The fountain is also known as the Fontaine des Quatre-Parties-du-Monde or the Fontaine Carpeaux. The lantern slide was apparently made by Williams, Brown, & Earle, Inc., of Philadelphia, possibly from a color postcard published by A. C. Champagne, 180 Rue de Rivoli, Paris. See FR025001 and FR025002 for comparable lantern slide derivations from published works
Mount reads: "Williams, Brown & Earle, Inc., 918 Chestnut St., Philadelphia, Pa."
Historic plate number: "5261."
Historic plate caption: "LEWIS [photographer?]; Paris - Luxembourg Garden - La Fontaine Carpeaux."
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Biographical material; letters; business records; writings; notes and notebooks; printed material; photographs.
Included are a biographical sketch; letters, 1924-1958, from Louis Anquetin, Raoul Dufy, Roger Fry, Augustus John, Gerald Kelly, and Sure Toudu; letters from Henri Verne of the Louvre Museum regarding Maroger's appointment as technical director of conservation for the Louvre, 1930-1939; business records, 1948-1962, containing correspondence and receipts from galleries, museums, and publishers regarding Maroger's paintings and his book The Secret Formulas and Techniques of the Masters, among them Galerie Louis Carre & Co. (Paris), Grand Central Art Galleries (New York City), Studio Publications, and Thomas Y. Crowell publishers; a typescript of a speech delivered by Maroger at the "Conference de Londres"; typescript chapters from his book; writings by unidentifed authors on the preparation of heated oil for painting, 1923 and paint mediums, 1949; notes, undated and 2 notebooks, 1923-1937, containing research on paint mediums, pigments, techniques and the artists who used them; a scrapbook of clippings, 1930-1935 mainly from French newspapers regarding his research, and one, 1941-1949, from Baltimore and New York papers about his students at the Maryland Institute, College of Art and exhibitions of his paintings; loose clippings, 1950-1964; exhibition announcements and catalogs, 1947-1962, from Maroger's group and one-man shows at Ferargil Galleries, the Grand Central Art Galleries, including the Maroger Baltimore Group of Painters which showed there, Evergreen House Foundation, Sagittarius Gallery, the Six Realists Gallery, and elsewhere; miscellaneous printed material, 1948-1966; and photographs, 1962, 1990 and undated and a photo album, 1953-1971, of Maroger, his wife Olga, Evergreen House, and works of art (annotated with size and price); of Harry Ladew and a painting of Ladew by Maroger; and of painted furniture, possibly examples for Maroger's painted furniture designs of the Goblins Tapestries.
Biographical / Historical:
Painter, conservator; Paris, France, New York, N.Y., and Baltimore, Md. In the 1930s, Maroger was technical director of the laboratories of the Louvre Museum, a professor at the School of the Louvre, and President of the Association of French Restorers. He received the Legion of Honor in 1937. Maroger came to the U.S. in 1939 and taught at the Parsons School of Design and for 20 years at the Maryland Institute of Art in Baltimore. He studied the paint mediums of the masters, and outlined them in his book, The Secret Formulas and Techniques of the Masters (New York: Studio Publications, 1948).
Lent for microfilming 1992 by Simone LeFaivfre, sister of Maroger's widow Olga.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Robert Longo conducted 2009 January 30-31, by Judith Olch Richards, for the Archives of American Art, at Longo's studio, in New York.
Longo speaks of his Italian heritage, his family and growing up in Long Island, New York; the role magazines, television, and movies played in artistic inspiration; his dyslexia; his interest in sports and music in high school; moving to Denton, Texas to attend the University of North Texas before being expelled; moving back to New York and enrolling in Nassau Community College; traveling to Italy to study art history, where he discovered his desire to become an artist; attending Buffalo State University where he met Charlie Clough, Michael Zwack, and Cindy Sherman, with whom he created Hallwalls Contemporary Art Center; Robert Irwin, Sol LeWitt and Vito Acconci's involvement with Hallwalls; moving to New York City with Cindy Sherman to begin their careers as artists; working at The Kitchen and his performance pieces of the period; the child-like, punk, and corporate influences and the process of creating his "archetypical" Men in the Cities series; his relationship with Gretchen Bender; the formations of Metro Pictures gallery by Helene Winer and Janelle Reiring; the Combines, sculptures, music videos, and short films created in the 1980's and their mixed reception and mixed success in the difficult art market; his works cast in aluminum and metal; his first retrospective held at the LA County Museum of Art in 1989 and feeling lost in his own work; creating "bad art" in the process of attempting sobriety; black flag imagery and his success in Europe, which served as inspiration to move to Paris for several years; meeting his wife, Barbara Sukowa, a German actress; how having children changed his perspective and how they act as antennae to the world; his directorial role of the 1992 film, "Johnny Mnemonic"; and the slow progression, and continuity, of imagery in different bodies of work from the mid-1990's through the present, including the Magellan series (drawings of 366 different images), Albert Einstein and Sigmund Freud's offices, and series of waves, bombs, roses, planets, sleeping babies, and sharks. Longo also recalls Leonora Fink, Phil Malkin, Rick Zucker, Les Krims, Troy Brauntuch, Jack Goldstein, Paul McMann, David Salle, Matt Mullican, Diane Shea, Alanna Heiss, Kasper Konig, Konrad Fischer, Brooke Alexander, Dominic Ranieri, William Gibson, Keanu Reeves, Emilio Mazzoli and others.
Biographical / Historical:
Robert Longo (1953- ) is a painter and sculptor in New York, New York. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
Originally recorded on 4 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hr., 54 min.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.