An interview of Peter Hutchinson conducted 1967 July 27, by Dorothy Seckler, for the Archives of American Art.
Hutchinson speaks of his childhood and early education in the English countryside; his subsequent time spent in the army; his decision to move to the states and attend college in Illinois; his artistic destiny realized during his first year in college; his seven year experience working his way through college; his time spent in Italy in the early 60's; his early mathematic, Nevelson-like wood works; his relationship to the Jack Daniels Gallery and the "nucleus of thought" consisting of Sol LeWitt , Robert Smithson, Tadaaki Kuwayama; his feelings as to the blurred line between art and writing; the stimulation process involved in all art forms; his creative process consisting primarily of thought; his progression from construction, to painting, to painting on shaped canvas and wood; the requisite direct relationship between art and the artist; his position on the contemporary debate over the supremacy of painting or sculpture; his prediction that Judd and Morris are painting themselves into a corner; the importance of artistic dialogue; the possibility of a redefinition of humanism; his interest in Science Fiction and his recent publication of "Is there Life on Earth;" the importance of "thinking in reverse;" his decision in recent years to replace personal references with personal shapes; his opposition to the term creativity; his similar position to McLuhan with his belief in every man as an artist; his foresight of an eventual "devaluation of monetary attainment;" and his belief that art (self-expression) will always exist in one form or another. Hutchinson discusses his work and its development, and he comments upon the aesthetic climate of the day. He discourses on science fiction.
Biographical / Historical:
Peter A. Hutchinson (1930- ) is a sculptor from Provincetown, Mass.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Peter Busa conducted 1965 September 5, by Dorothy Seckler, for the Archives of American Art. Busa speaks of family background; influences on his work; and his work on the WPA. He recalls Arshile Gorky, Stuart Davis, Jackson Pollock, William Baziotes, Kamrowski, and discusses his work being purchased by art patron Walter Chrysler in the late 1950's.
Biographical / Historical:
Peter Busa (1914-1985) was a painter and sculptor from Minneapolis, Minnesota.
General:
Originally recorded as 2 sound tapes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 37 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Martin Friedman in Provincetown, Mass. conducted 1965 Sept. 3-Sept. 5, by Dorothy Seckler, for the Archives of American Art.
Friedman discusses his background and education; Albert Pinkham Ryder's work and the influence it had on him; his artistic development; the importance of music to his life and work; exhibitions; and painting techniques.
Biographical / Historical:
Martin Friedman (1896-1980) was a painter from Budapest, Hungary.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Sculptors -- United States -- Interviews Search this
7 letters from Hensche to Wackerle seeking help in publishing his manuscript, The Art of Seeing and Painting.
Biographical / Historical:
Hensche: painter, instructor; Provincetown, Mass. Wackerle: collector and friend of Hensche; Chicago, Ill. Hensche's book The Art of Seeing and Painting was published in 1988. Died 1992.
Provenance:
Donated 1986 by Frederick Wackerle. A photocopy of the mss., "The Art of Seeing and Painting" received with the letters was discarded due to its poor quality and the fact that it was published in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Massachusetts -- Provincetown Search this
Topic:
Sculptors -- United States -- Interviews Search this
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities in both paper and digital formats in the following series: biographical materials, correspondence, studio records, gallery records, project records, affiliations, exhibition records, writings, printed materials, photographic materials, and artwork.
Scope and Contents:
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities.
Biographical materials include documents related to Mazur's early education, trips to Europe, and development as an artist, as well as biographies, degrees and awards, with some materials in digital formats.
Correspondence is primarily professional in nature with institutions and fellow artists, including letters requesting Mazur's participation in exhibitions and other projects. Also included are extensive correspondence advocating for ecological preservation of the Massachusetts Cape Cod where Mazur had a home in Provincetown. Earlier correspondence includes letters with family members and friends. Some correspondence is digital.
Studio records include artwork inventories and documents regarding donations, appraisal and tax deduction information, as well as the artist's website. Gallery records contain correspondence and business documents with various commercial art galleries, including artwork images, mailing lists, price lists and guest books. Project records document various commissions and collaborations including perhaps Mazur's longest ongoing project, artwork, publications and exhibitions engaging with Dante's Inferno. Many of Mazur's professional records are in digital format.
The Affiliations series includes faculty appointments as well as ongoing board service for Fine Arts Work Center in Provincetown and other professional advising and project participation, including a Tamarind Lithography Workshop Fellowship in 1968. Many of the Fine Arts Work Center documents are digital.
Exhibition records document select exhibitions including Mazur's traveling print retrospective. In addition to correspondence and documents and agreements, select digital installation images and documents are also included.
The Writings series includes various essays, letters to the editor, and lectures by Mazur including student work, as well as essays and films discussing the artist's career and contributions, many in digital form. Also included are Mazur's journals kept for the entirety of his career.
Printed materials include exhibition announcements, catalogs and press, select published journals (some of which include contributions by Mazur), and publications for which Mazur has provided the cover artwork.
Photographic materials are both print and digital in nature and capture the breadth of Mazur's art production, organized by medium, genre, artwork series, subject and time period. The arrangement of digital photographs reflects the categories represented on the artist's website archive.
Artwork includes drawings, sketchbooks and watercolor pads, as well as artwork by others including a photographic portrait portfolio of Mazur by Brigitte Durer. Computer study images and source material in digital formats, are also included.
Arrangement:
The collection is arranged as 11 series.
Series 1: Biographical Material, circa 1953-2006 (0.5 Linear Feet: Boxes 1, 21; 0.014 Gigabytes: ER001-ER002)
Series 2: Correspondence, circa 1940-2011 (3.8 Linear Feet: Boxes 1-4, 21, OV23; 0.008 Gigabytes: ER003)
Series 3 : Studio Records, circa 1962-2009 (1 Linear Feet: Box 5; 0.082 Gigabytes: ER004-ER006)
Series 4: Gallery Records, circa 1967-2009 (2 Linear Feet: Boxes 6-7; 0.028 Gigabytes: ER007-ER009)
Series 5: Project Records, circa 1983-2008 (1.3 Linear Feet: Boxes 8-9; 0.3 Gigabytes: ER010-ER015)
Series 6: Affiliations, circa 1966-2008 (0.7 Linear Feet: Box 9; 0.101 Gigabytes: ER016-ER019)
Series 7: Exhibition Records, circa 1958-2008 (0.7 Linear Feet: Box 10; 1.07 Gigabytes: ER020-ER032)
Series 8: Writings, circa 1952-2009 (2.7 Linear Feet: Boxes 10-13; 4.75 Gigabytes: ER033-ER052)
Series 9: Printed Material, circa 1945-2016 (2.1 Linear Feet: Boxes 13-15; 0.114 Gigabytes: ER053-ER054)
Series 10: Photographic Material, circa 1936-2016 (5.9 Linear Feet: Boxes 15-22, OV25-28; 14.26 Gigabytes: ER055-ER114)
Series 11: Artwork, circa 1941-2009 (0.4 Linear Feet: Boxes 20, 22; 2.1 Gigabytes: ER115-ER116)
Biographical / Historical:
Michael Mazur (1935-2009) was a prolific printmaker, painter, draughtsman, sculptor, and educator in Cambridge, Massachusetts, who beyond working across media, treated an equally diverse set of subjects in abstract and figurative traditions.
As a child in New York City's Upper East Side Mazur received an early art education at the Bronx's Horace Mann School. He received a bachelor's degree from Amherst College, as well as a bachelor's and master's degrees at the Yale School of Art. Mazur has held teaching positions at Rhode Island School of Design and Brandeis University, as well as a recurring visiting artist position at Harvard University's Carpenter Center. While attending Yale Mazur met his wife, poet Gail Mazur.
In addition to their home in Cambridge, Michael and Gail maintained a home in Provincetown, Massachusetts, where they were deeply involved in the artistic community including the Fine Arts Work Center, as well as environmental issues impacting the region of Cape Cod. He is survived by his wife and his two children Kathe and Dan.
Provenance:
Papers were lent for microfilming 1977 and 1998 by Michael Mazur. Material on microfilm and additional papers donated 2018 by Gail Mazur, Michael Mazur's widow.
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.
The papers of art critic, curator, and educator April Kingsley and painter, sculptor, writer, and educator Budd Hopkins measure 11 feet and 0.209 Gigabytes, and date from circa 1945-2017. Kingsley's papers are comprised primarily of artist files for figures that April had a significant engagement with, project files, interviews with artists, subject file index cards, biographical materials, and miscellaneous correspondence. Hopkins' papers are comprised of biographical material, as well as correspondence with various prominent art world figures including Richard Diebenkorn, Robert Motherwell, Carl Andre, Howardena Pindell, and Robert Rosenblum. Hopkins' personal business records include correspondence and sale and consignment information. Also found are writings, printed material, including exhibition invitations and catalogs and press clippings, and photographic material depicting Hopkins and his artwork.
Scope and Contents:
The papers of art critic, curator, and educator April Kingsley and painter, sculptor, writer, and educator Budd Hopkins measure 11 feet and 0.209 Gigabytes, and date from circa 1945-2017. Kingsley's papers are comprised primarily of artist files for figures that April had a significant engagement with, with contents ranging from correspondence to printed material, including invitations and catalogs and press clippings, as well as notes and manuscript material including reviews. Project files include various topics of interest and research for tentative and actualized exhibitions, as well as writing projects and committee work related to Kingsley's tenure at the American Craft Museum and the Kresge Museum at Michigan State University. Also found are recorded interviews with artists and other figures conducted by April Kingsley between the years of 1988 and 1990, most of which are affiliated with the Abstract Expressionist movement. The subject file index cards are comprised of various sets of notes and citations regarding themes, movements, and artists central to Kingsley's ongoing research throughout her career. Also included are various biographical materials and miscellaneous correspondence that comprise the personal papers subseries.
Hopkins' papers are comprised of biographical material including biographies and a chronology, correspondence with various prominent art world figures including Richard Diebenkorn, Robert Motherwell, Carl Andre, Howardena Pindell, and Robert Rosenblum. Personal business records include correspondence and sale and consignment information related to particular galleries, as well as records regarding the Long Point Gallery co-founded by Hopkins and twelve other artists on Cape Cod in 1977. His writings include manuscript material regarding one of Hopkins' titles on UFO abductions, as well as various typescripts for reviews and essays written by Hopkins, as well as one audio recording for a lecture regarding his essay "Modernism and the Collage Aesthetic." Printed material including exhibition invitations and catalogs and press clippings are also found. Photographic materials include images of Hopkins, exhibition installations, and artwork in various formats, such as photographic prints, negatives, slides, and transparencies.
Arrangement:
The collection is arranged in two series:
Series 1: April Kingsley papers, circa 1960s-2017 (7.7 Linear Feet; Boxes 1-8, 0.209 Gigabytes; ER01)
Series 2: Budd Hopkins papers, circa 1945-2010 (3.3 Linear Feet; Boxes 7, 9-11)
Biographical / Historical:
April Kingsley (1941- ) is an art historian, critic, and curator living in Harwich, Massachusetts. Budd Hopkins (1931-2011) was an Abstract Expressionist artist and writer of both art criticism and UFO and abduction phenomena accounts, who lived primarily in New York City and Cape Cod.
Following a short-lived career as a nurse while married to her first husband, Kingsley completed a Masters of Fine Arts from New York University, and later a PhD in Art History from the City University Graduate Center. Kingsley studied in depth the Abstract Expressionist art movement, and also focused heavily on women artists and contemporary craft art. Kingsley held curatorial positions at a range of institutions including at The Museum of Modern Art, The American Craft Museum, and at the Pasadena Art Museum. She has written major monographs on numerous artists including Jean Miotte and Alice Dalton Bown, and contributed to the catalogs of more than 75 artists. Among her most notable publications are The Turning Point: The Abstract Expressionists and the Transformation of American Art (1992) and Emotional Impact: American Figurative Expressionism (2013). Kingsley and Hopkins were married from 1973-1991, and had one daughter, Grace Hopkins-Lisle. Kingsley currently resides in Harwich, Massachusetts with her husband Donald Spyke, who she married in 2005.
Born Elliott Budd Hopkins in 1931 in Wheeling West Virginia, Hopkins survived an early battle with polio as a toddler, following which a period of convalescence made an early engagement with drawing possible. He graduated from Oberlin College with an art history degree where he heard a lecture from a future mentor Robert Motherwell. After college Hopkins moved to New York City and became a fixture of the Abstract Expressionist circle, and by 1956 had his first solo show of paintings. In 1976 he earned a Guggenheim Fellowship as well as a grant from the National Endowment for the Arts in 1979. His paintings, which range from gestural Abstract Expressionism to color plane geometric compositions are held in major museum collections ranging from the Metropolitan Museum of Art, the Museum of Modern Art in New York, and the British Museum. In the 1980s Hopkins turned to making large scale sculptures evocative of ancient ritualist architecture, an addition to his well-known painting practice. Hopkins also published a number of reviews of the work of other artists which were very well received at the time. As much as his art career perhaps, Budd Hopkins is known for spreading the word about alien abduction in his popular books on the subject, following a UFO sighting he recounts in Cape Cod in 1964. While Hopkins does not claim to have been abducted he regularly held support groups for others to share their stories. He passed in 2011 in his home in New York City.
Provenance:
The bulk of April Kingsley and Budd Hopkins papers was donated in 2018 by Grace Hopkins, their daughter. Portions of the Budd Hopkins papers were donated by Budd Hopkins between 1980 and 1983.
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:
Painters -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.
There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Scope and Contents:
The papers of sculptor, painter and printmaker Worden Day (1916-1986) measure 3.5 linear feet and date from circa 1935-1992. The collection consists of biographical material, correspondence, writings, printed material, scrapbooks, photographic material, sketchbooks, and audiovisual material.
Included are biographical material consisting of resumes and an address book. Correspondence is with colleagues, curators, and museum directors including Will Barnet, Carl Zigrosser, May Sarton, Dorothy Dehner, Louise Bourgeois, Sue Fuller, among others. Writings by Day are about sculpture and painting, among them four unpublished manuscripts "Pop Art as an American Cultural Phenomenon," "What is a Print," "The Found Dimension- Aspects in the Development of Modern American Sculpture," and "New Expressions of Woodcut," and reviews for exhibitions written by Day for Art News. Also found in the collection are printed materials; scrapbooks; photographs of Day, her works and photograph albums; and three sketchbooks. Audiovisual material is arranged with biographical material and includes a taped interview on audio cassette with Day and one reel of motion picture film (also available as digital files), "Printmakers," presented by United States Information Service, 1961, showing American printmakers Mauricio Lasansky, Day, Karl Schrag, Seong Moy and Gabor Petredi at work and students in the School of Graphic Arts at the State University of Iowa, founded by Lasansky. Also arranged with biographical material is a file relating to an exhibition on the work of painter Vaclav Vytlacil organized by Day in 1975 at the Montclair Art Museum containing correspondence; letter fragments from Alex Minewski; writings by Vytlacil regarding his career and work with Hans Hofmann; an audio cassette; photographs of Vytlacil, Hofmann teaching in Munich, Ed and Isabell Rupprecht, Ernest Thurn, Betty Foster, and Alice Fish at the Hofmann School of Fine Arts, Munich; and the exhibition catalog.
There is a 1.0 linear foot additon, circa 1951-1992, donated in 2020 containing further papers of Worden Day.
Arrangement:
The collection is arranged as eight series
Series 1: Biographical Material, 1960-1986 (Box 1, FC6; 0.5 linear feet)
Series 2: Correspondence, 1953-1977 (Box 1; 1 folder)
Series 3: Writings, 1955-1985 (Box 1; 0.3 linear feet)
Series 4: Printed Material, 1949-1983 (Box 1; 0.3 linear feet)
Series 5: Scrapbooks, 1940-1984 (Boxes 1, 4; 0.5 linear feet)
Series 6: Photographic Material, 1935-1986 (Boxes 2-3; 0.5 linear feet)
Series 7: Sketchbooks, 1960-1986 (Boxes 3, 5; 0.4 linear feet)
Series 8: Unprocessed Addition, circa 1951-1992 (Box 7; 1.0 linear feet)
Biographical / Historical:
Worden Day (1916-1986) was a sculptor, painter, printmaker and curator in Montclair, New Jersey. Born in Columbus, Ohio, Day graduated from Randolph-Macon College in 1934. She then moved to New York City, and over the next few decades, studied drawing with Maurice Sterne and George Grosz; drawing, painting, and printmaking with William Von Schlegell, Harry Sternberg, Hans Hofmann, Will Barnet, and Vaclav Vytlacil at the Art Students League; and etching with Stanley William Hayter at the New School for Social Research. After earning her M.A. from New York University in 1966, Day taught as an instructor and lecturer in color theory, drawing, printmaking, sculpture, design, collage, American art history, modern art theory, and women artists. Her written reviews and essays were featured in publications such as Art News, Art Voices, and Impressions, and she had solo exhibitions throughout the United States, including at the Smithsonian Institution, Baltimore Museum of Art, Cincinnati Art Museum, and Montclair Art Museum.
Provenance:
The papers were donated to the Archives of American Art from 1972-1983 by Worden Day. Additional material was donated in 2017 by Constance Duhamel, Day's friend. Additional material was donated in 2020 by the Maier Museum of Art at Randoph College via Constance Duhamel.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Landscape painters -- Massachusetts -- Provincetown Search this
The papers of New York School painter and sculptor Fritz Bultman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships; Hans Hofmann is the most thoroughly documented subject. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.
Scope and Contents:
The papers of New York School painter and sculptor Fritz Bultlman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.
Biographical materials include school records and notice of Bultman's army classification.
Most letters are addressed to Fritz Bultman and his parents. Fritz's education in Munich and studying with Hans Hofmann is well-documented. Many letters are from Miz Hofmann and Hans Hofmann. Also found are a smaller number of letters from museums, galleries, universities, and arts organizations. The surviving letters by Bultman are mainly to his family. Most were written when he was a student in Munich or traveling in Europe. There are some drafts and copies of letters concerning professional activities, arrangements for lectures, exhibitions, and Cynthia Goodman's editing "Form and Color in the Creative Process: The Painter's Primer" by Hans Hofmann.
Most interviews focus on Bultman's career. An interview with Jeanne and Fritz Bultman is about John Graham, and one of the interviews with Jeanne Bultman concerns Hans Hofmann.
Bultman's writings and notes include articles, lectures and talks about Hans Hofman, lectures about his own work, and a book review. Among the writings about Bultman are articles, a catalog essay and exhibition review.
Notebooks/sketchbooks (39 volumes) contain a variety of writings and notes, including some that are autobiographical, along with sketches and several finished drawings. Some volumes consist of writings and notes with a few sketches and doodles while others are mainly sketchbooks containing a few stray notes and brief writings; many contain approximately the same amount of text and drawings.
Diaries (4 volumes) contain entries about his work, professional and personal activities. One volume is a record of his October 1978 trip to Istanbul.
Subject files contain varying combinations of correspondence, photographs, printed material, and manuscripts. The most extensive file relates to Hans Hofmann and includes copies of writings by him. Other files of note concern Joseph Cornell, the exhibitions "Forum '49" and "Forum '49 Revisited," Weldon Kees, Tony Smith, and Donald Windham.
The largest series, printed material, consists of exhibition catalogs, announcements, reviews, articles and clippings about or mentioning Bultman.
Noteworthy among the small amount of artwork by Bultman is an early print; also found are loose drawings and paintings on paper.
Photographs of artwork document the full range of Bultman's production --paintings, sculpture, drawings, collage, stained glass, interior design and decoration. Also found are a few photographs of works by other artists. Photographs of Fritz Bultman include many by Renate Ponsold. Other indentified individuals include parents Fred and Pauline Bultman, sister Muriel Bultman, childhood nurse Katie Belle, son Johann Bultman, Sherman Drexler, Hans Hofmann, Miz Hofmann, Miss Katsura, Lee Krasner, Annalee Newman, Barnett Newman, Alfonso Ossorio, Jeanne Reynal, Thomas Sills, Jack Tworkov, and Wally Tworkov. A group portrait of the artists of Long Point Gallery includes: Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Budd Hopkins, Rick Klauber, Lee Manso, Sidney Simon, Robert Motherwell, Judith Rothschild, Nora Speyer, and Tony Vevers. Also found in this series are photographs of Bultman exhibition installations and views of miscellaneous places.
Arrangement:
The collection is arranged in 10 series:
Missing Title
Series 1: Biographical Materials,1928-2003 (Box 1; 0.1 linear feet)
Series 2: Letters, 1930-1995 (Box 1; 0.4 linear feet)
Series 3: Interviews, 1968-1998 (Box 1; 0.4 linear feet)
Series 4: Writings and Notes, 1935-circa 1980s (Boxes 1-2; 0.8 linear feet)
Series 5: Notebooks/Sketchbooks, 1937-circa 1979 (Boxes 2-3, 11; 0.7 linear feet)
Series 6: Diaries, 1977-1979 (Box 3; 0.3 linear feet)
Series 7: Subject Files, 1942-2010 (Boxes 3-5, 11; 2.3 linear feet)
Series 8: Printed Material, 1941-2006 (Boxes 5-9, OV 12; 3.5 linear feet)
Series 9: Artwork, circa 1930s-1956 (Boxes 9, 11; 0.1 linear feet)
Series 10: Photographs, 1935-1997 (Boxes 9-10; 0.6 linear feet)
Biographical / Historical:
Fritz Bultman (1919-1985), a New York School painter and sculptor who lived and worked in Provincetown, Massachusetts and New York City, was also a collagist, stained glass artist, and educator.
Anthony Fred Bultman, III --always known as Fritz --was from a prominent and cultured New Orleans family. He began studying art as a boy and one of his teachers was Morris Graves, a family friend. His last 2 years of high school were spent at the Munich Preparatory School, boarding with Mrs. Hans Hofmann whose husband was working in New York for an extended period. Bultman attended the New Bauhaus in Chicago before studying for three years with Hans Hofmann in New York City and Provincetown, Massachusetts. As well as being a major influence on Bultman's development as a painter, Hofmann became a life-long friend.
Fritz Bultman met dancer and model Jeanne Lawson (1918-2008), when she was posing in Hofmann's studio during the summer of 1941. They married in 1943 and the following year bought a house in Provincetown. In 1945, Bultman built a studio designed by a friend from the New Bauhaus, sculptor and architectural designer Tony Smith, who also helped with its construction.
His first solo exhibition was held in 1947 at the Hugo Gallery, New York; others followed in 1950, again at Hugo Gallery and at Kootz Gallery, New York. After receiving an Italian Government Grant for Exchange Fellowship, Bultman spent 1950-1951 in Florence, Italy, where he learned the process of casting and began making metal sculpture. In 1952 the Bultmans moved to New York City. Depressed and beset by anxiety, Bultman began Freudian psychoanalysis, and between 1952 and 1956 produced very little artwork.
In 1958 Bultman resumed exhibiting and continued to show regularly for the remainder of his life. He enjoyed solo exhibitions in New York City, Paris, New Orleans, North Carolina, Provincetown, and other venues. Between 1958 and 1963 Bultman taught painting at Hunter College and was an instructor in design and painting at Pratt Institute. Bultman spent 1964-1965 in Paris on a Fulbright Grant painting and sculpting, studying European methods of bronze casting, and meeting French artists. Bultman maintained his reputation as a highly regarded art instructor and in later years was a sought after guest lecturer at a various colleges. While artist-in-residence at Kalamazoo College, Michigan in 1981, he designed and produced a stained glass mural with technical assistance from his wife, Jeanne Bultman, a skilled artisan.
Fritz Bultman died of cancer in Provincetown, Massachusetts, in 1985.
Related Materials:
An oral history interview with Fritz Bultman, 1986 January 6, was conducted by Irving Sandler for the Archives of American Art (available on microfilm reel 3196).
Provenance:
Gift of Fritz Bultman in 1984, which included material lent for microfilming in 1970 and 1971. Additions donated by Jeanne Bultman, his widow, in 1988 and 2000, and by his sons, Anthony F. Bultman, IV and Ellis Johann Bultman, in 2013.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
