Skip to main content Smithsonian Institution

Search Results

Collections Search Center
119 documents - page 1 of 6

Oral history interview with George Biddle, 1963

Interviewee:
Biddle, George, 1885-  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bacon, Peggy  Search this
Benton, Thomas Hart  Search this
Billings, Henry  Search this
Bruce, Edward  Search this
Cahill, Holger  Search this
Demuth, Charles  Search this
Evergood, Philip  Search this
Grosz, George  Search this
Halpert, Edith Gregor  Search this
Hartley, Marsden  Search this
Marsh, Reginald  Search this
Miller, Kenneth Hayes  Search this
Orozco, José Clemente  Search this
Rivera, Diego  Search this
Robinson, Boardman  Search this
Siqueiros, David Alfaro  Search this
Sterne, Maurice  Search this
Stieglitz, Alfred  Search this
Tamayo, Rufino  Search this
Weber, Max  Search this
Zorach, William  Search this
Cassatt, Mary  Search this
Pascin, Jules  Search this
Poor, Henry Varnum  Search this
Curry, John Steuart  Search this
Bouché, Louis  Search this
Kroll, Leon  Search this
Zorach, William  Search this
Public Works of Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with George Biddle, 1963. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Censorship  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12696
(DSI-AAA_SIRISBib)213269
AAA_collcode_biddle63
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213269
Online Media:

Oral history interview with James Lechay, 1998 July 9-Aug. 26

Interviewee:
Lechay, James, 1907-2001  Search this
Interviewer:
Brown, Robert F.  Search this
Subject:
Gorky, Arshile  Search this
Hartley, Marsden  Search this
Lechay, Myron  Search this
Margules, De Hirsh  Search this
Pollock, Jackson  Search this
Siqueiros, David Alfaro  Search this
Stieglitz, Alfred  Search this
Weber, Max  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with James Lechay, 1998 July 9-Aug. 26. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Massachusetts -- Wellfleet -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11743
(DSI-AAA_SIRISBib)216379
AAA_collcode_lechay98
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216379
Online Media:

Oral history interview with James Lechay

Interviewee:
Lechay, James  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Gorky, Arshile, 1904-1948  Search this
Hartley, Marsden, 1877-1943  Search this
Lechay, Myron, 1898-1972  Search this
Margules, De Hirsh, 1899-1965  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
70 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1998 July 9-Aug. 26
Scope and Contents:
Interview of James Lechay, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution at Lechay's home in Wellfleet, Massachusetts, on July 9-Aug. 26, 1998.
Lechay speaks of his early childhood in the Bronx, N.Y.; copying paintings at the Metropolitan Museum under the tutelage of his elder brother Myron; discontinuing his study of psychology at the University of Illinois in 1929 to return to NYC to paint; taking odd jobs to counter his extreme poverty in the early 1930s; his first exhibition at Another Place (1936), a gallery run by De Hirsh Margules; praise from David Siqueiros, the Mexican muralist; his first trip to Provincetown (1930); exhibiting several times at the Whitney Museum (and others) but not at MoMA; touring NYC galleries on Fridays; meeting Marsden Hartley and Alfred Stieglitz; his friendship with Arshile Gorky; serving as a juror for the 1940s Momentum exhibition with Jackson Pollock and Max Weber; teaching at the University of Iowa in 1945, succeeding Philip Guston; his luck in having, since 1935, a New York dealer; his work as self-referential; being repelled by art fashions and not compromising his work in order to sell; the appearance of simplicity in his work. Lechay also recalls Raphael and Moses Soyer, Abraham Walkowitz, and others.
Biographical / Historical:
James Lechay (1907-2001) was a painter from Wellfleet, Mass.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hrs., 17 min.
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.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Painters -- Massachusetts -- Wellfleet -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lechay98
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b056ccd2-13d0-4eb3-b5ab-a4771bf9641d
EDAN-URL:
ead_collection:sova-aaa-lechay98
Online Media:

Reuben Kadish papers

Creator:
Kadish, Reuben, 1913-1992  Search this
Names:
Ashton, Dore  Search this
Cherry, Herman  Search this
Conant, Howard  Search this
De Kooning, Willem, 1904-1997  Search this
Guston, Philip, 1913-1980  Search this
Hiler, Hilaire, 1898-1966  Search this
Langsner, Jules, 1911-1967  Search this
Neininger, Urban  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Tully, Judd  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1851-1995
bulk 1913-1995
Summary:
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
Arrangement:
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)
Biographical Note:
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Related Material:
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
Provenance:
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
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:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Muralists -- California  Search this
Sculptors -- California  Search this
Genre/Form:
Drawings
Photographs
Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kadireub
See more items in:
Reuben Kadish papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8
EDAN-URL:
ead_collection:sova-aaa-kadireub
Online Media:

Henry Botkin papers

Creator:
Botkin, Henry, 1896-1983  Search this
Names:
American Abstract Artists  Search this
Artists Equity Association  Search this
Federation of Modern Painters and Sculptors  Search this
Gallery 256 (Provincetown, Mass.)  Search this
Arlen, Harold, 1905-1986  Search this
Botkin, Benjamin Albert, 1901-1975  Search this
Brice, Fanny  Search this
Brice, William, 1921-2008  Search this
Gershwin, George, 1898-1937  Search this
Gershwin, Ira, 1896-1983  Search this
Godowsky, Frances  Search this
Gross, Chaim, 1904-1991  Search this
Hasegawa, Saburō, 1906-1957  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Laurent, Toinette Botkin  Search this
Mocsanyi, Paul  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Rattner, Abraham  Search this
Robus, Hugo, 1885-1964  Search this
Schoenberg, Arnold, 1874-1951  Search this
Shadbolt, Jack, 1909-  Search this
Siqueiros, David Alfaro  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
3.5 Linear feet ((on 10 microfilm reels))
4 Sound tapes (7 & 5 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Drawings
Scrapbooks
Date:
1917-1979
Scope and Contents:
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
Occupation:
Composers  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Provincetown  Search this
Topic:
Art, Abstract  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.botkhenr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9556a5d7f-65c5-4c7f-827f-d4664d1cfc35
EDAN-URL:
ead_collection:sova-aaa-botkhenr

Oral history interview with Harold Lehman

Creator:
Lehman, Harold, 1913-2006  Search this
Interviewer:
Polcari, Stephen  Search this
Names:
Public Works of Art Project  Search this
Arenal, Luis  Search this
Armiduke, Merle  Search this
Blanch, Arnold, 1896-1968  Search this
Feitelson, Lorser, 1898-1978  Search this
Greenberg, Clement, 1909-1994  Search this
Guston, Philip, 1913-1980  Search this
Horr, Axel  Search this
Kadish, Reuben, 1913-1992  Search this
Katz, Leo, 1887-1982  Search this
Lundeberg, Helen, 1908-1999  Search this
Mahl, Carla  Search this
Maikowski, Max  Search this
McCoy, Stanley  Search this
Orozco, José Clemente, 1883-1949  Search this
Pollock, Jackson, 1912-1956  Search this
Rivera, Diego, 1886-1957  Search this
Rosenberg, Harold, 1906-1978  Search this
Schwankovsky, Frederick John, 1885-1974  Search this
Serstadt, Louie  Search this
Siqueiros, David Alfaro  Search this
Stanley, George M., 1903-  Search this
de Laffiere, Jean  Search this
Extent:
144 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 Mar. 28
Scope and Contents:
An interview of Harold Lehman conducted 1997 Mar. 28, by Stephen Polcari, for the Archives of American Art. Lehman speaks of his early educational and artistic experiences in New York; taking sculpture classes; moving to California; going to school at Manual Arts; going to Ojai and learning the religious philosophy of Krishnamurti; participating in literary discussion groups and the books he read; his years at Otis Art Institute; working with Sisqueiros, and how the frescoes they created were destroyed by the Red Squad; when he became interested in painting; working with Lorser Feitelson; working with the Public Works of Art Project; moving back to New York and working with the Federal Arts Project; his experiences with Sisqueiros and the artist workshop they set up; his thoughts on the Molotov-Ribbentrop Pact, Stalin and Trotsky; his thoughts on social realism; the project he did on Rikers Island; doing mural art; breaking both his arms two months before the attack on Pearl Harbor and how he managed to stay out of the army; working on his mural in Woodstock; working on war bond painting for the government; his art work during the war years; recollections of Jackson Pollack and his interest in Indian Art; going to see the Picasso show; his artistic influences; his thoughts on America's involvement in World War II; his life after the war and what inspired him; his memories of Phil Guston; thoughts on Harold Rosenberg and Clement Greenberg; his life after the war, and other recollections about his life and friends. He recalls Max Maikowski, Jean de Laffiere, Rutolo, Frederick J. Schwankovsky, Phil Guston, Jackson Pollack, Manuel Tolegian, Rueben Kadish, George Stanley, Roger Noble Vernon, D.A. Siqueiros, Luis Arenal, Lorser Feitelson, Helen Lundberg, Leo Katz, Merle Armiduke, Stanley McCoy, Axel Horr (Horn), Carla Mahl (Clara Moore), Louie Serstadt, Diego Rivera, Jose Orozco, Arnold Blanch, Harold Rosenberg, Clement Greenberg, Arnold Blanch, and many others.
Biographical / Historical:
Harold Lehman (1913-2006) was a painter, lithographer, designer, and sculptor from New York, N.Y.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 8 hrs., 39 min.
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.
Topic:
Painters -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
World War, 1939-1945  Search this
Communism  Search this
Mural painting and decoration  Search this
Social realism  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lehman97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f4e9efd8-1e65-4972-bd49-6e277168e3f2
EDAN-URL:
ead_collection:sova-aaa-lehman97
Online Media:

Anton Refregier papers

Creator:
Refregier, Anton, 1905-  Search this
Names:
ACA Galleries  Search this
Bard College -- Faculty  Search this
Gosudarstvennyĭ Ėrmitazh (Russia)  Search this
National Council of American-Soviet Friendship (U.S.)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States. Works Progress Administration  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
World Peace Council  Search this
De Diego, Julio, 1900-  Search this
Dreyfuss, Henry, 1904-  Search this
Elisofon, Eliot  Search this
Evergood, Philip, 1901-1973  Search this
Fast, Howard, 1914-2003  Search this
Geddes, Norman Bel, 1893-1958  Search this
Greenwood, Marion, 1909-1970  Search this
Kent, Rockwell, 1882-1971  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Morley, Eugene, 1909-1953  Search this
O'Higgins, Pablo, 1904-  Search this
Packard, Emmy Lou, 1914-1998  Search this
Randall, Byron, 1918-1999  Search this
Refregier, Lila  Search this
Siqueiros, David Alfaro  Search this
Yavno, Max  Search this
Extent:
35.9 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Place:
Chile
Soviet Union
Guatemala
Mexico
Date:
circa 1900-circa 1990
Summary:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.
Scope and Content Note:
The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.

Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.

Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.

The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).

Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.

Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.

Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.

Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.

The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.

Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.

Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)

Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)

Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)

Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)

Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)

Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)

Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)

Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)

Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)

Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)

Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)
Biographical Note:
Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.

After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.

Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.

Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.

Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.
Related Material:
Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.
Provenance:
Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. 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.
Topic:
Tapestry  Search this
Art -- Study and teaching  Search this
Political clubs  Search this
Muralists -- New York -- Woodstock  Search this
Art -- Commissioning  Search this
Painters -- New York (State) -- Woodstock  Search this
Mural painting and decoration -- Archival resources -- 20th century  Search this
Designers -- New York (State)  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Travel diaries
Greeting cards
Interviews
Cartoons (working drawings)
Scrapbooks
Transcripts
Photographs
Diaries
Sketches
Citation:
Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.refranto
See more items in:
Anton Refregier papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9545f99ed-0a65-4626-904d-8dda5c569fcf
EDAN-URL:
ead_collection:sova-aaa-refranto

Enrique Riverón papers

Creator:
Riverón, Enrique  Search this
Names:
Wichita State University -- Faculty  Search this
Baker, Josephine, 1906-1975  Search this
Bermúdez, Cundo, 1914-2008  Search this
Cantinflas, 1911-1993  Search this
Carreño, Mario  Search this
Carreño, Mario -- Photographs  Search this
Cugat, Xavier, 1900- -- Photographs  Search this
De Diego, Julio, 1900-  Search this
García Lorca, Federico, 1898-1936  Search this
Gattorno, Antonio  Search this
Gómez Sicre, José  Search this
Hughes, Langston, 1902-1967  Search this
Kiki, 1901-1953  Search this
Lozano Castro, Alfredo  Search this
Milland, Ray -- Photographs  Search this
Neruda, Pablo, 1904-1973 -- Photographs  Search this
Orozco, José Clemente, 1883-1949 -- Photographs  Search this
Peláez, Amelia, 1897-1968 -- Photographs  Search this
Picasso, Pablo, 1881-1973  Search this
Pidgeon, Walter, 1897-  Search this
Prohias, Antonio  Search this
Rebajes, Pauline  Search this
Reed, Alma M. -- Photographs  Search this
Russell, Rosalind -- Photographs  Search this
Salinas, Baruj  Search this
Sicre, Juan José -- Photographs  Search this
Siqueiros, David Alfaro -- Photographs  Search this
Tamayo, Rufino, 1899- -- Photographs  Search this
Waguermert, Luis Gomez -- Photographs  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
1918-1990s
Summary:
The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet and date from 1918-1990s. The collection contains correspondence, writings, diary entries, scrapbooks, printed material, and photographs documenting Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, Riverón's teaching career at Wichita University in Kansas.
Scope and Content Note:
The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet, date from 1918-1990s and document Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, his teaching career at Wichita University in Kansas. The collection includes correspondence, the majority of which concerns Riverón's exhibitions; writings, primarily Riverón's recollections of his trips to Paris and Madrid and his memories of people he met in Latin America, Europe, and the United States; printed material documenting exhibitions and Riverón's work for magazines such as Cine-Mudial and Bally-Hoo; and photographs.
Arrangement:
The collection is organized into eight series.

Missing Title

Series 1: Biographical Material, circa 1929-1960 (Box 1; 2 folders)

Series 2: Correspondence, 1918-1991 (box 1, 0.6 ft.)

Series 3: Writings, 1923-1980s, undated (box 1, 0.2 ft.)

Series 4: Scrapbooks, 1920s-1990s, undated (boxes 1, 3, and 4, 0.7 ft.)

Series 5: Artwork, 1958-1983, undated (boxes 1 and 5, 0.4 ft.)

Series 6: Printed Material, circa 1930-1992 (boxes 2 and 5, 0.7 ft.)

Series 7: Photographs, 1918-1992, undated (boxes 2, 5 and 6, 0.6 ft.)

Series 8: Miscellany, 1927-1989, undated (box 6, 7 folders)
Biographical Note:
Painter, sculptor, cartoonist, and illustrator Enrique Riverón was born in 1902 in Cienfuegos, Cuba and belonged to the first generation of Cuban modernists, experimenting with Cubism and pursuing abstraction from very early on in his career. During his early twenties Riverón traveled to France, Italy, Belgium, and Spain to study under scholarships and attend the Academia de San Fernando in Madrid. In 1926 Riverón's first major one-man exhibition took place at the Association Paris Amerique Latine where the catalog introduction was written by noted Mexican writer Alfonso Reyes.

In 1927 Riverón returned to Havana and had a one-man show of his European work at the Asociación de Pintores y Escultores, as well as several other shows in Havana and New York. He moved to the United States in 1930 and became a United States citizen in 1943.

In addition to being known for his naturalistic drawings of street life in Paris and Cuba, Riverón began working with collage in the 1930s and was, for a number of years, a cartoonist for newspapers in Havana and other publications such as The New Yorker and Cine Mundial which was published in New York and widely circulated in Latin America. He also worked in Hollywood for a time as an illustrator for Walt Disney Pictures.

From 1940 on, Riverón focused on painting and sculpture. He moved to Miami from Wichita, Kansas, in 1964. Enrique Riverón died in 1998.
Related Material:
The Archives of American Art also has a collection of Enrique Riverón letters to Mario Carreño, 1981-1990, in which Riverón writes of their mutual friends, his memories of Cuba, health issues, politics, pricing paintings, collages, and his longings for Paris and New York.
Provenance:
The Enrique Riverón papers were donated to the Archives of American Art by Patricia Riverón Lee, daughter of Riverón, in 1996.
Restrictions:
The collection is open for research. Use requires an appointment.
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:
Illustrators  Search this
Cartoonists  Search this
Topic:
Artists -- Florida -- Miami  Search this
Cuban American art  Search this
Artists -- Cuba  Search this
Expatriate artists -- Florida -- Miami  Search this
Cuban American artists  Search this
Magazine illustration  Search this
Caricatures and cartoons  Search this
Sculptors -- Florida -- Miami  Search this
Latino and Latin American artists  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Enrique Riverón papers, 1918-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.riveenri
See more items in:
Enrique Riverón papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f97ec4c1-ff24-4264-8862-e6c643037bb5
EDAN-URL:
ead_collection:sova-aaa-riveenri

Oral history interview with John Wilson, 1993 March 11-1994 August 16

Interviewee:
Wilson, John Woodrow, 1922-  Search this
Interviewer:
Brown, Robert F.  Search this
Subject:
Aronson, David  Search this
Bengtz, Ture  Search this
Gaither, Edmund B.  Search this
Hurwitz, Sidney  Search this
Kay, Reed  Search this
Kramer, Jack  Search this
Léger, Fernand  Search this
Lewis, Elma  Search this
Rivera, Diego  Search this
Siqueiros, David Alfaro  Search this
Zerbe, Karl  Search this
Museum of Fine Arts, Boston. School  Search this
Boston University. School of Fine and Applied Arts  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with John Wilson, 1993 March 11-1994 August 16. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American printmakers  Search this
African American sculptors  Search this
Theme:
African American  Search this
Record number:
(DSI-AAA_CollID)11501
(DSI-AAA_SIRISBib)216507
AAA_collcode_wilson93
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216507

Oral history interview with John Wilson

Interviewee:
Wilson, John, 1922-2015  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boston University. School of Fine and Applied Arts  Search this
Museum of Fine Arts, Boston. School  Search this
Aronson, David, 1923-2015  Search this
Bengtz, Ture, 1907-1973  Search this
Gaither, Edmund B.  Search this
Hurwitz, Sidney, 1932-  Search this
Kay, Reed  Search this
Kramer, Jack  Search this
Lewis, Elma  Search this
Léger, Fernand, 1881-1955  Search this
Rivera, Diego, 1886-1957  Search this
Siqueiros, David Alfaro  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
497 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993 March 11-1994 August 16
Scope and Contents:
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class Black people from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
Uneven transcription reflects Wilson's unusual speech pattern.
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. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
Occupation:
Painters -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Printmakers -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Topic:
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American printmakers  Search this
African American sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilson93
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f3601751-82e4-488d-b246-deda68bea613
EDAN-URL:
ead_collection:sova-aaa-wilson93
Online Media:

Siqueiros, David Alfaro, Painter (1896-1974; see also: Goldman, Shifra; Treviño, Jesús),

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 25, Folder 43
Type:
Archival materials
Date:
1977-1978
Scope and Contents note:
(clippings of essays by Shifra Goldman and Jesús Treviño; catalog)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material on Chicano art
Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98e7e5c17-1247-472f-8f52-607b1eef8f59
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref1561

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company (New York, N.Y.)  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltrán-Masses, Federico, 1885-1949  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto, 1887-1968  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the 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.
Topic:
Art -- New Guinea  Search this
Latino and Latin American artists  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c32bcaf5-5f80-49c8-b1c3-5b09a2ad6c9b
EDAN-URL:
ead_collection:sova-aaa-stenartg
Online Media:

Harry Sternberg papers

Creator:
Sternberg, Harry, 1904-2001  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Idyllwild School and Museum for the Arts -- Faculty  Search this
Blume, Peter, 1906-1992  Search this
Evergood, Philip, 1901-1973  Search this
Kent, Rockwell, 1882-1971  Search this
Secunda, Arthur  Search this
Siqueiros, David Alfaro  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Warner, Malcolm, 1953-  Search this
Wickey, Harry  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.4 Linear feet
0.553 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Date:
1927-2000
Summary:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Scope and Content Note:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.

The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.

Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)

Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)

Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)

Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)

Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)

Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)
Biographical Note:
Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.

Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.

During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.
Related Material:
Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art
Provenance:
The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.
Restrictions:
Use of original papers requires an appointment.
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 -- California  Search this
Topic:
Printmakers -- California  Search this
Printmakers -- New York (State) -- New York  Search this
Educators -- California  Search this
Painting, American  Search this
Educators -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Citation:
Harry Sternberg papers, 1927-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterharr
See more items in:
Harry Sternberg papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw904413d6d-fce2-4bc8-9eef-9641dce75f12
EDAN-URL:
ead_collection:sova-aaa-sterharr

Zapata

Artist:
David Alfaro Siqueiros, Mexican, b. Chihuahua, 1896–1974  Search this
Medium:
Oil on canvas
Dimensions:
53 1/4 x 41 5/8 in. (135.2 x 105.7 cm)
Type:
Painting
Date:
1931
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.4605
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py25b10b81d-5a04-4fbf-b9c2-5c4ecccbc9b3
EDAN-URL:
edanmdm:hmsg_66.4605

Philip Stein papers regarding David Alfaro Siqueiros

Creator:
Stein, Philip, 1919-2009  Search this
Names:
Siqueiros, David Alfaro  Search this
Extent:
3.8 Linear feet
3.88 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Date:
1933-2012
Summary:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Scope and Contents:
The papers of muralist, writer, and activist Philip Stein regarding the Mexican muralist David Alfaro Siqueiros measure 3.8 linear feet and 3.88 GB and date from 1933 to 2012. The papers reflect Stein's relationship with Siqueiros as an art assistant and their shared commitment to leftist politics. Much of the material relates to Stein's book Siqueiros, His Life and Work (1994) and his first book The Mexican Murals (1984). Found are research materials, correspondence, interviews, printed and digital material, photographic materials, video and film recordings, writings about and by David Alfaro Siqueiros, and materials concerning Stein as a painter.
Arrangement:
The collection is arranged in 7 series:

Missing Title

Series 1: Correspondence, 1934-2010 (0.3 linear feet; Box 1)

Series 2: Interviews, 1977-1994 (0.1 linear feet; Box 1)

Series 3: Writings, 1937-2006 (0.6 linear feet; Boxes 1-2, 0.021 GB; ER01)

Series 4: Subject Files and Research Files, 1933-2009 (0.6 linear feet;Boxes 2-3)

Series 5: Printed Material, 1949-2009 (0.7 linear feet; Boxes 2-3,5)

Series 6: Photographic Materials, 1933-2005 ( 0.5 linear Feet; Boxes 3-4, 0.011 GB; ER02)

Series 7: Sound, Video and Film Recorings, circa 1967-2012 (1.3 linear feet; Box 3, 4, FC 6-9, 3.85 GB; ER03-ER04)
Biographical / Historical:
Artist, author and political activist, Philip Stein (1919-2009), also called "Estano," lived and worked in New York City, Mexico, and Spain. Stein worked as an assistant to muralist David Alfaro Siqueiros. Both men were committed to the Mexican Mural School of new-realism, painting exterior murals rather than easel paintings so art could be public and directed to the masses.

Stein was born in Newark, New Jersey and was a mostly self-taught artist, occasionally studying at local art schools. He served in the armed forces during World War II as a meteorologist, seeing action throughout Europe. After the war, he moved to California to paint movie sets. In 1948, Stein and his wife Gertrude moved to Mexico where he studied art on the GI Bill at The School of Fine Arts of San Miguel de Allende. There he met Siqueiros, an ardent communist, who had attempted to assasinate Leon Trotsky. Stein worked with Siqueiros on several murals in Mexico until Siqueiros' death in 1974.

Between 1953 and 1993 Stein occasionally exhibited in Mexico, New York City and Spain. One of Stein's best known murals is at the Village Vanguard club in New York City. His biography of Siqueiros, Siqueiros, His Life and Work was published in 1994. Stein died at home in Manhattan in 2009 at age 90.
Provenance:
The Philip Stein papers regarding David Alfaro Siqueiros were donated to the Archives of American Art in 2015 by Anne Stein, daughter of Philip Stein.
Restrictions:
Use of original material 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.
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 -- Mexico  Search this
Topic:
Muralists -- Mexico  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
Philip Stein papers regarding David Alfaro Siqueiros, 1933-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.steiphil
See more items in:
Philip Stein papers regarding David Alfaro Siqueiros
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw982ffa0fc-6a2b-47f1-808a-6e617c3d983c
EDAN-URL:
ead_collection:sova-aaa-steiphil
Online Media:

Oral history interview with Sylvia Orozco

Interviewee:
Orozco, Sylvia, 1954-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
League of United Chicano Artists  Search this
Mexic-Arte Museum (Austin, Tex.)  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Alvarez Bravo, Manuel, 1902-  Search this
Barraza, Santa  Search this
Cardenas, Gilberto  Search this
Coronado, Sam  Search this
Dodson, Nora Gonzales  Search this
Fearing, Kelly  Search this
Frary, Michael, 1918-  Search this
Orozco, José Clemente, 1883-1949  Search this
Pace, Linda  Search this
Pulido, Piu  Search this
Rivera, Diego, 1886-1957  Search this
Siqueiros, David Alfaro  Search this
Starpattern, Rita  Search this
Trevino, Barbina Modesta  Search this
Extent:
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 Jan. 26-Feb. 2
Scope and Contents:
An interview of Sylvia Orozco conducted 2004 Jan. 26-Feb. 2, by Cary Cordova, for the Archives of American Art, in Mexic-Arte Gallery, Austin, Tex.
Orozco speaks of her family history, having the best drawing in second grade, the earliest recollection of being an artist; Camp Fire Girls; painting for high school pep squad and protest signs; growing up in Cuero, Tex.; integration in high school; Texas A and I; the Raza Unida movement; University of Texas; the Conferencia del Plastica Chicana, held September 13-16, 1979 in Austin, Tex.; MECha, the Movimiento Estudiantil Chicano de Aztlan; the effect of her work as a curator on her ability to do her own artwork; CONACYT, National Council of Arts and Technology; her passion for Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros; meeting Pio Pulido; LUChA, the League of United Chicano Artists; organizing an exhibition on Manuel Alvarez Bravo at the Texas Memorial Museum; the beginnings of Mexic-Arte Gallery; the group Women and Their Work; the installation "Counter Colon-ialismo"; alternative spaces and museums; and future plans for Mexic-Arte Gallery. Orozco also recalls Santa Barraza, Kelly Fearing, Mike Frary, Sam Coronado, Barbina Modesta Treviño, Nora Gonzalez-Dodson, Linda Pace, Rita Starpattern, Gilbert Cardenas, and others.
Biographical / Historical:
Sylvia Orozco (1954- ) is an artist from Austin, Tex. Cary Cordova (1970-) is an art historian from Austin, Tex.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 55 min.
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.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Museum directors -- Texas  Search this
Topic:
Mexican American artists  Search this
Curators -- Texas -- Interviews  Search this
Women artists  Search this
Latino and Latin American artists  Search this
Chicano artists  Search this
Chicano artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.orozco04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995bf7858-7160-4b56-9bde-5be575c8cf47
EDAN-URL:
ead_collection:sova-aaa-orozco04
Online Media:

Oral history interview with George Biddle

Interviewee:
Biddle, George, 1885-1973  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington), 1920-  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project  Search this
Bacon, Peggy, 1895-1987  Search this
Benton, Thomas Hart, 1889-1975  Search this
Billings, Henry, 1901-  Search this
Bouché, Louis, 1896-1969  Search this
Bruce, Edward, 1879-1943  Search this
Cahill, Holger, 1887-1960  Search this
Cassatt, Mary, 1844-1926  Search this
Curry, John Steuart, 1897-1946  Search this
Demuth, Charles, 1883-1935  Search this
Evergood, Philip, 1901-1973  Search this
Grosz, George, 1893-1959  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hartley, Marsden, 1877-1943  Search this
Kroll, Leon, 1884-1974  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Orozco, José Clemente, 1883-1949  Search this
Pascin, Jules, 1885-1930  Search this
Poor, Henry Varnum, 1887-1970  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Boardman, 1876-1952  Search this
Siqueiros, David Alfaro  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tamayo, Rufino, 1899-  Search this
Weber, Max, 1881-1961  Search this
Zorach, William, 1887-1966  Search this
Zorach, William, 1887-1966  Search this
Extent:
239 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963
Scope and Contents:
An interview of George Biddle conducted in 1963, by Harlan Phillips, for the Archives of American Art.
Biddle speaks of his background in Philadelphia; his Harvard education in preparation for a law career; literary acquaintances; travel; the beginning of his art career; his preoccupation with portraiture; his tragic and pleasant works; the importance of mood; his drawing techniques; drawing from nature; color experimentation; Stieglitz's circle; the susceptibility of artists to change during the 1930s; his involvement with the Public Works of Art Project; government censorship of his murals; his involvement with artists overseas during World War II; and his aesthetic philosophy. He recalls Max Weber, Maurice Sterne, George Grosz, William Zorach, Kenneth Hayes Miller, Peggy Bacon, Marsden Hartley, Charles Demuth, Edith Halpert, Boardman Robinson, Reginald Marsh, Thomas Hart Benton, Henry Billings, Ned Bruce, Holger Cahill, Philip Evergood, Diego Rivera, Jose Clemente Orozco, David Siqueiros, and Rufino Tamayo.
Biographical / Historical:
George Biddle (1885-1973) was a painter and sculptor, in Croton-on-Hudson, New York.
General:
Originally recorded 3 sound tape reels. Reformatted in 2010 as 9 digital wav files. Duration is 13 hr., 56 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Topic:
Art -- Censorship  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Sculptors -- New York (State) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.biddle63
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bb4fdb2d-29ab-4c56-bcef-655c27a0afb8
EDAN-URL:
ead_collection:sova-aaa-biddle63
Online Media:

Oral history interview with Paul Sample

Interviewee:
Sample, Paul, 1896-1974  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Treasury Relief Art Project  Search this
Lie, Jonas, 1880-1940  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Siqueiros, David Alfaro  Search this
Extent:
17 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 October 10
Scope and Contents:
An interview of Paul Sample conducted 1971 October 10, by Robert F. Brown, for the Archives of American Art. Sample speaks of his studies with Jonas Lie and Stanton Macdonald-Wright; teaching at the University of Southern California and at Dartmouth College; working on frescos with David Alfaro Siqueiros in California; working on murals for the Treasury Department's art project; exhibitions in New York galleries; his series of paintings for the American Tobacco Company. He discusses his subject matter.
Biographical / Historical:
Paul Sample (1896-1974) was a painter from Norwich, Vt.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 59 min.
Provenance:
This interview is part of the Archives' 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.
Occupation:
Painters -- Vermont -- Interviews  Search this
Topic:
Art, American  Search this
Mural painting and decoration  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sample71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a84d1a09-7716-471f-8000-37e7e51eedab
EDAN-URL:
ead_collection:sova-aaa-sample71
Online Media:

Oral history interview with Arnold Blanch

Interviewee:
Blanch, Arnold, 1896-1968  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
American Artists' Congress  Search this
Bellows, George, 1882-1925  Search this
Force, Juliana, 1876-1948  Search this
Gorky, Arshile, 1904-1948  Search this
Hague, Raoul, 1905-1993  Search this
Henri, Robert, 1865-1929  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Orozco, José Clemente, 1883-1949  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Boardman, 1876-1952  Search this
Siqueiros, David Alfaro  Search this
Sloan, John, 1871-1951  Search this
Extent:
37 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 June 13-August 3
Scope and Contents:
An interview of Arnold Blanch conducted by Dorothy Seckler (31 pages) on 1963 June 13 for the Archives of American Art, and a lecture by Blanch recorded by Seckler (6 pages), August 1, 1963.
In the interview, Blanch speaks of his childhood in Minnesota; his hostility toward formal education; his art education; moving to New York; the influence of Cezanne and Renoir on his work; the Woodstock art circle; travels in Paris; his association with New York galleries; his involvement with WPA projects; the American Artists Congress; the American art scene in the 1930s; his opinions of government aid to the arts; changes in his style; and his opinions on the contemporary art scene. He recalls Boardman Robinson, Juliana Force, George Bellows, Robert Henri, John Sloan, Kenneth Hayes Miller, Arshile Gorky, Diego Rivera, Jose Clemente Orozco, David Siqueiros, and Raoul Hague. The lecture,"Art Tradition," was delivered by Blanch to the Woodstock Art Association, Woodstock, New York, August 1, 1963.
Biographical / Historical:
Arnold Blanch (1896-1968) was a mural painter in Woodstock, New York.
General:
Originally recorded 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 12 min.
Provenance:
This interview is part of the Archives' 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.
Topic:
Art, American  Search this
Muralists -- New York -- Woodstock -- Interviews  Search this
Painters -- New York (State) -- Woodstock -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.blanch63
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90ce9ffe3-ba4d-4131-b160-99f0588088aa
EDAN-URL:
ead_collection:sova-aaa-blanch63
Online Media:

Oral history interview with Fletcher Martin

Interviewee:
Martin, Fletcher, 1904-1979  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Siqueiros, David Alfaro  Search this
Extent:
9 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Nov. 19
Scope and Contents:
An interview of Fletcher Martin conducted 1964 Nov. 19, by Joseph S. Trovato, for the Archives of American Art.
Martin speaks of his family background and self-taught art education; meeting David A. Siqueiros and painting a mural with him; becoming established as an artist and having his first exhibits; working on the Federal Art Project (FAP) as a fresco painter; working on post office murals and relief sculptures; and his overall view of the Federal Art Project.
Biographical / Historical:
Fletcher Martin (1904-1979) was a printmaker, painter, and mural painter from Sarasota, Fla. and Guanajuato, Mexico.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 41 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Painters -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mural painting and decoration  Search this
Muralists -- Interviews  Search this
Printmakers -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.martin64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98dfe05fd-3472-41b1-bba4-88bb39b6890f
EDAN-URL:
ead_collection:sova-aaa-martin64
Online Media:

Modify Your Search







or


Narrow By