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Hugo Gellert papers, 1916-1986

Creator:
Gellert, Hugo, 1892-1985  Search this
Gellert, Hugo, 1892-1985  Search this
Subject:
Gropper, William  Search this
Lie, Jonas  Search this
Kent, Rockwell  Search this
Refregier, Anton  Search this
Gellert, Ernest  Search this
Sequenzia, Sofia  Search this
Gottlieb, Harry  Search this
Reisman, Philip  Search this
Gellert, Lawrence  Search this
Evergood, Philip  Search this
Derkovits, Gyula  Search this
Fiene, Ernest  Search this
Fast, Howard  Search this
American Artists' Congress  Search this
Art of Today Gallery (New York, N.Y.)  Search this
Artist's Committee of Action (New York, N.Y.)  Search this
Hungarian Word, Inc.  Search this
National Society of Mural Painters (New York, N.Y.)  Search this
Artists Council  Search this
Artists Coordination Committee (New York, N.Y.)  Search this
Committee to Defend V.J. Jerome  Search this
Artists for Victory, Inc.  Search this
Type:
Interviews
Photographs
Topic:
Artists' writings  Search this
Politics in art  Search this
Works of art  Search this
Muralists -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Graphic artists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7845
(DSI-AAA_SIRISBib)210012
AAA_collcode_gellhugo
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210012
Online Media:

Correspondence

Collection Creator:
Gellert, Hugo, 1892-1985  Search this
Extent:
0.8 Linear feet (Boxes 1-2, 8)
Type:
Archival materials
Date:
circa 1920-1986
Scope and Contents note:
This series contains the correspondence of Hugo Gellert. Most of the correspondence is of a professional nature, related to Gellert's activities as an artist, political organizer, and activist. Correspondents include artists, friends, family members, Communist Party and Popular Front leaders, labor union leaders, federal art programs personnel, writers, historians, publishers, Hungarian cultural and political figures, and fellow activists. Significant correspondents in this series include Maurice Becker, William Patterson, Floyd Dell, Philip Evergood, Howard Fast, Mike Gold, Robert Gwathmey, and Rockwell Kent.

Letters from individuals involved in leftist political organizations and activities are common throughout the series. In addition to Gellert's fellow Communists and Socialists, a wide variety of political groups are represented, including those concerned with artists' employment and welfare issues, anti-fascist organizations, organized labor, watchdog groups and defense committees for civil liberties during the McCarthy era, advocates for jailed Mexican artist David Siqueiros, and American civil rights groups. Also found is correspondence with editors of publications for which Gellert supplied illustrations, and letters concerning exhibitions and murals.

Noteworthy items found in correspondence include a lengthy letter written by John Dos Passos enclosed with a circa 1930s letter from Carlo Tresca, a draft of an essay by Carl Sandburg with a 1942 letter, and an original New Year's card by Gellert for 1951. Drafts of outgoing letters from 1946 contain a number of sketches of Australian landscapes by Gellert.

See Appendix for names of selected individuals, organizations, and publications found in Series 2.
Arrangement note:
Letters received are interfiled with drafts of outgoing letters in chronological order. Undated correspondence that can be estimated within a decade is filed at the end of each decade with "circa" dates. Additional undated correspondence is filed at the end of the series. Outgoing drafts are common in correspondence and often have estimated dates.

Additional correspondence is found in the Organizational Records series. Additional cards made by Gellert are filed with Artwork. See series description for further details.
Appendix: Selected Individuals, Organizations, and Publications in Series 2:
The following is an index to selected individuals, publications, and organizations represented in the Correspondence in Series 2. This index is not comprehensive.

Additional correspondence is found with Series 4, Organizational Records, and is described in the container listing for that series. Letters which were mass mailings from dozens of political organizations can also be found in Series 5, Printed Materials.

American Civil Liberties Union (ACLU): 1935 (Lucille Milner)

American Committee Against Fascist Oppression in Germany: 1934 (Louis Gibarti)

American Committee for the Protection of the Foreign Born: 1962 (Annette Provinzano)

American League against War and Fascism: 1937 (Albert Prentis)

American Magazine -- : 1935

American Russian Institute: 1952 (Irene Miller, Holland Roberts)

Americans for Democratic Action: 1956 (Edward D. Hollander)

An American Group: 1940 (to Clifton Woodrum)

Aptheker, Herbert: 1959

Arms, John Taylor: 1952 (see also Series 4)

Artists Conference of the Americas: 1939

Artists League of America: 1942 (Dan Koerner)

Artists' Cooperative Group: 1943 (B. Nuno)

Association des Ecrivants et Artistes Revolutionnaries: 1933 (R. Ginsburger)

Balch, Earle: 1932

Bauch, Solomon "Stan": 1941

Becker, Maurice: 1951-1953, 1961, undated

Berkowitz, Harry: 1954

Bonnett, Clarence E.: 1937

Bramer, Nan: 1952

Breines, Simon: 1947, 1971

Bromsen, Archibald: 1940 (labor lawyer)

Brook, Alex: 1939

Buck, Pearl: 1953

Caswell, Edward: 1960

Chiostergi, Alessandro L.: 1937

Citizen's Committee for Constitutional Liberties: 1962 (Miriam Friedlander)

Citizens Emergency Defence Committee: 1953 (Sam Kanter)

Civil Rights Congress: 1953 (William L. Patterson)

Committee for Social Re-Education: 1934 (Jose Vallon)

Committee to End Sedition Laws: 1955 (Allan D. McNeil)

d'Harnoncourt, Rene: 1946

Davidson, Jo: 1944, 1945 (Independent Voters Committee of Artists, Writers, and Scientists)

Davis, Ben Jr.: 1942, undated

Decker, W.J.: 1956

Dell, Floyd: 1930

Dinnerstein, Harvey: 1960 (catalog)

Direction -- : 1942 (Marguerite Tjader Harris)

Dorner, Hannah: 1943

Dos Passos, John: circa 1930s

Dow, Hume: 1947

Durus, Alfred (a.k.a. Alfred Kemeny): 1935-1936

Einhorn, Nat: 1955

Ellis, Ethel: 1959 (re: Fred Ellis)

Emergency Civil Liberties Committee: 1957-1958

Engel, Michael: 1962 (Audobon Artists)

Evergood, Philip: 1955, 1961 (See also Series 4)

Fast, Howard: 1951, 1954, 1955

Fiene, Ernest: 1939

Fine Arts Federation, NY: 1935

Fitelson, H. William: 1934 (entertainment lawyer, artists guilds)

Foreman, Clark: 1958

Fossum, Sydney: 1943

Friedlander, Miriam: 1962

Gainer, Morris: 1955

Garabedian, John: 1962 (Hudson Guild Theater Workshop)

Garcia, J. Uriel: 1943

Garst, Robert: 1951

Gibarti, Louis: 1934

Ginsburger, R.: 1933

Gold, Mike: see Granich, Mike

Granich, Grace: 1954

Granich, Mike (a.k.a. Mike Gold, born Irving Granich): 1956

Greenbaum, Dorothea: 1940 (Sculptor's Guild)

Gropper, William: 1951

Gwathmey, Robert: 1959, undated

Hall, Rob: 1952

Hardy, Lewis: 1955

Harris, Marguerite Tjader: 1942

Hars, Laszlo: 1953, 1955

Hartley, Paul: 1944 (National Art Foundation)

Hecht, Rosa: 1955

Henri Barbusse Memorial Committee: 1937

Hollander, Edward D.: 1956

International Bureau of Revolutionary Artists: 1935-1936 (Alfred Durus, a.k.a. Alfred Kemeny)

Joint Committee to Defend WPA Workers: 1941, 1942 (Ronald Shilen)

Jones, Alec: 1955, 1958

Kantor, Sam: 1953

Karolyi, Michael, Count: 1941, 1946

Kauffer, Edward McKnight: 1945

Kent, Rockwell: 1937, 1944, 1952-1953 (See also Series 4)

Klonsky, Bob: 1955

Koerner, Dan: 1942

Kohn, Robert D.: 1935 (architect)

Kovalski, Stanislaw: 1955 (Polish embassy)

Ksnyik, Andras: 1978

Laffitte, Jean: 1955

Lie, Jonas: 1939

Lorber, Dr. Herman "Harry": circa 1930s

Mabry, Thomas D.: 1942 (Graphics Div, Office of War Information)

Macagy, Jermayne: 1955

Magyar Jövo -- (Hungarian Daily Journal): 1952 (Alex Rosner), 1953

Mainstream -- : 1962

Maldonado, R.: 1978 (Smithsonian Labor History Project)

Manship, Paul: 1939, undated

Marceau, Henri: 1946

Marquardt, Virginia: 1978

Maruki, Toshiko and Iri: 1960

Masses and Mainstream -- : 1952 (Samuel Sillen), 1954 (Joe)

McNeil, Alan D: 1955

Michelson, Herman: 1934

Milner, Lucile: 1935

Moore, Sam: 1953

Nagy, Janos: 1956

National Association of Women Painters and Sculptors: 1940 (Bianca Todd)

National Council of American Soviet Friendship: 1943 (Hannah Dorner)

National Council of the Arts, Sciences, and Professions: 1952 (Nan Bramer)

National Maritime Union: 1944 (Louis Oguss, M. Hedley Stone)

New Masses -- : 1934 (Sean, Herman Michelson)

New World Review -- : 1952 (Jessica Smith)

New York Committee for the Protection of the Foreign Born: 1955 (Alec Jones)

Nuno, B.: 1943

Oguss, Louis: 1944

Oldham, John and Ray: circa 1930s

Ottley, Roi: 1943 (National CIO Committee)

Patrás, Pal: 1955

Patterson, William L.: 1953-1954

People's World -- : 1956 (W.J. Decker)

Perlo, Ellen: 1984

Perrot, Paul: 1960 (Corning Museum)

Philadelphia Forum of Social Sciences: 1955 (Bob Klonsky)

Popper, Lilly: 1953-1954

Prentis, Albert: 1937

Provisional Workers and People's Committee for May Day: 1955 (Morris Gainer), 1960 (Max Rosen)

Putnam and Sons: 1935 (Quintin Rossi)

Reed, Alman: 1955

Reisman, Philip: 1962, circa 1960s

Rickey, George: 1937

Rosen, Max: 1955

Rosner, A.: 1952, 1959

Rosner, Deak: 1955

Rossen, John: 1955

Rossi, Quintin: 1935

Royce, Edward: 1955

Sandburg, Carl: 1942

Sapiro, Aaron: 1932

Schappes Defense Committee: 1941 (Morris U. Shappes)

Schoen, Eugene: 1932, 1934

Schwartz, Morris: 1951

Selsam: 1951

Sequenzia, Sofia: 1983

Shields, T.A. "Art": 1959

Shillen, Ronald: 1942

Siegelbaum, Portia: 1978

Sillen, Samuel: 1952

Smith, Jessica: 1952

Soglow, Otto: 1942

Solomon: Dave: 1954 (New Talents Gallery), 1956

Starobin, Joseph: 1955

Steffens, Lincoln: 1934 (journalist)

Stone, M. Hedley: 1944

Street, Julian Jr.: 1940

Tandy, W. Lou: 1953

Time -- : 192-

Todd, Bianca: 1940 (See also Series 4)

Tresca, Carlo: circa 1930s (anarchist)

Turner, Jeannette S.: 1957-1960

Tyler, Hugh: 1939 (WPA)

Vallon, Jose: 1934

Van Rensselaer, Sylvia: 1944 ("Portrait of America Competition" report)

Weber, Max: 1953 (See also Series 4)

Weyhe Gallery: 1947

Wilson, Steve: 1959 (Progressive Lithographers)

The Worker -- : 1952 (Rob Hall)

World Council of Peace: 1955 (Jean Laffitte)

World -- : 1925

Zigrosser, Carl: 1937

Zorach, Bill: 1942

Zundel, Eugenia: 1957, 1959

Zurier, Rebecca: 1984, circa 1980s
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection 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.
Collection Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gellhugo, Series 2
See more items in:
Hugo Gellert papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gellhugo-ref31

Hugo Gellert papers

Creator:
Gellert, Hugo, 1892-1985  Search this
Names:
American Artists' Congress  Search this
Art of Today Gallery (New York, N.Y.)  Search this
Artist's Committee of Action (New York, N.Y.)  Search this
Artists Coordination Committee (New York, N.Y.)  Search this
Artists Council  Search this
Artists for Victory, Inc.  Search this
Committee to Defend V.J. Jerome  Search this
Hungarian Word, Inc.  Search this
National Society of Mural Painters (New York, N.Y.)  Search this
Derkovits, Gyula, 1894-1934  Search this
Evergood, Philip, 1901-1973  Search this
Fast, Howard, 1914-  Search this
Fiene, Ernest, 1894-  Search this
Gellert, Ernest  Search this
Gellert, Lawrence, 1898-1979  Search this
Gottlieb, Harry, 1895-  Search this
Gropper, William, 1897-1977  Search this
Kent, Rockwell, 1882-1971  Search this
Lie, Jonas, 1880-1940  Search this
Refregier, Anton, 1905-  Search this
Reisman, Philip, 1904-  Search this
Sequenzia, Sofia  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Date:
1916-1986
Summary:
The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical political left through an interview, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, extensive printed materials (many of them illustrated by Gellert), photographs, and artwork.
Scope and Content Note:
The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical left through an oral interview conducted by Sofia Sequenzia, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, clippings, exhibition catalogs, various printed materials illustrated by Gellert, pamphlets, periodicals, mass mailings, photographs, and artwork.

Biographical Material includes an audio interview with Gellert; official documents related to memberships, property, and legal matters; financial documents that include bills, receipts, and contracts related to professional activities; papers of Gellert's brothers, Lawrence and Ernest; and artifacts. Correspondence is with other artists, writers, publishers, activists, friends, and family, including Ernest Fiene, Rockwell Kent, Harry Gottlieb, William Gropper, Philip Evergood, Howard Fast, and Jonas Lie. Writings include essays, book projects, notes, and notebooks written by Gellert; and stories and articles by other authors, including typescripts of early twentieth-century Hungarian short stories collected by Gellert.

Organizational Records are related to political and art organizations in which Gellert was an active organizer, officer, and in some cases, a founder. Because of his central role in many of these organizations, records often contain unique documentation of their activities. Records are found for the American Artists Congress, the Art of Today Gallery, the Artists Committee of Action, the Artists Coordination Committee, the Artists Council, Artists for Victory, Inc., the Committee to Defend V.J. Jerome, Hungarian Word, Inc., the National Society of Mural Painters, and other organizations.

Printed materials include a variety of political publications and periodicals with illustrations by Gellert, including New Masses, Art Front, Magyar Szo, and American Dialog; clippings related to his career, exhibition catalogs, political pamphlets, Hungarian literature, and mass mailings received from political organizations. Photographs contain a few personal photographs but are mostly news and publicity photographs, many of which depict prominent Communists and other newsmakers. Artwork includes sketches, drawings, designs, prints, and production elements for Gellert's artwork, as well as prints and drawings by Philip Reisman, Gyula Derkovits, and Anton Refregier.
Arrangement:
The collection is arranged into 7 series:

Series 1: Biographical Material, 1917-1982 (Box 1 and OV 9; 0.5 linear feet)

Series 2: Correspondence, circa 1920-1986 (Boxes 1-2, 8; 0.8 linear feet)

Series 3: Writings, circa 1916-1970 (Boxes 2 and 8; 0.7 linear feet)

Series 4: Organizational Records, circa 1920-1977 (Boxes 3, 8, and OV 9; 1 linear foot)

Series 5: Printed Materials, circa 1920-1986 (Boxes 4-6, 8, and OV 9; 3 linear feet)

Series 6: Photographs, circa 1920-1959 (Boxes 6-7; 0.5 linear feet)

Series 7: Artwork, 1927-1981 (Box 7, OV 10; 0.4 linear feet)
Biographical Note:
Graphic artist, muralist, and activist Hugo Gellert was born Hugo Grünbaum in Budapest, Hungary in 1892, the oldest of six children. His family immigrated to New York City in 1906, eventually changing their family name to Gellert.

Gellert attended art school at Cooper Union and the National Academy of Design. As a student, he designed posters for movies and theater, and also worked for Tiffany Studios. A number of student art prizes with cash awards enabled him to travel to Europe in the summer of 1914, where he witnessed the outbreak of World War I, an experience which helped shape his political beliefs. Aesthetically, he was also influenced by a folk revival among Hungarian artists at the time of his trip, and was more impressed, he later said, with the street advertising in Paris than he was with the cubism he saw in the Louvre.

Returning to the United States, Gellert became involved in the Hungarian-American workers' movement, and contributed drawings to its newspaper, Elöre (Forward). He remained involved in Hungarian-American art and activism throughout his life, including membership in the anti-fascist group, the Anti-Horthy League. When members of the fascist Horthy government unveiled a statue of a Hungarian hero in New York in 1928, Gellert hired a pilot and dropped leaflets on the group, a stunt for which he was arrested. In the 1950s, Gellert served as director of Hungarian Word, Inc., a Hungarian-language publisher in New York.

Gellert's political commitment and art remained deeply intertwined throughout his life, as he continually sought to integrate his commitment to Communism, his hatred of fascism, and his dedication to civil liberties. Throughout the 1910s and 1920s, he contributed artwork to several magazines of the radical left, including Masses and its successors Liberator and New Masses, both of which featured Gellert's artwork on their inaugural issue. Through Masses, he came to know other radicals such as Mike Gold, John Reed, Louise Bryant, Max Eastman, Floyd Dell, Anton Refregier, William Gropper, Harry Gottlieb, Bob Minor, and Art Young, and with them he followed the events of the Bolshevik revolution in Russia with sympathy and growing political fervor.

His brother, Ernest Gellert, also a socialist and activist, was drafted into the military but refused to serve. He died of a gunshot wound under suspicious circumstances while imprisoned at Fort Hancock, New Jersey, as a conscientious objector. Traumatized by this event, Gellert fled to Mexico to avoid conscription. In 1920 to 1922, he taught art at the Stelton School in New Jersey, a radical, utopian community school. He participated in the cultural scene of Greenwich Village, working on set designs, publications, and graphic art for political productions. He founded the first John Reed Club in 1929 with a group of Communist artists and writers including Anton Refregier, Louis Lozowick, and William Gropper. Initially, the group held classes and exhibitions, and provided services for strikes and other working-class activism. Later, John Reed Clubs formed around the country and became a formal arm of the United States Communist Party (CPUSA).

In the late 1920s, Gellert became a member of the National Society of Mural Painters (which, partly due to Gellert's activism in the group, became the Mural Artists' Guild local 829 of the United Scenic Artists Union of the AFL-CIO in 1937. Other members included Rockwell Kent, Anton Refregier, Arshile Gorky, and Marion Greenwood). In 1928, he created a mural for the Worker's Cafeteria in Union Square, NY. Later murals include the Center Theater in Rockefeller Center, the National Maritime Union Headquarters, the Hotel and Restaurant Workers' Union Building, NYC, the interior of the Communications Building at the 1939 World's Fair, and the Seward Park Housing Project in 1961.

In 1932, Gellert was invited to participate in a mural exhibition at the Museum of Modern Art, and submitted a political mural about the robber barons of contemporary American politics and industry called Us Fellas Gotta Stick Together - Al Capone. The museum attempted to censor the mural, along with the murals of William Gropper and Ben Shahn. Other artists threatened to boycott the exhibition over the censorship and were successful in restoring them to the show.

The cooperation of artists in this controversy foreshadowed a larger protest in 1934, organized by Gellert, Saul Belman, Stuart Davis, and Zoltan Hecht, when Diego Rivera's pro-labor mural was destroyed at Rockefeller Center. After the incident, the group formed the Artists' Committee of Action and continued to fight censorship and advocate for artists' interests and welfare. They also co-published the magazine Art Front with the Artists' Union, a labor organization. Gellert served for a time as editor of Art Front, and chairman of the Artists' Committee of Action.

Gellert was active in producing both art and strategic policy for the cultural arm of the CPUSA, and he worked to mobilize the non-communist left, often referred to as the Popular Front. In 1933 he illustrated Karl Marx's Capital in Lithographs, and in 1935, he wrote a Marxist, illustrated satire called Comrade Gulliver, An Illustrated Account of Travel into that Strange Country the United States of America. Other published graphic works include Aesop Said So (1936) and a portfolio of silkscreen prints entitled Century of the Common Man (1943).

Other artist groups he helped to found and/or run include the American Artist's Congress, a Communist organization founded with Max Weber, Margaret Bourke-White, Stuart Davis, Yasuo Kuniyoshi, Harry Sternberg, and others, which held symposia and exhibitions between 1936 and 1942; the Artists' Coordination Committee, an umbrella group of national organizations which sought protections for federally-employed and unionized artists; Artists for Victory, Inc., which formed in 1942 to mobilize artists in support of the war effort; and the Artists' Council, formed after the war to advocate for artists' welfare and employment.

Gellert maintained his loyalty to the Communist party throughout the post-war period despite growing disillusionment in the Popular Front over the actions of Josef Stalin, and despite the intense anti-communist crusades in the late 1940s and 1950s. He was investigated by the House of Un-American Activities Committee (HUAC) and was nearly deported. He spent a number of years during this period in his wife's native Australia. Returning to the United States in the early 1950s, he threw his efforts into the defense of others who faced prison, deportation, and the blacklist following the HUAC hearings. He established The Committee to Defend V.J. Jerome in 1951 when Jerome, the cultural commissioner of CPUSA, was convicted under the Smith Act. The writer Dorothy Parker was the group's treasurer.

In 1954, Gellert established the Art of Today Gallery in New York City with Rockwell Kent and Charles White to provide an exhibition venue for blacklisted artists. Exhibitions included Maurice Becker, Henry Glintenkamp, Harry Gottlieb, Kay Harris, and Rockwell Kent. Gellert served as the gallery's secretary until it closed in 1957.

In the 1960s until his death in 1985, Gellert continued his activism through involvement in grassroots political organizations. Unlike many of his radical contemporaries, Gellert lived to see the revival of some of the ideas of the progressive era of the thirties in the countercultural years of the late 1960s and early 1970s. There were retrospectives of his work in Moscow in 1967 and in his native Budapest in 1968, and he appeared in Warren Beatty's film Reds in 1981.

Sources used for this essay include James Wechsler's 2003 dissertation "The Art and Activism of Hugo Gellert: Embracing the Spectre of Communism," his essay "From World War I to the Popular Front: The Art and Activism of Hugo Gellert," ( Journal of Decorative and Propaganda Arts number 24, Spring 2002), and Jeff Kisseloff's biographical essay for the 1986 Hugo Gellert exhibition at the Mary Ryan Gallery.
Related Material:
Among the holdings of the Archives of American Art are an oral history with Hugo Gellert from 1984, a recording of a lecture Gellert gave at the Whitney Museum of American Art in 1985, and additional records of Artists for Victory, Inc., 1942-1946.

The Tamiment Library and Robert F. Wagner Labor Archives at New York University holds additional papers of Hugo Gellert.
Provenance:
A portion of the papers were donated in 1970 by Hugo Gellert. Additional papers were donated by Gellert and his wife, Livia Cinquegrana, in 1983 and 1986.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Artists' writings  Search this
Politics in art  Search this
Works of art  Search this
Muralists -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Graphic artists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Photographs
Citation:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gellhugo
See more items in:
Hugo Gellert papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gellhugo
Online Media:

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