1980), is a documentary in which he and Wyeth discuss the impact of Vidor's most celebrated film of the silent era, The Big Parade, on Wyeth's painting. The project began when Wyeth wrote a lengthy letter to Vidor crediting his film, which Wyeth claimed to have watched over a hundred times, with having had a direct impact on the compositions of his paintings, which he only noticed after the fact when his wife, Betsy, pointed it out to him.

When Wyeth contacted Vidor for permission to use clips from The Big Parade in a documentary project by the Metropolitan Museum of Art to accompany a 1976 exhibition of these works, Two Worlds of Andrew Wyeth: Kuerners and Olsons, instead of lending his film to that effort, Vidor went to Chadds Ford, Pennsylvania to film Wyeth himself. Together, the two set out to make a documentary telling the story of the aesthetic relationship between their work, with Vidor directing. The film was completed in 1980 but was never commercially released.

Vidor died in 1982.

Related Materials:

There is an oral history interview with King Vidor held by Columbia University.

Provenance:

Donated 1985 by the King Vidor Trust.

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 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 -- Pennsylvania  Search this

Topic:

Filmmakers -- California -- Los Angeles  Search this

Art, American -- Collectors and collecting  Search this

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Genre/Form:

Photographs

Motion pictures (visual works)

Video recordings

Typescripts

Citation:

King W. Vidor papers, 1936-1982. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.vidoking

See more items in:

King W. Vidor papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b3a1f770-e016-4f3e-995d-081b5eac2c55

EDAN-URL:

ead_collection:sova-aaa-vidoking

Creator:

Montgomery, Evangeline J.  Search this

Names:

Andrews, Benny, 1930-2006  Search this

Jones, Lois Mailou, 1905-1998  Search this

Saar, Betye  Search this

Waddy, Ruth G. (Ruth Gilliam), 1909-2003  Search this

Extent:

26.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Scrapbooks

Sketchbooks

Sound recordings

Video recordings

Date:

1928-2018

Summary:

The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.

Scope and Contents:

The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)

Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)

Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)

Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)

Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)

Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34

Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)

Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)

Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)

Biographical / Historical:

Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.

Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.

Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.

As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.

Provenance:

The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Art museum curators -- Washington (D.C.)  Search this

Art museum curators -- California  Search this

Printmakers -- Washington (D.C.)  Search this

Metal-workers -- Washington (D.C.)  Search this

Metal-workers -- California  Search this

Printmakers -- California  Search this

Topic:

African American artists  Search this

African American art museum curators  Search this

Black Arts movement  Search this

Women artists  Search this

Women museum curators  Search this

Women printmakers  Search this

Women arts administrators  Search this

Genre/Form:

Drawings

Interviews

Scrapbooks

Sketchbooks

Sound recordings

Video recordings

Citation:

Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.montevan

See more items in:

Evangeline J. Montgomery papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9915d0dc7-2f94-41bd-9b8b-d04432f7df32

EDAN-URL:

ead_collection:sova-aaa-montevan

Creator:

Bacerra, Ralph, 1938-2008  Search this

Names:

Chouinard Art Institute (Los Angeles, Calif.)  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Otis Art Institute  Search this

Heino, Vivika, 1910-1995  Search this

Moore, Eudorah M.  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Sketchbooks

Date:

1957-2015

Summary:

The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection documents Bacerra's career through correspondence, professional activity files including teaching files from Chouinard Art Institute and Otis Art Institute, exhibition files, writings and notes including the artist's ceramic formulas and a diary, artwork including sketchbooks and drawings, photographs including images of Bacerra and his work, and printed material relating to Bacerra's career.

Scope and Contents:

The papers of Los Angeles ceramic artist and educator Ralph Bacerra measure 3.4 linear feet and date from 1957 to 2015. The collection comprises correspondence with the Decorative Arts Council, Los Angeles County Museum of Art, the Theo Portnoy Gallery, and others; professional activity files including teaching files from Chouinard Art School and Otis College of Art, exhibition files, and a file for his National Council on Education for the Ceramic Arts award. Also found are writings and notes containing ceramic formulas, Bacerra's student notes, and a diary record of his road trip with Vivika Heino in 1959; artwork consisting of sketchbooks and drawings from Chouinard, the Shoji Hamada workshop at the University of Southern California, and other sketches of ceramic designs; photographic materials of Bacerra and his work, personal photographs, Asian art, sculptures, and travel; and printed materials relating to Bacerra's career.

Arrangement:

The collection is arranged as 6 series.

Series 1: Correspondence, 1959-2002 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1959-2013 (0.4 linear feet; Boxes 1, 4, OV 5)

Series 3: Writings and Notes, 1957-circa 1990s (0.4 linear feet; Box 1)

Series 4: Artwork, circa 1959-circa 1970s (0.2 linear feet; Boxes 1, 4)

Series 5: Photographic Material, 1958-2001 (1.8 linear feet; Boxes 2-4)

Series 6: Printed Material, 1958-2015 (0.4 linear feet; Box 4, OV 5)

Biographical / Historical:

Ralph Bacerra (1938-2008) was a ceramic artist and educator in Los Angeles, California.

Born to a Filipino father and mother from Montana, Bacerra grew up on a farm in Garden Grove, California where his parents settled before he was born. Bacerra began studying art in high school and later went onto study commercial art and ceramics with Bill Payne at Orange Coast Junior College. Bacerra planned on continuing his commercial art studies when he enrolled in Chouinard Art Institute, now the California Institute of the Arts, but changed his major to ceramics after taking a class with Vivika Heino, who became his mentor. Heino and her husband Otto were respected figures in the ceramics field. In 1959, on a road trip from Los Angeles to New Hampshire, Heino introduced Bacerra to prominent artists across the country.

After graduating with a Bachelor of Fine Arts, Bacerra joined the Army and served for two years. Upon his return to Los Angeles, he began teaching at Chouinard. Heino, who headed the ceramics department at the time, left the school to teach at the Rhode Island School of Design, leaving the department in the hands of Bacerra and John Fassbinder. A few years later, Bacerra became the department head. In 1971, when Chouinard became the California Institute of Art, the ceramics department was discontinued. Over the next decade, Bacerra focused on studio work and travel to Asia, and the influence of Japanese Imari and celadon can be seen in Bacerra's work. Bacerra also did commercial work for the Induction Stove Corporation and developed an advanced ceramics technique using electromagnetic induction. From 1983 to 1997, Bacerra taught at the Otis Art Institute. After retiring, he devoted his time to studio work.

Bacerra's work is in the permanent collections of the Smithsonian Institution and the Los Angeles County Museum of Art, among others. His work has been exhibited throughout the United States and abroad. In 1998, he was awarded honorary membership by the National Council on Education for the Ceramic Arts.

Bacerra died in Eagle Rock, California in 2008.

Related Materials:

Also in the Archives of American Art is an oral history interview of Ralph Bacerra conducted on April 7-19, 2004 by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Los Angeles, California.

Provenance:

The Ralph Bacerra papers were donated in 2003 by Ralph Bacerra, in 2016 by Cindy Bass, Bacerra's niece and executor, and in 2017 by Jo Lauria Fargo on behalf of Bass as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Restrictions:

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

Rights:

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

Occupation:

Ceramicists -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

Asian American artists  Search this

Filipino American artists  Search this

American studio craft movement  Search this

Genre/Form:

Drawings

Diaries

Sketchbooks

Citation:

Ralph Bacerra papers, 1957-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.baceralp

See more items in:

Ralph Bacerra papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f35b9309-aa9b-4f11-86b6-c16d70fb2d93

EDAN-URL:

ead_collection:sova-aaa-baceralp

Artist:

Michael O'Brien, born 27 Jun 1950  Search this

Sitter:

Archie Moore, 13 Dec 1913 - 9 Dec 1998  Search this

Medium:

Inkjet print

Dimensions:

Image: 44.8 x 44.3 cm (17 5/8 x 17 7/16")

Sheet: 61 x 50.7 cm (24 x 19 15/16")

Mat: 71.1 x 55.9 cm (28 x 22")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles

Date:

1989 (printed 2010)

Topic:

Costume\Headgear\Hat  Search this

Archie Moore: Male  Search this

Archie Moore: Performing Arts\Performer\Actor\Movie  Search this

Archie Moore: Sports and Recreation\Athlete\Boxer  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Bill and Sally Wittliff

Object number:

NPG.2010.106

Restrictions & Rights:

Usage conditions apply

Copyright:

© Michael O'Brien

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e3610073-f44c-423c-91d1-bedab5a82c17

EDAN-URL:

edanmdm:npg_NPG.2010.106

Artist:

David Scheinbaum, born 1951  Search this

Sitter:

Mos Def, born 11 Dec 1973  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 31.5 x 47.9 cm (12 3/8 x 18 7/8")

Sheet: 32.8 x 49.1 cm (12 15/16 x 19 5/16")

Mount: 50.8 x 61.2 cm (20 x 24 1/8")

Mat: 55.9 x 71.1 cm (22 x 28")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles

Date:

2002

Topic:

Interior  Search this

Mos Def: Male  Search this

Mos Def: Performing Arts\Performer\Musician  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of David Scheinbaum, courtesy of Scheinbaum & Russek Ltd.

Object number:

S/NPG.2008.76

Restrictions & Rights:

Usage conditions apply

Copyright:

© David Scheinbaum

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4ecc17edf-fe2c-4636-9b76-0e025845b0ab

EDAN-URL:

edanmdm:npg_S_NPG.2008.76

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. Hofmann 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.

Missing Title

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.

Missing Title

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.

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 -- Massachusetts  Search this

Abstract expressionism  Search this

Painting, Modern -- 20th century -- Study and teaching  Search this

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

Function:

Art schools -- Massachusetts

Art Schools -- New York (State)

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.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.hofmhans

See more items in:

Hans Hofmann papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95a404d2f-0dad-4193-9b6a-738b7eab2811

EDAN-URL:

ead_collection:sova-aaa-hofmhans

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2016-05-18T16:17:21.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_PVCXnImLNns

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2021-03-18T00:14:20.000Z

YouTube Category:

Entertainment  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_FkJrjFSUres

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2016-11-17T15:43:57.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_Npi_Nrw-B9o

Creator:

Grinstein, Stanley, 1927-2014  Search this

Grinstein, Elyse, 1929-2016  Search this

Subject:

Gehry, Frank O.  Search this

Hockney, David  Search this

Rauschenberg, Robert  Search this

Serra, Richard  Search this

Gemini G.E.L. (Firm)  Search this

Citation:

Stanley and Elyse Grinstein papers, circa 1937-2020. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Women architects  Search this

Theme:

Architecture & Design  Search this

Art Collectors  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)17445

(DSI-AAA_SIRISBib)386714

AAA_collcode_grinstan

Theme:

Architecture & Design

Art Collectors

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_386714

Creator:

Beals, Ralph L. (Ralph Leon), 1901-1985  Search this

Names:

American Anthropological Association -- ethics  Search this

Inter-American Society of Anthropology and Geography  Search this

Social Science Research Council. Committee on Cross-Cultural Education  Search this

University of California, Los Angeles. Department of Anthropology and Sociology  Search this

Bacon, Elizabeth  Search this

Barney, R. A.  Search this

Boggs, Stephen Taylor  Search this

Brand, Donald Dilworth  Search this

Broom, Leonard  Search this

Caso, Alfonso, 1896-1970  Search this

Cassady, Ralph C.  Search this

Castenada, Carlos  Search this

De Laguna, Frederica, 1906-2004  Search this

Depouy, Walter  Search this

Dixon, Keith A.  Search this

DuBois, Cora  Search this

Epling, Carl  Search this

Frantz, Charles  Search this

Goldschmidt, Walter, 1913-2010  Search this

Halpern, Abraham Meyer  Search this

Hammond, Peter Boyd  Search this

Hare, Peter  Search this

Hester, Joseph Aaron, Jr.  Search this

Hoijer, Harry  Search this

Horowitz, Irving Louis  Search this

Hugg, Lee  Search this

Humphrey, Norman D.  Search this

Johnson, Virginia R.  Search this

Kennedy, George  Search this

Kerr, Clark  Search this

Kirchhoff, Paul  Search this

Kroeber, A. L. (Alfred Louis), 1876-1960  Search this

Lessa, William Armand  Search this

Lowie, Robert Harry, 1883-1957  Search this

McCown, T. C.  Search this

Morton, Perry W.  Search this

Murdock, George Peter, 1897-1985  Search this

Nutini, Hugo Gino  Search this

Opler, Marvin K. (Marvin Kaufmann), 1914-1981  Search this

Parsons, Elsie Worthington Clews, 1874-1941  Search this

Rubin de la Borbolla, Daniel F.  Search this

Shevky, Eshrev  Search this

Smith, M. Brewster  Search this

Spier, Leslie, 1893-1961  Search this

Sproul, Robert G.  Search this

Steward, Julian Haynes, 1902-1972  Search this

Strauss, Louise  Search this

Strong, William Duncan, 1899-1962  Search this

Warner, William Lloyd  Search this

Wheeler-Voegelin, Erminie, 1903-1988  Search this

Woodbury, Richard B. (Richard Benjamin), 1917-2009  Search this

Young, Donald R.  Search this

Zeitlin, Jacob  Search this

Extent:

48 Linear feet

Culture:

Mixe  Search this

Cora  Search this

Quechua  Search this

Yoeme (Yaqui)  Search this

Wixarika (Huichol)  Search this

Maidu  Search this

Yoreme (Mayo)  Search this

American Indian -- California  Search this

Tarascan (archaeological culture)  Search this

Nisenan Indians  Search this

Indians of North America -- California  Search this

Mexican Americans  Search this

Indians of North America -- Southwest, New  Search this

Type:

Collection descriptions

Archival materials

Place:

Hick's Camp (California)

Argentina

Peru

Mexico

Date:

1919 - 1970

Summary:

The Beals papers in the National Anthropological Archives include field notes, correspondence, printed materials, copies of historical documents, drafts and final manuscripts of writings, photographs, and cartographic materials. Most relate to research projects and sometimes include materials of colleagues and assistants. Especially notable is the abundant material regarding Oaxaca markets. There are some materials relating to aspects of Beals's career other than his research but they are generally widely distributed throughout the collection. Materials relating to events that happened to occur at the time of certain field work are often interfiled with the material relating to that certain field work.

There are also some personal materials included. Conspicuously missing from the papers are notes on Beals's archeological work, which he has retained. There are relatively few materials relating to his teaching career, although some of the letters exchanged with Alfred Louis Kroeber concern the establishment of anthropology at the University of California at Los Angeles; and correspondence with students in the field concerns teaching as well as research activities. A typesript of notes on the Nisenan are at the Bancroft Library of the University of California at Berkeley. Some of the letters concern Elsie Clews Parsons and Carlos Castenada.

Scope and Contents:

These papers reflect the professional and personal life of Ralph L. Beals (1901-1985), author, anthropologist and professor at the University of California. Included are his research files, correspondence, grant proposals, notes, charts, census material, maps, newspaper clippings, appointment calendars, drafts of published and unpublished writings, photographs and card files.

The bulk of the material relate to his research. Major projects documented in the collection include his studies of a Tarascan community; Mexican students in the United States; indigenous market systems in Oaxaca markets; economic systems in Nayón, Ecuador; land utilization by California Indians; and conditions in Hicks Camp in Southern California. The collection also contains his early research in Mexico during the 1930s as well as a study of kinship relationships undertaken by Beals' students during his residency as visiting professor at the University of Buenos Aires in 1962. Absent from the papers are notes from Beals' archeological work in Cobra Head Wash in Arizona.

A portion of the collection also reflects Beals' literary efforts beginning in the 1920s until later in his life. Throughout his adult lifetime Beals had been actively involved with the publishing world, constantly editing, reviewing, revising, rewriting and submitting for publication articles, speeches, lectures, essays, scholarly papers, and textbooks, in addition to contributing to various symposia, scientific associations and journals.

While there is little material regarding his faculty work at UCLA, some of his professional activities are documented in the collection. Of particular interest is his investigation for the American Anthropological Association into the ethics surrounding the use of anthropologists by government security agencies. The collection also contains files pertaining to his work with international professional societies and universities in Latin America and his service as editor of Acta America, the journal for the now defunct InterAmerican Society for Anthropology. His correspondence documents the development and demise of the organization.

The correspondence series is arranged both alphabetically and chronologically. Correspondents whose letters are included are Ellen Waterbury, Ronald Waterbury, Charlotte Stolmaker, Keith A. Dixon, Clark Kerr, R.G. Sproul, George Kennedy, and William Madsen. Correspondence listed chronologically (1928-78) has not been processed. A cursory review reveals that this includes a great deal of information on Beals' days at the University of California: personal and personnel papers and records, vitae, awards and commendations, salaries, positions held, etc. Some of the letters in the series concern Elsie Clews Parsons and Carlos Castenada.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

Organization

2. (1) Correspondence, 1928-1980

3. (2) Research proposals, 1936-1977

4. (3) Acta Americana materials, 1942-1963

5. (4) Early Mexican and California studies, 1930-1932, 1936

6. (5) Tarascan project materials, 1939-1941

7. (6) Social science in Latin Amerian materials, 1948-1949

8. (7) Nayon Project, Ecuador materials, 1948-1949

9. (8) Cross-cultural education study materials, 1952-1957

10. (9) California Indians materials, 1945-1955

11. (10) Study of markets in Oaxaca materials, 1938-1973 (most 1960s)

12. (11) Research and ethics materials, 1965-1968

13. (12) Miscellaneous field materials (Hicks Camp and Argentine kinship), 1946-1952, 1963

14. (13) Manuscripts of writings and lectures, 1919-1977

15. (14) Miscellany, 1929-1970

16. (15) Photographs, card files, notebooks, and oversized materials, 1930s-1960s

Biographical Note:

Ralph Leon Beals trained in anthropology at the University of California (Ph.D., 1930) under Robert Lowie, Edward W. Gifford, and Alfred L. Kroeber. After a brief period with the National Park Service, he became an instructor at Berkeley and, in 1936, as an anthropologist, joined the Department of Psychology at the University of California at Los Angeles. He eventually organized the UCLA Department of Anthropology and Sociology and served as its chairman in 1941-1948. He was chairman of the UCLA Department of Anthropology in 1964-1965. In 1969, he became a professor emeritus of the university. Beals' research focused on California, the American Southwest, and Latin America, especially Mexico. During the summer of 1929, he carried out an ethnological survey of the Southern Maidu (Nisenan), working under Kroeber and partly supported by Bureau of American Ethnology Cooperative Ethnological Research funds. In 1937-1938, he was on the Rainbow Bridge-Monument Valley Expedition under the direction of Ansel F. Hall and excavated an archeological site in Cobra Head Wash in Arizona. In 1948-1949, he investigated conditions at Hicks Camp, a Mexican settlement in southern California; and, in 1945-1955, he headed a project for the United States Department of Justice to study traditional land utilization by California Indians. The study related to Indian land claims cases.

Beals' involvement in Mexico goes back to a youthful tramp through Sonora and Sinaloa in 1918-1919 that included a long sojourn with a Mexican family. In 1930-1932, Beals worked with the Yaqui and Mayo; in 1932, with Elsie Clews Parsons, he worked with the Cora and Huichol found at Tepic, Nayarit; and, in 1933, with the western Mixe of Oaxaca. With these groups and with the tribes of northern Mexico in general, he concerned himself with both the ethnography of exiting cultures and the reconstruction of the cultures at the time of contact with Europeans. Given the currents of anthropology, a family background of social concern, his historical interest in cultures long influenced by Europeans, and his observation of rapid change and strong modern economic influences among Indian tribes, Beals came to treat largely with social anthropology, problems of acculturation, and studies useful in applied aspects of anthropology.

In 1938, with Daniel F. Rubín de la Borbolla, Alfonso Caso, John M. Cooper, and Alfred L. Kroeber, Beals took part in a comprehensive multidiscipline study of the Tarascans to help formulate government policies and programs. Beals and several collaborators and assistants carried out ethnographic and social anthropological studies at Cherán. In 1948-1949, Beals studied the economic systems of Nayón, Ecuador, a Quechua village, and cultural and social changes accompanying the shift from a subsistence to marketplace economy. In Buenos Aires in 1963, he collected kinship data from students at the Institute of Sociology. In 1965, he began a detailed study of the large traditional market system of eastern Oaxaca in Mexico. Over a five-year period, many scholars and students assisted Beals.

Beals had active ties with many organizations and gave some extraordinary service. During 1942-1943, he directed a cooperative social science program between Latin American institutions and the Smithsonian Institution, establishing the InterAmerican Society for Anthropology and Geography. From 1943-1948, he edited the Society's journal Acta Americana, initially fulfilling official obligations but, after 1944 and his return to teaching, donating his time for the work. In 1944-1951, he was a collaborator with the Smithsonian's Institute for Social Anthropology.

As a member of the Social Science Research Council from 1946-1962, Beals undertook to study conditions in Latin American social science. In 1952, for the Council's Committee on Cross-Cultural Education, he and Norman D. Humphrey investigated the experiences of Mexican students in the United States. He also served the American Anthropological Association as a member of its executive council from 1947-1949, vice president in 1949, and president in 1950. In 1965, the AAA, concerned with the use of anthropologists by government security agencies, asked Beals to study the ethics involved. Prepared in cooperation with many research scholars, Beals report became the basis for the work of the AAA's ethics committee.

Beals had many other organizational ties and responsibilities. He served as American technical advisor at the First Inter-American Indianists Conference at Patzcuarol, Mexico, in 1939; chairman of the Social Science Research Council Cross-Cultural Education Committee from 1953 to 1960; member of the Society for American Archaeology executive committee from 1954 to 1957; and president of the Southwest Anthropological Association in 1958. He was an editor with the Handbook of Latin American Studies, American Anthropologist, and Notes on Latin American Studies.

Chronology of the life of Ralph Leon Beals

July 19, 1901 -- Born in Pasadena California

1923 -- Married Dorothy Manchester

1926 -- B.A. University of California, Berkeley

1930 -- Ph.D. University of California, Berkeley

1933-1935 -- Museum technician, National Park Service

1935 -- Lecturer, Department of Anthropology, University of California, Berkeley

1936-1938 -- Instructor, University of California, Los Angeles

1937-1941 -- Assistant Professor

1941-1947 -- Associate Professor

1942-1943 -- Director of Latin American Ethnic Studies, Smithsonian Institution

1947-1969 -- Professor of Anthropology

1944-1951 -- Collaborator, Institute of Social Anthropology

1962 -- Visiting Professor, University of Buenos Aires

1969- -- Professor Emeritus

Ralph Leon Beals was trained in anthropology at the University of California at Berkeley under Robert H. Lowie, Edward W. Gifford, and, especially, Alfred Louis Kroeber. After a brief period of work for the National Park Service following graduation, he became an instructor in anthropology at Berkeley and, in 1936, as an anthropologist, joined the Department of Psychology at the University of California at Los Angeles. There he organized the Department of Anthropology and Sociology and served as its chairman in 1941-1948. He was also chairman of the UCLA Department of Anthropology in 1964-1965. In 1969, he became an professor emertius of the university.

Beals's research has focused primarily on California, the American Southwest, and Latin America, especially Mexico. In California, he carried out an ethnological survey of the Southern Maidu (Nisenan) during the summer of 1929, working under Kroeber and supported in part by funds from the Bureau of American Ethnology's Cooperative Ethnological Research program. In 1937-1938, he was a member of the Rainbow Bridge-Monument Valley Expedition under the direction of Ansel F. Hall and excavated an archeological site in Cobra Head Wash in Arizona. In 1948-1949, he studied conditions at Hicks Camp, a Mexican settlement in southern California, and in 1945-1955 Beals headed a project for the

United States Department of Justice to study traditional land utilization by California Indians. The study was related to Indian land claims cases.

Beals's involvement in Mexico can be traced to a 1918-1919 tramp through Sonora and Sinaloa that included a rather long sojourn with a Mexican family. In his later academic interest in the area, he was at the forefront of a movement of American anthropologists and geographers to fill some of the gaps in the ethnographic and archeological knowledge about northern Mexico, of interest largely because it lay in the way of possible influences passing between the American Southwest and the highly developed cultures of Mesoamerica. In 1930-1932, Beals worked among he Yaqui and Mayo; in 1932, with Elsie Clews Parsons , he worked among the Cora and Huichol found at Tepic, Nayarit; and, in 1933,

among the western Mixe of Oaxaca. With these groups and with the tribes of northern Mexico in general, he concerned himself with both the ethnography of contemporary cultures and the reconstruction of the cultures at the time of contact with Whites. Given the current of anthropology of the time, a family background of social concern, his historical interest in cultures with a long history of influence by Europeans, and his witness of rapid change and strong modern economic influences among Indian tribes, Beals came to treat largely with social anthropology, problems of acculturation, and studies useful in applied aspects of anthropology.

In 1938, Beals took part with Daniel Rubin de la Borbolla, Alfonso Caso, John Montgomery Cooper, and Alfred Louis Kroeber in planning a multidisciplinary study of the Tarascans, a project which aimed at a comprehensive examination useful in formulating government policies and programs. Under its auspices, Beals and several collaborators and assistants carried out ethnographic and social anthroplogical studies at Cheran. In 1948-1949, he studied the economic systems of the Quechua village of Nayon, Peru, and cultural and social changes accompanying the shift from a subsistence to a marketplace economy. In 1963, he collected kinship data from students at the Institute of Sociology in Buenos Aires, Argentina. In 1965, he began a detaile.

study of the large, traditional market system of eastern Oaxaca in Mexico. In this latter work, Beals was assisted by many scholars and students over a five-year period.

Beals has had active ties with many organizations concerned with anthropology and the social sciences and to some he has given extraordinary service. During 1942-1943, he was in charge of a program of cooperating in the social sciences between institutions in Latin American and the Smithsonian Institution. In that capacity, he was charged with the establishment of the Inter-American Society for Anthropology and Geography. From 1943-1948, he edited the Society's journal Acta Americana, intially fulfilling official obligations but, after 1944 and his return to teaching, donating his time for the work. He was a collaborator with the Smithsonian's Institute for Social Anthropology in 1944-1951.

A member of the Social Science Research Council from 1946-1962, Beals undertook a study on its behalf of conditions in Latin American social science. In 1952. he carried out a project with Norman D. Humphrey for the Council's Committee on Cross-Cultural Education that involved an investigation of the experiences of Mexican students who were studying in the United States. He also served the American Anthropological Association as a member of its executive council from 1947-1949, vice president in 1949, and president in 1950. In 1965, the AAA, concerned with the use of anthropologists by government security agencies, asked Beals to study the ethics involved in anthropological research and related problems that result from government and.

and other organizational affiliations. Beals's report, prepared with cooperation from many research scholars, became the basis for the work of the AAA's ethics committee.

Beals has had many other organizational ties and responsibilities. He served as technical advisor for the United States delegation to the First Inter-American Indianists Conference at Patzcuarol, Mexico, in 1939; chairman of the Cross-Cultural Education Committee of the Social Science Research council from 1953 to 1960; member of the executive committee of the Society for American Archaeology from 1954 to 1957; and president of the Southwest Anthropological Association in 1958. He also served on several other committees and had editorial duties with the Handbook of Latin American Studies, American Anthropologist, adnNotes on Latin American Studies. He has been honored with several honorary professorhsips at Latin American universities.

Restrictions:

The Ralph Leon Beals papers are open for research. At Ralph Beals' request, his 1930-1933 correspondence were restricted until 2000. These include letters to and from his wife while he was in the field, several letters to his children, and one letter to his mother-in-law. Beals supplied edited copies of the restricted letters for public access. The restrictions have since been lifted, and the edited copies have been retained with the original letters. His field assistants' materials have been restricted for the lifetime of the creators.

Access to the Ralph Leon Beals papers requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Anthropology -- Applied anthropology  Search this

Markets  Search this

Acta Americana  Search this

Citation:

Ralph Leon Beals papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1980-54A

See more items in:

Ralph Leon Beals papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3f0c02811-1a1d-4573-9ac1-6306f6f4a3c0

EDAN-URL:

ead_collection:sova-naa-1980-54a

Issued by:

American Society of Muslims, American, 1976 - 2003  Search this

Subject of:

Ahmad Kausar, American  Search this

Medium:

ink on paper with plastic

Dimensions:

H x W: 1 3/4 × 2 13/16 in. (4.4 × 7.1 cm)

Type:

portraits

identity cards

Place used:

Los Angeles, California, United States, North and Central America

Date:

circa 1978

Topic:

African American  Search this

Islam  Search this

Religion  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Shaheed Abdullah

Object number:

2015.131.2

Restrictions & Rights:

No Known Copyright Restrictions

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd51634323d-ccf9-4250-ad8d-7708c74136c9

EDAN-URL:

edanmdm:nmaahc_2015.131.2

Published by:

Alan Bell, American  Search this

Edited by:

Alan Bell, American  Search this

Subject of:

Willis Oliver Jr.  Search this

Gay and Lesbian Arab Society, founded 1988  Search this

Amnesty International, founded 1961  Search this

Lambda Legal Defense and Education Fund, American, founded 1973  Search this

National LGBTQ Task Force, American, founded 1974  Search this

David N. Dinkins, American, born 1927  Search this

National Coalition of Black Lesbians and Gays, American, 1978 - 1990  Search this

Grupo Gay da Bahía, Brazilian, founded 1980  Search this

AIDS Coalition To Unleash Power, American, founded 1987  Search this

Sabrina Sojourner, American, born 1952  Search this

Medium:

ink on paper (fiber product)

Dimensions:

H x W x D: 10 13/16 × 8 1/4 × 1/8 in. (27.4 × 20.9 × 0.3 cm)

Type:

magazines (periodicals)

Place made:

Los Angeles, Los Angeles County, California, United States, North and Central America

Place depicted:

Middle East

Washington, District of Columbia, United States, North and Central America

San José, Costa Rica, Latin America, North and Central America

Lima, Peru, Latin America, South America

Kansas City, Jackson County, Missouri, United States, North and Central America

New York City, New York, United States, North and Central America

Galesburg, Knox County, Illinois, United States, North and Central America

San Antonio, Bexar County, Texas, United States, North and Central America

Boston, Suffolk County, Massachusetts, United States, North and Central America

San Francisco, San Francisco county, California, United States, North and Central America

Macomb, McDonough County, Illinois, United States, North and Central America

Bahia, Brazil, Latin America, South America

Chicago, Cook County, Illinois, United States, North and Central America

Philadelphia, Philadelphia County, Pennsylvania, United States, North and Central America

Pikeville, Pike County, Kentucky, United States, North and Central America

Date:

April 1991

Topic:

African American  Search this

Activism  Search this

Associations and institutions  Search this

Black Press  Search this

Communities  Search this

Freedom  Search this

Gender  Search this

Health  Search this

Holidays and festivals  Search this

Identity  Search this

International affairs  Search this

Islam  Search this

LGBTQ  Search this

Mass media  Search this

Men  Search this

Police brutality  Search this

Race relations  Search this

Religion  Search this

Sexuality  Search this

U.S. History, 1969-2001  Search this

Violence  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Alan Bell

Object number:

2018.108.29

Restrictions & Rights:

© BLK Publishing Company, Inc

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Movement:

African American - Latinx Solidarity

HIV/AIDS Activist Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5d3a627d8-2006-4d48-a6cf-d797068972f5

EDAN-URL:

edanmdm:nmaahc_2018.108.29

Artist:

Harry Benson, born 02 Dec 1929  Search this

Sitter:

Sir Alfred Joseph Hitchcock, 13 Aug 1899 - 29 Apr 1980  Search this

Dimensions:

Frame: 78.4 x 65.7cm (30 7/8 x 25 7/8")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles\Hollywood

Date:

1969

Topic:

Equipment\Ladder  Search this

Home Furnishings\Furniture\Seating\Chair\Folding chair  Search this

Exterior\Theatrical\Movie set  Search this

Sir Alfred Joseph Hitchcock: Male  Search this

Sir Alfred Joseph Hitchcock: Performing Arts\Performing arts director\Film director  Search this

Sir Alfred Joseph Hitchcock: Performing Arts\Performer\Television personality  Search this

Sir Alfred Joseph Hitchcock: Literature\Writer\Screenwriter  Search this

Sir Alfred Joseph Hitchcock: Literature\Editor\Book  Search this

Sir Alfred Joseph Hitchcock: Performing Arts\Producer\Television producer  Search this

Sir Alfred Joseph Hitchcock: Oscar  Search this

Portrait  Search this

Credit Line:

Owner: Harry Benson Ltd.

Object number:

EXH.HB.031

Restrictions & Rights:

Usage conditions apply

Copyright:

© Harry Benson Ltd. All rights reserved

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4f4bb06e6-7da7-493c-8fa4-87b1ab20fd16

EDAN-URL:

edanmdm:npg_EXH.HB.031

Artist:

Sid Avery, 12 Oct 1918 - 1 Jul 2002  Search this

Sitter:

Joanne Woodward, born 1930  Search this

Paul Newman, 26 Jan 1925 - 26 Sept 2008  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 25.2 x 32.7cm (9 15/16 x 12 7/8")

Sheet: 27.6 x 35.3cm (10 7/8 x 13 7/8")

Type:

Photograph

Place:

United States\California\Los Angeles\Beverly Hills

Date:

1958

Topic:

Equipment\Smoking Implements\Cigarette  Search this

Interior\Domestic  Search this

Home Furnishings\Furniture\Seating\Sofa  Search this

Architecture\Fireplace  Search this

Home Furnishings\Drinking vessel\Mug  Search this

Paul Newman: Male  Search this

Paul Newman: Business and Finance\Businessperson  Search this

Paul Newman: Performing Arts\Performer\Actor\Theater  Search this

Paul Newman: Performing Arts\Performing arts director  Search this

Paul Newman: Performing Arts\Producer  Search this

Paul Newman: Society and Social Change\Philanthropist  Search this

Paul Newman: Performing Arts\Performer\Actor\Movie  Search this

Paul Newman: Performing Arts\Performer\Actor\Television  Search this

Paul Newman: Sports and Recreation\Athlete\Race car driver  Search this

Paul Newman: Oscar  Search this

Paul Newman: Performing Arts\Performing arts director\Television director  Search this

Joanne Woodward: Female  Search this

Joanne Woodward: Performing Arts\Performer\Actor\Movie  Search this

Joanne Woodward: Oscar  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Ron and Donna Avery

Object number:

NPG.2000.104

Restrictions & Rights:

Usage conditions apply

Copyright:

© 1978 Sid Avery

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46678b133-8270-477a-b0a2-ecf2e49b69af

EDAN-URL:

edanmdm:npg_NPG.2000.104

Artist:

Abe Frajndlich, born 1946  Search this

Sitter:

Frank Owen Gehry, born 28 Feb 1929  Search this

Medium:

Chromogenic print

Dimensions:

Image: 38.1 x 38 cm (15 x 14 15/16")

Sheet: 50.7 x 40.6 cm (19 15/16 x 16")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles\Venice

Date:

1987 (printed 2000)

Topic:

Interior  Search this

Artwork\Sculpture  Search this

Frank Owen Gehry: Male  Search this

Frank Owen Gehry: Visual Arts\Architect  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Paulette and Kurt Olden in memory of Lily E. Kay

Object number:

NPG.2000.79

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2000, Abe Frajndlich

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46a2ba4d0-140f-405c-a735-ccecb21c34f4

EDAN-URL:

edanmdm:npg_NPG.2000.79

Artist:

Abe Frajndlich, born 1946  Search this

Sitter:

Peter Sellars, born 27 Sep 1957  Search this

Medium:

Chromogenic print

Dimensions:

Image: 38.2 x 38 cm (15 1/16 x 14 15/16")

Sheet: 51 x 40.7 cm (20 1/16 x 16")

Mat: 71.1 x 55.9 cm (28 x 22")

Type:

Photograph

Place:

United States\California\Los Angeles

Date:

1990 (printed 2000)

Topic:

Imaginary  Search this

Peter Sellars: Male  Search this

Peter Sellars: Performing Arts\Performing arts director\Theater director  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Paulette and Kurt Olden in memory of Lily E. Kay

Object number:

NPG.2000.87

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2000, Abe Frajndlich

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42fe59112-4ff0-474e-b3a2-29d65f0cfbc0

EDAN-URL:

edanmdm:npg_NPG.2000.87

Artist:

Malcolm Lubliner, born 1933  Search this

Sitter:

Richard Serra, born 2 Nov 1939  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 20.2 x 30.2 cm (7 15/16 x 11 7/8")

Sheet: 27.9 x 35.6 cm (11 x 14")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles

Date:

1969

Topic:

Costume\Headgear\Hat  Search this

Exterior  Search this

Richard Serra: Visual Arts\Artist  Search this

Richard Serra: Male  Search this

Richard Serra: Visual Arts\Artist\Sculptor  Search this

Richard Serra: Performing Arts\Filmmaker\Experimental filmmaker  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2009.40

Restrictions & Rights:

Usage conditions apply

Copyright:

© Malcolm Lubliner

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4c22ee198-ba82-4157-ba87-f6645017a6e8

EDAN-URL:

edanmdm:npg_NPG.2009.40

Artist:

Michael O'Brien, born 27 Jun 1950  Search this

Sitter:

Rob Reiner, born 6 Mar 1947  Search this

Medium:

Inkjet print

Dimensions:

Image: 37.1 x 49.5 cm (14 5/8 x 19 1/2")

Sheet: 50.8 x 61 cm (20 x 24")

Mat: 55.9 x 71.1 cm (22 x 28")

Type:

Photograph

Place:

United States\California\Los Angeles\Los Angeles

Date:

1988 (printed 2011)

Topic:

Personal Attribute\Facial Hair\Mustache  Search this

Toy  Search this

Nature & Environment\Fruit\Apple  Search this

Personal Attribute\Facial Hair\Goatee  Search this

Rob Reiner: Male  Search this

Rob Reiner: Performing Arts\Performing arts director\Film director  Search this

Rob Reiner: Performing Arts\Producer\Film producer  Search this

Rob Reiner: Performing Arts\Performer\Actor\Movie  Search this

Rob Reiner: Literature\Writer\Screenwriter  Search this

Rob Reiner: Performing Arts\Performer\Actor\Television  Search this

Rob Reiner: Performing Arts\Producer\Television producer  Search this

Rob Reiner: Performing Arts\Performing arts director\Television director  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Bill and Sally Wittliff

Object number:

NPG.2011.104

Restrictions & Rights:

Usage conditions apply

Copyright:

© Michael O'Brien

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e3dbe9b1-0467-4ff9-9156-eac27c458645

EDAN-URL:

edanmdm:npg_NPG.2011.104

Artist:

Margrethe Mather, 1886 - 1952  Search this

Sitter:

Moon Kwan, 1896 - 1995  Search this

Medium:

Gelatin silver print

Dimensions:

Image/Sheet: 13 x 10.6 cm (5 1/8 x 4 3/16")

Mount: 20.3 x 16.2 cm (8 x 6 3/8")

Mat: 45.7 x 35.6 cm (18 x 14")

Type:

Photograph

Place:

United States\California\San Francisco\San Francisco

Date:

c. 1918

Topic:

Moon Kwan: Male  Search this

Moon Kwan: Literature\Writer\Poet  Search this

Moon Kwan: Performing Arts\Performing arts director\Film director  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2011.21

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48d38b5f6-908b-433c-bd1b-f19dda0f706a

EDAN-URL:

edanmdm:npg_NPG.2011.21